A presente dissertação consiste em um estudo do romance Deuses americanos de Neil Gaiman levando em consideração suas conexões a outros textos bem como inserções de diversos textos provenientes de outros trabalhos na prosa do romance. A proposta de leitura do texto de Gaiman segundo este trabalho utiliza os conceitos de intertextualidade e arquétipos de forma a analisar a relação entre a trama de Deuses americanos às várias utilizações de textos cuja escrita “original” não é atribuída ao autor do livro inseridos (ou referenciados) na prosa do romance. Embora o objeto de estudo seja comumente visto como um livro difícil de ser categorizado dentre de um certo gênero, a proposta desta dissertação é demonstrar que o movimento e o fluxo contínuo de discursos (textos) e estilos na prosa do romance remonta a uma visão de um estrangeiro sobre os Estados Unidos e como o país foi criado: ou seja, que ele é não somente um ponto geográfico de confluência de muitos povos, mas também de muitas crenças e culturas que, de um modo ou outro, trouxeram os seus deuses consigo. A análise do uso de intertextos, intratextos e arquétipos no romance está estruturada em três capítulos centrais: o primeiro contextualiza os mitos que aparecem no romance e discute a questão de gênero literário do livro, além do conceito de América no texto de Gaiman. O segundo capítulo examina o uso de mitos por Gaiman em relação a outros trabalhos, tanto os manuscritos antigos de crenças pagãs quanto instâncias mais modernas de mito e alegoria, além de estudar as conexões entre Deuses americanos e outros textos escritos por Gaiman de acordo com o conceito de intratextualidade proposto por Affonso de Sant’Anna. Por fim, o terceiro capítulo se concentra no uso pontual de intertextos no romance, organizando-os entre alusões literárias, referências à cultura pop, além de estudar o conflito entre a era digital e o antigo reinado da fé religiosa, sem deixar de investigar o uso de arquétipos e apropriação na prosa do romance. O trabalho, assim, tem como objetivo verificar a alegação de que a qualidade intertextual do romance é essencial tendo em vista sua trama e cenário, bem como a afirmação de que ele redefine o conceito da América do final dos anos 90 como um espaço multicultural, dinâmico e mítico. / This thesis consists of a study of Neil Gaiman’s American Gods in the light of its connections to other texts as well as the punctual insertions of various texts from other works in the novel’s prose. The proposed reading of Gaiman’s text employs the concepts of intertextuality and archetypes in order to further analyze the relation of the plot of American Gods to the various uses of texts - that were not originally written by the book’s author – which are inserted (or alluded to) in the novel’s prose. Although the object of study is generally seen as a book that is hard to brand within a certain genre, this thesis’ approach to the novel demonstrates that movement and the continuous flow of speeches (texts) and styles in the novel’s prose comprises an outsider’s view of America and how the country came into existence – that is, that it is the geographical conflux not only of many peoples, but also of many beliefs and cultures, which in some way or other brought their gods with them. This examination of the use of intertexts, intratexts and archetypes in the novel is structured in three main chapters: The first chapter contextualizes the myths that appear in the novel and discusses the issues of genre and the concept of America in Gaiman’s text. The second chapter analyzes Gaiman’s use of myths in relation to other works – the original manuscripts of ancient beliefs as well as modern instances of myth and allegory – along with the connections between American Gods and Gaiman’s other works according to Affonso de Sant’Anna’s concept of intratextuality. Finally, the third chapter focuses on the punctual uses of intertexts in the novel, breaking them down into literary allusions, references to pop culture and the conflict between the digital era and the age of religious faith, and the use of archetypes and appropriation in the novel’s prose. At the end of the work, I aim to assert my belief that the intertextual nature of the novel is essential to its plot and setting, and re-defines the concept of late-90’s/early 2000’s America as a multicultural, dynamic mythical space.

A presente dissertação consiste em um estudo do romance Deuses americanos de Neil Gaiman levando em consideração suas conexões a outros textos bem como inserções de diversos textos provenientes de outros trabalhos na prosa do romance. A proposta de leitura do texto de Gaiman segundo este trabalho utiliza os conceitos de intertextualidade e arquétipos de forma a analisar a relação entre a trama de Deuses americanos às várias utilizações de textos cuja escrita “original” não é atribuída ao autor do livro inseridos (ou referenciados) na prosa do romance. Embora o objeto de estudo seja comumente visto como um livro difícil de ser categorizado dentre de um certo gênero, a proposta desta dissertação é demonstrar que o movimento e o fluxo contínuo de discursos (textos) e estilos na prosa do romance remonta a uma visão de um estrangeiro sobre os Estados Unidos e como o país foi criado: ou seja, que ele é não somente um ponto geográfico de confluência de muitos povos, mas também de muitas crenças e culturas que, de um modo ou outro, trouxeram os seus deuses consigo. A análise do uso de intertextos, intratextos e arquétipos no romance está estruturada em três capítulos centrais: o primeiro contextualiza os mitos que aparecem no romance e discute a questão de gênero literário do livro, além do conceito de América no texto de Gaiman. O segundo capítulo examina o uso de mitos por Gaiman em relação a outros trabalhos, tanto os manuscritos antigos de crenças pagãs quanto instâncias mais modernas de mito e alegoria, além de estudar as conexões entre Deuses americanos e outros textos escritos por Gaiman de acordo com o conceito de intratextualidade proposto por Affonso de Sant’Anna. Por fim, o terceiro capítulo se concentra no uso pontual de intertextos no romance, organizando-os entre alusões literárias, referências à cultura pop, além de estudar o conflito entre a era digital e o antigo reinado da fé religiosa, sem deixar de investigar o uso de arquétipos e apropriação na prosa do romance. O trabalho, assim, tem como objetivo verificar a alegação de que a qualidade intertextual do romance é essencial tendo em vista sua trama e cenário, bem como a afirmação de que ele redefine o conceito da América do final dos anos 90 como um espaço multicultural, dinâmico e mítico. / This thesis consists of a study of Neil Gaiman’s American Gods in the light of its connections to other texts as well as the punctual insertions of various texts from other works in the novel’s prose. The proposed reading of Gaiman’s text employs the concepts of intertextuality and archetypes in order to further analyze the relation of the plot of American Gods to the various uses of texts - that were not originally written by the book’s author – which are inserted (or alluded to) in the novel’s prose. Although the object of study is generally seen as a book that is hard to brand within a certain genre, this thesis’ approach to the novel demonstrates that movement and the continuous flow of speeches (texts) and styles in the novel’s prose comprises an outsider’s view of America and how the country came into existence – that is, that it is the geographical conflux not only of many peoples, but also of many beliefs and cultures, which in some way or other brought their gods with them. This examination of the use of intertexts, intratexts and archetypes in the novel is structured in three main chapters: The first chapter contextualizes the myths that appear in the novel and discusses the issues of genre and the concept of America in Gaiman’s text. The second chapter analyzes Gaiman’s use of myths in relation to other works – the original manuscripts of ancient beliefs as well as modern instances of myth and allegory – along with the connections between American Gods and Gaiman’s other works according to Affonso de Sant’Anna’s concept of intratextuality. Finally, the third chapter focuses on the punctual uses of intertexts in the novel, breaking them down into literary allusions, references to pop culture and the conflict between the digital era and the age of religious faith, and the use of archetypes and appropriation in the novel’s prose. At the end of the work, I aim to assert my belief that the intertextual nature of the novel is essential to its plot and setting, and re-defines the concept of late-90’s/early 2000’s America as a multicultural, dynamic mythical space.

Объектом исследования данной работы выступают окказионализмы Нила Геймана. Цель данного исследования — выявление продуктивных моделей сохранения семантики и структурных особенностей авторских неологизмов Нила Геймана при передаче их переводчиками на русский и немецкий языки. Метода исследования: проблемный и критический анализ, синтез, реферирование, идеографический, непосредственное и опосредованное описание, метод эмпатии, контент-анализа, метод сплошной выборки, компонентный анализ. В результате исследования устанавливается зависимость структуры и семантики окказиональной лексики от возрастного регистра оригинальных литературных произведений на английском языке, а также сходные способы передачи обозначенных особенностей авторских неологизмов при переводе на русский и немецкий языки. Область применения: лингвистика, перевод и переводоведение, образование. Значимость работы: результаты исследования могут быть использованы в лексикографической практике при составлении двух- и трехъязычного словаря окказионализмов; выявленные эффективные модели интерпретации авторских неологизмов могут найти применение в практике перевода фантастической литературы и окказиональной лексики в целом, в вузовских и школьных курсах русского, английского и немецкого языков при изучении словообразования, лексикологии, стилистики, в подготовке учебных пособий по этим дисциплинам, при проведении спецкурсов и спецсеминаров, при выполнении курсовых и дипломных работ. / The object of this work is Neil Gaiman's occasionalisms. This study aims to identify productive models of preserving Neil Gaiman's authorial neologisms' semantics and structural features when translators interpret them in Russian and German. Research methods: problem and critical analysis, synthesis, abstracting, ideographic, direct and indirect description, empathy method, content analysis, continuous sampling method, and component analysis. The research establishes the dependence of the structure and semantics of an occasional lexicon on the age register of the original literary works in English. Moreover, similar ways of transferring the indicated features of the author's neologisms in the translation into Russian and German. Field of application: linguistics, translation and translation studies, education. The study results can be used in lexicographic practice when compiling a bilingual and trilingual dictionary of occasionalisms. Scientists, translators, and education workers can use the identified effective models of interpretation of authorial neologisms in the translation of fiction literature and occasional vocabulary in general, in university and school courses of Russian, English, and German language when studying word formation, lexicology, stylistics, in preparing textbooks on these disciplines, when conducting special courses and special seminars.

No description available.

I begin this thesis with a discussion of Neil Gaiman’s career and my interaction with his first novel, Neverwhere. I define time in the novel as the succession and interrelatedness of events and divide this definition into two perceptions: immediacy and graduality. I apply the former to the novel’s separate worlds, which are called London Above and London Below. London Above, in the perception of Richard Mayhew, the main character, favors immediacy and rejects graduality. Though his perception is incomplete, the nature of London Above makes him unsuitable for life there. London Below, on the other hand, exhibits both perceptions. Graduality’s influence on the two worlds shows a departure from Western conceptions of time that makes London Above and London Below a symbiotic that cannot be unified. This symbiosis can be allegorized as the hermeneutical gap. After examining similar concepts in Gaiman’s Stardust and American Gods, I conclude that Gaiman’s writing states that the permanently separated hermeneutical gap allows humanity to reflect upon itself.

In an interview with Hy Bender, Neil Gaiman states, "We have the right, and the obligation, to tell old stories in our own ways, because they are our stories." While fantasy stands apart from other types of fiction, it still provides a particular kind of commentary on the culture/time it is being created in, often by toying with older themes and conventions. Stories of the quest for kingship tend to fall by the wayside in favor of the "unlikely hero" tale. While the king's story is not always vastly different from that of the hero, there are some key points that need to be taken into consideration. Unlike many heroes, especially in the modern sense, kings (whether recognized at first or not) are born for the duty they must eventually fulfill. A hero may be unaware of the problem at first or later reluctant to engage it; more often than not in tales of kingship there is a deep awareness of the problem and the knowledge of their potential in solving it. There is always a sense of inherent purpose and destiny: they must undertake quests in order to legitimize themselves and their power — their right to rule. These stories bear a similar structure and shared themes that can be found in medieval sources as well as earlier myths. Tales of kingship in modern fiction, specifically in the work of Neil Gaiman (The Sandman) and George R. R. Martin (A Game of Thrones), are similar to the medieval models, as kingship and the requirements of kingship were popular themes in medieval texts, including Beowulf and King Horn. The role of the king in epic tales varies from hero to villain, at times even occupying both roles depending on the story. In the tales explored herein and in much of the medieval source material that inspired the fantasy tradition, the king also takes on the role of healer. The interwoven plots of George R. R. Martin's A Song of Fire and Ice series revolve around the struggle for the rightful rule over seven kingdoms, and while the protagonist in The Sandman is in many ways vastly different from Tolkien's Aragorn, the character still exists with a sense of purpose, responsibility, and duty; a regal bearing that does not necessarily occur in the majority of typical heroes. The influence of Tolkien's work both as a scholar and an author is apparent in Gaiman's use of mythology and Martin's style of world creation; both authors have admitted their creative debt to and continuing admiration of Tolkien's style of fantasy. It is impossible to discuss modern fantasy without acknowledging Tolkien as an influence to these two more recent authors. This paper will discuss The Lord of the Rings as a bridge between modern fantasy and medieval/mythological sources. In each of these modern fantasy tales of kingship, healing and reunion become major themes, tied into the right/duty of a ruler. The patterns established by medieval tales are used by modern authors to create fantasy kings, giving their narratives legitimacy that may have been difficult to establish without these patterns and links back to the medieval tradition. / Master of Arts

At just under thirty years the serious academic study of American comic books is relatively young. Over the course of three decades most historians familiar with the medium have recognized that American comics, since becoming a mass-cultural product in 1939, have matured beyond their humble beginnings as a monthly publication for children. However, historians are not yet in agreement as to when the medium became mature. This thesis proposes that the medium’s maturity was cemented between 1985 and 2000, a much later point in time than existing texts postulate. The project involves the analysis of how an American mass medium, in this case the comic book, matured in the last two decades of the twentieth century. The goal is to show the interconnected relationships and factors that facilitated the maturation of the American sequential art, specifically a focus on a group of British writers working at DC Comics and Vertigo, an alternative imprint under the financial control of DC. The project consulted the major works of British comic scriptwriters, Alan Moore, Jamie Delano, Grant Morrison, Peter Milligan, Neil Gaiman, Warren Ellis, and Garth Ennis. These works include Watchmen, V for Vendetta, Shade: the Changing Man, Batman: Arkham Asylum, Animal Man, Sandman, Transmetropolitan, Preacher and several other important works. Following a chronological organization, the work tracks major changes taking place in the American comic book industry in the commercial, corporate, and creative sectors to show the processes through which the medium matured in this time period. This is accomplished by combining textual analysis of the comics with industry specific records and a focus on major cultural shifts in US society and culture

No description available.

Thesis (Ph.D.)--University of Alberta, 2010. / Title from pdf main screen (viewed on April 8, 2010). A thesis submitted to the Faculty of Graduate Studies and Research in partial fulfilment of the requirements for the degree of Doctor of Philosophy in English, Department of English and Film Studies, University of Alberta. Includes bibliographical references.

Made available in DSpace on 2016-05-17T16:51:28Z (GMT). No. of bitstreams: 0 Previous issue date: 2015-08-28. Added 1 bitstream(s) on 2016-05-17T16:55:05Z : No. of bitstreams: 1 000864001.pdf: 2233983 bytes, checksum: 74437cf2aac5fed38f87fd02fcb64d8b (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Este trabalho tem o objetivo de analisar o modo como a figura do herói é construída em um romance contemporâneo e, a partir dos dados obtidos nesse estudo, entender a maneira como esse herói é traduzido para o suporte fílmico. Como base para meu trabalho, utilizo o romance Stardust (1999), do escritor inglês Neil Gaiman, e sua adaptação cinematográfica Stardust (2007), lançada no mesmo ano no Brasil sob o título de Stardust: o mistério da estrela. Como aporte teórico utilizo, principalmente, os textos de Campbell (2007), Propp (1978) e Simonsen (1987) no que concerne ao herói, sua jornada e como ele a enfrenta. Utilizarei também, especialmente, as teorias de Hutcheon (2006), Sanders (2006), Stam (2000) e Leitch (2007, 2008) no que refere-se ao estudo da adaptação de obras literárias; e os textos de Martin (2003), Xavier (2005) e Vanoye e Goliot-Lété (1994), sobretudo, ao comentar sobre o cinema, suas características e o modo como produz suas obras. Proponho aqui uma visão da adaptação enquanto obra artisticamente autônoma, bem como do herói como uma figura que, apesar de beber dos grandes clássicos, apresenta-se com novas características / This study aims at analysing the way the figure of the hero is built in a contemporary novel and, from the data obtained, understanding the way the hero is translated to the filmic media. The corpus of the research was constituted by the novel Stardust (1999), by the English writer Neil Gaiman, and its film adaptation Stardust (2007), released in Brazil, in the same year, under the title Stardust: o mistério da estrela. As theoretical contribution I use, mainly, the texts by Campbell (2007), Propp (1978) and Simonsen (1987) regarding the hero, his journey and how he faces it. I will also use, specially, the theories of Hutcheon (2006), Sanders (2006), Stam (2000) and Leitch (2007, 2008) for the study of the adaptation of literary works; and the texts of Martin (2003), Xavier (2005) and Vanoye and Goliot-Lété (1994) to comment on film, its characteristics and the way it produces its works. I propose here a vision of the adaptation as an artistically independent work, and the hero as a figure that, despite the recurrent dialogue with the great classics, shows himself with new characteristics