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In Fear and Loathing in Las Vegas by Hunter S. Thompson, the city of Las Vegasrepresents a country that is torn between the flippant capitalism and the dream ofprogress on the one hand, and the need to come closer to your own humanity on theother. Critics have had much interest in the novel and Thompson’s personal relation toit, although they have not treated the dynamic of zoomorphism that informs therelationship between man and animal of the whole novel and how the animal representdifferent values depending on circumstance. This essay provides a new approach to theideas of animalism and to Thompson’s relation to it, and the analysis examines thenovel’s representation of the relation between society, man and animal and how it canbe connected to contemporary 1972 political and personal relations. This essay’s aim isto investigate how the novel through a Bakhtinian carnival reading, together withaforementioned concept of zoomorphism, handles the issue of the underlyinganimalistic tendencies of humans and how those tendencies can represent differentthings depending on context.First, I begin with a description of the concepts and theories of significance that shall beof use in the analysis, mainly that of the Bakhtinian concept of the carnival and to alesser extent Wendy Doniger’s take on zoomorphism, which will then be connectedwith instances in the novel that handles the issue of man and animal coexistence.

An examination of Hunter S. Thompson's writing with the goal of defining gonzo journalism as a distinct entity from New Journalism. This is achieved via a rhetorical analysis of Thompson's writing, highlighting influences from literary figures such as Cervantes, Chaucer, Dos Passos, and Swift. / Master of Arts

The aim of this student thesis is to achieve a translation of an excerpt of a previously untranslated book from English to Swedish. The translated material has been collected from the autobiographical book Kingdom of Fear by the author Hunter S. Thompson and consists partly of paratexts. The translation has been performed in accordance with a principle that was formed within the theoretical frames of Gideon Toury’s Descriptive Translation Studies. Accordingly, the discussion about the translation is based on the terms adequacy and acceptancy. The paper includes analyses of relevant aspects of the translated material, for example genre, paratext, and persona related problems. To illustrate the translation process, comments on the translation are also enclosed, which deal with solutions regarding grammatical and syntactical changes, imagery and cultural-specific expressions. / Syftet med detta examensarbete är att åstadkomma en översättning av ett utdrag från ett tidigare oöversatt verk från engelska till svenska. Det översatta materialet är hämtat från det autobiografiska verket Kingdom of Fear av författaren Hunter S. Thompson och består bland annat av paratexter. Översättningen har utförts efter en princip som formulerats inom de teoretiska ramarna för Gideon Tourys Descriptive Translation Studies. Därmed utgår diskussionen kring översättningen från termerna adekvans och acceptans. Arbetet innefattar analyser på relevanta aspekter av det översatta materialet, exempelvis genre, paratext och personaproblematik. För att åskådliggöra översättningsprocessen medföljer även översättningskommentarer som behandlar lösningar angående grammatiska och syntaktiska ändringar, bildspråk och kulturspecifika uttryck.

The type of commentary a narrative is able to make is fully dependant on the type of narrator who is relating it. The visual elements present in a film are the true narrational forces which guide it. The presence of the camera, the use of lighting, the architecture, and the objects present in the film each have their own meaning. These elements come together to make a greater commentary than the dialogue. How these meanings interact with each other is what defines what type of narrator is present in the film. By analyzing what type of narrator is relating the story it is possible to examine what commentary the film is able to make. Mike Nichols? 1967 film The Graduate and Terry Gilliam?s 1998 film adaptation of Hunter S. Thompson?s 1971 literary work Fear and Loathing in Las Vegas make commentaries that act as bookends for the ideals of the youth culture during the late 1960?s. Where as The Graduate is condemning the shining emptiness of 1967 suburban California society which its narrator inhabits, Fear and Loathing?s narrator is depicting the twisted abomination which grew within the emptiness of that society during those four years. The fact that Gilliam?s adaptation came 27 years after the source material was created allows for an even more specific translation of Thompson?s message. The Graduate is looking towards the unknown future where as Fear and Loathing is look backwards at the results. The Graduate is commenting on the current situation and looking forwards where as Fear and Loathing is looking backwards to see what has happened in the interim. It is this difference that forces the type of narration and the visual style employed by the films to be diametrically opposed.

Summary This essay examines how Joseph Conrad's novella Heart of Darkness and Hunter S. Thompson's novel The Rum Diary portray´s the effects of colonialism and neocolonialism in Africa and Puerto Rico. Using postcolonial theory, the essay shows how Conrad's and Thompson´s complex images of the Europeans and Africans, Westerners and Puertoricans stand in contrast to orientalistic and racist images of the colonial natives. The thesis discusses responsibility and guiltissues in the colonial states and analyses how Conrad and Thompson raise questions about these topics when they chose to portray the suffering among the colonial natives. Furthermore, the essay discusses how Conrad's and Thompson's many images of violence can be seen as images of a brutal reality carried out in countries marked by colonialism. Based on intertextual literary theory, and in the light of the literary journalistic genre ""new journalism"", in which Thompson was active, the essay markes out The Rum Diary's intertextual references to Conrad's Heart of Darkness. The essay argue that The Rum Diary's intertextual references to Heart of Darkness indicate to the reader that the novel belongs to a certain genre, and by this; link the novel to a literary system, codes and traditions already constructed by Conrad. The Rum Diay, that portrays the neocolonial era in the 1950's in the former U.S's colony Puerto Rico, is therefore to be understood in the light of Conrad's Heart of Darkness, even though it portrays an earlier era of colonialism. / Sammanfattning Sammanfattningsvis behandlar uppsatsen skildringar av kolonialismens och neokolonialismens verkningar i Joseph Conrads novell Heart of Darkness och i Hunter S. Thompsons roman The Rum Diary. Med utgångspunkt i den postkoloniala litteraturteorin och mot bakgrund av den historiska bilden av den koloniala världen granskar uppsatsen bland annat hur Conrad och Thompson valde att skildra kolonialistiska och neokolonialistiska maktstrukturer och samhälleliga missförhållanden. Uppsatsen granskar även kolonialismens orientalistiska och rasistiska bild av utomeuropén kontrasterat de respektive verkens komplexa skildringar av européer och afrikaner, västerlänningar och puertoricaner. Uppsatsen berör även frågan om västvärldens ansvar och skuld inför koloniernas och de forna koloniernas inhemska problematik samt belyser Conrad och Thompson framställningar av lokalbefolkningens lidanden. Vidare granskar uppsatsen våldets betydelse för kolonialismens etablering och hur de respektive verkens våldsskildringar kan ses berätta om en våldspräglad realitet i de länder som är märkta av kolonialismens verkningar. Uppsatsen belyser också The Rum Diarys litterära beröringspunkter och direkta referenser till Conrads Heart of Darkness med utgångspunkt i den intertextuella litteraturteorin och mot bakgrund av den litterära journalistiska genren ”"new journalism"” inom vilken Thompson var verksam i. Uppsatsen argumenterar för att Thompsons avsikt med de intertextuella referenserna var att indikera för läsaren om verkets genre, textens mening och sammanlänka det egna verket med det system, de koder och den tradition som Conrad sedan tidigare utstakat. Uppsatsen avslutats med ett intertextuellt perspektiv som med flera exempel visar hur The Rum Diary refererar till Conrads litterära produktion.

The thesis aims to explore the artistic personality of Hunter S. Thompson, one of the most distinctive cultural figures of post-war America, and his genesis as an author, journalist, and a counterculture idol of the 1960s. The era is now widely regarded as a turning point in contemporary American history as its deep-rooted values and norms were, over the course of a decade, gradually transformed by the young generation of social and political activists toward allegedly a more tolerant and liberal kind of community. Crucial in such an endeavor was the role of the countercultural movement that produced some of the most capable intellectual minds of the time, including Thompson. The paper thus analyzes the role and nature of the alternative culture in America as perceived by one of its most observant participants. Also, the thesis focuses on the author's role in establishing a new genre called New Journalism which can be linked with the era's countercultural efforts as well. In general, Thompson, in his texts, examines various phenomena surrounding the counterculture and provides us with a distinctive portrayal of the era's zeitgeist. However, unlike some of his contemporaries, he also remembers to examine numerous flaws and fallacies existing within contemporary American society, the American Dream...

<p>En sudie i gonzojournalistiken, dess innebörd och vad den förmedlar. Studien beskriver och kopplar gonzojournalistiken till romantikens teori och kunskapssyn och är uppdelad i två huvuddelar vilka beskriver perspektivismen samt den romantika ironi som rymms inom gonzojournalistikens teknik.</p>

En sudie i gonzojournalistiken, dess innebörd och vad den förmedlar. Studien beskriver och kopplar gonzojournalistiken till romantikens teori och kunskapssyn och är uppdelad i två huvuddelar vilka beskriver perspektivismen samt den romantika ironi som rymms inom gonzojournalistikens teknik.

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