This thesis acknowledges that the philosophical basis of the novels and short stories of Vidia Naipaul bears a significant resemblance to the tenets of Absurdity set out in Albert Camus' The Myth of Sisyphus and witnessed in various other Absurdist writings. At the same time it attempts to demonstrate that Naipaul's Absurdist vision reflects a Zeitgeist fundamental to the West Indies. It in no way suggests, however, that Naipaul consciously imitated the thoughts of Camus or others, or that he deliberately set out to circumscribe West Indian feelings. Chapter One attempts to demonstrate that Naipaul's most crucial perceptions of life have been those of disorientation and futility. It then shows where awareness of an inharmonious existence has been especially prevalent in the twentieth century, and it goes on to examine in some detail the discovery of the Absurd Conjunction between the world and individual consciousness articulated by Camus in The Myth of Sisyphus. In addition it describes the alternatives which Camus and other Absurdist writers advance to counter-act the anguish of Absurd Discovery. The second chapter begins by revealing the relationship between the absurd as "ridiculous" and the Absurd as "anguish", demonstrating that while Naipaul's perception of the irreducibility of the world is more central to his later works, it begins already in his earlier ones. It then goes on to discuss various aspects of Absurd Discovery which appear in Naipaul’s fiction: discovery of the isolation of man; discovery of the hostility of the world to the desires of man; and discovery of the disparity between the possible and the actual. Chapter Three shows how Naipaul's characters respond to the challenge of meaninglessness with both negation and affirmation. Although his characters frequently submit to despondency, this is in most cases only an initial reaction. In a vein similar to that of Camus, Naipaul implies that the Absurd would best be confronted by rebellion, creativity, personal involvement or, barring all else, ironic assessment. The final chapter demonstrates that the world of Vidia Naipaul - the disorder to which he attests and the alternatives he offers - while exhibiting sentiments essential to the European Absurdists, also mirrors experiences general to the West Indies.. Rather than dissecting with dispassionate superiority a background from which he has had occasion to feel alienated, Naipaul has sensitively illuminated a geographical region which, both historically and sociologically, has come to encompass its own especial Sisyphean sphere. / Arts, Faculty of / English, Department of / Graduate

The novels of Iris Murdoch, Doris Lessing and V.S. Naipaul are studied in the light of statements they have made in essays and interviews regarding the ethical implications of writing fiction. The purpose of this research is to examine the nature of the problems they have identified in the creative process of writing and the strategies each has used to address the ethical problems they perceive, and to assess the relative success of their chosen methods. It can be seen that, although for each of them the quest for truth is their highest concern, they have each developed very different ways of dealing with the problems they believe are connected with writing truthfully, and in addition, they have defined the particulars of these problems in different ways. It is concluded that the more carefully examined and individually defined these problems are, the greater the internal consistency and credibility which is achieved by the strategies they have developed to address the problems, and the more their work has developed in the course of their careers.

No description available.

Thesis (Ph.D.) -- Flinders University of South Australia, 2001. / Typescript. Includes bibliographical references (p. 307-379). Also available online.

Thesis (Ph. D.)--University of Washington, 2005. / Vita. Includes bibliographical references (leaves 257-265).

No description available.

Trinidad, V.S. Naipaul’s native island, is consistently represented in the 2001 Nobel Prize winner’s fictional works, above all in "The Mystic Masseur" (1957), "The Suffrage of Elvira" (1958), "Miguel Street" (1959), "A House for Mr Biswas" (1961), "A Flag on the Island" (1967), "The Mimic Men" (1967), "In a Free State" (1971), "Guerrillas" (1975), "The Enigma of Arrival" (1987) and "A Way in the World" (1994). The present dissertation analyses representations of Trinidad as “play-culture” in the aforementioned writings by initiating a methodological dialogue between postcolonial/cultural studies on the one hand and performance studies, play theory, as well as cultural anthropology on the other hand. The study is divided into three parts corresponding to the three main facets of Trinidad as it appears in Naipaul’s fiction: firstly, as a childish world; secondly, as a festive place and thirdly, as a playground for the western imagination. The image of Trinidad as a childish space stands at the intersection of the autobiographical genre with the colonial/Social Darwinist discourse of the so-called “child races”. In both cases we have to do with a cultural construct of childhood whose main stereotypical features are smallness, imitation, irrationality and of course, playfulness. The second part of the dissertation focuses on the importance of rituals and festivals in shaping up Indian and African identities in Trinidad. Roughly, Hindu rituals are capital means to create diasporic Indias, whereas Carnival is a powerful symbol of the Afro-Trinidadian community. Nevertheless, they carry the potential of becoming genuine liminal spaces, where ethnic boundaries are transgressed. The third section is devoted to a discourse of play as imagination. In this respect, Trinidad appears as an adventure playground where the Westerner projects his/her desires, sometimes under the mask of scientific respectability. The eye of the European sees the tropical island as an exotic Garden of Eden, as an aesthetic space with strong pictorial and theatrical qualities. But if Trinidad occurs as an artistic, a fictional object, then Naipaul’s novels and stories describing it are fiction about fiction, and so have a very important metafictional component. At this stage, since metafiction is also a capital element of postmodernism, I trace back Naipaul’s ludic metaphors to the present-day Zeitgeist, pointing out the postmodern elements in his texts dealing with Trinidad. / Die vorliegende Dissertation, eine Studie zu V.S. Naipauls Darstellung von Trinidad als Spielkultur, untersucht das Bild, das der berühmte, aber auch umstrittene Literatur-Nobelpreisträger von seinem Heimatland durch fiktionale Mittel kreiert. Der Hauptakzent liegt auf Naipauls Romanen und Kurzgeschichtensammlungen "The Mystic Masseur" (1957), "The Suffrage of Elvira" (1958), "Miguel Street" (1959), "A House for Mr Biswas" (1961), "A Flag on the Island" (1967), "The Mimic Men" (1967), "In a Free State" (1971), "Guerrillas" (1975), "The Enigma of Arrival" (1987) und "A Way in the World" (1994); jedoch auch folgende nicht fiktionale Schriften, die Trinidad erwähnen, werden in Betracht bezogen: "The Middle Passage" (1962), "The Loss of El Dorado" (1969), "Between Father and Son: Family Letters" (1999), "The Overcrowded Barracoon and Other Articles" (1972), "The Return of Eva Peron with The Killings in Trinidad" (1980), "Finding the Centre" (1984), "Reading & Writing" (2000) und "The Writer and the World" (2002). Der diskursive Ansatz ist der gemeinsame Nenner einer interdisziplinären Methode, die sowohl kulturwissenschaftliche und postkoloniale Fragestellungen, als auch anthropologische und ludistische Konzepte in sich vereint. Mithilfe dieses Ansatzes wird bewiesen, dass das Trinidadbild in Naipauls Schriften nicht eine objektive Widerspiegelung der “Wirklichkeit”, sondern ein soziokulturelles Konstrukt ist, das aus “kulturellen Repräsentationen” (“cultural representations”) besteht.

Esta dissertação mapeia a rede de relações intertextuais em Half a Life (2001) e sua continuação Magic Seeds (2004), os romances mais recentes do Prêmio Nobel de Literatura de 2001, V. S. Naipaul, como contribuição para o estudo da obra do autor. A noção de intertextualidade permeia os estudos literários, e o termo tem sido largamente empregado desde que foi cunhado por Julia Kristeva nos anos sessenta. Desde então as mais variadas, e muitas vezes divergentes, teorias sobre intertextualidade compartilham a idéia de que um texto só adquire significado pleno na interação com outros textos. A abordagem metodológica proposta é baseada na teoria da transtextualidade de Gérard Genette. Esta escolha implica o estudo de intertextos, paratextos, metatextos, arquitextos e hipertextos que constituem a interface entre os dois romances e outros escritos. O nome do protagonista "William Somerset Chandran" constitui o fio que guia o estudo das várias relações transtextuais nos dois romances. A partir do prenome do protagonista – William – este estudo situa os romances no contexto da tradição do Bildungsroman, e argumenta que estes estabelecem uma paródia arquitextual do gênero na medida em que subvertem seu cerne, ou seja, a formação do caráter do protagonista. O nome do meio do protagonista – Somerset – remete à ficcionalização do escritor Somerset Maugham na narrativa, ao mesmo tempo em que esta desmistifica a ótica ocidental sobre o hinduísmo popularizada por Maugham em The Razor's Edge. O sobrenome do protagonista – Chandran – leva ao estudo do conjunto de referências à origem indiana de Naipaul e o papel desta na produção do autor. Este nome se reporta ao romance de Narayan The Bachelor of Arts, cujo protagonista também é nomeado Chandran. Narayan é um escritor de destaque na literatura anglo-indiana e referência recorrente na obra de Naipaul. Os temas de migração e choque cultural apresentados nos dois romances têm sido presença constante na obra de Naipaul. Esta pesquisa mapeia a relação de continuidade entre os dois romances em questão e o conjunto da obra de Naipaul, salientando o papel da ambientação geográfica da narrativa, marcada pela jornada do protagonista através de três continentes. A teoria da transtextualidade é uma ferramenta operacional para a pesquisa, a qual examina a densidade das referências geográficas, históricas e literárias em Half a Life e Magic Seeds, visando aportar elementos para o estudo da produção literária de Naipaul, na medida em que estes romances recentes condensam e revisitam a visão de mundo deste autor. / This thesis traces the network of intertextual relations in the two latest novels by the 2001 Nobel Prize winner V. S. Naipaul: Half a Life (2001) and its sequel Magic Seeds (2004) as a means of contribution to the study of the author's work. The notion of intertextuality is a pervasive one within literary studies, the word itself started to be widely used in the sixties, following the definition of Julia Kristeva. Nuanced and even conflicting as the varied theories of intertextuality may be, they all share the idea that a text is not isolated or self-sufficient, but acquires full meaning in the interplay with other texts. A methodological approach based on Gerard Genette's theory of transtextuality is proposed for the analysis. This choice implies the study of intertexts, paratexts, metatexts, architexts and hypertexts that constitute the interface between the two novels at hand and other texts. The protagonist's name "William Somerset Chandran" sets the thread of several transtextual instances pervading the two novels. Taking the cue of the protagonist's first name – William – this thesis places the novels within the context of the Bildungsroman tradition and argues that these novels establish an architextual parody of this genre, subverting its core meaning of character formation. The protagonist's middle name – Somerset – leads to the discussion of the way the writer Somerset Maugham is fictionalized in the narrative and how it undermines the metropolitan ethos towards Hinduism as exposed in Maugham's novel The Razor's Edge. The protagonist's last name – Chandran – spawns a set of references to Naipaul's Indian ancestry and the role it plays in his fictional and non-fictional production; this name alludes to Narayan's novel The Bachelor of Arts, whose main character is also called Chandran. Narayan is a leading figure in Anglo-Indian Literature and a recurrent reference in Naipaul's writings. The themes of displacement and culture clash tackled by these novels have haunted the author throughout his career. The research maps out the two novels' relationship with the realm of Naipaul's previous writings; as well as brings to the fore the role of setting in the narratives, marked by the protagonist's dislocations in three continents. The theory of transtextuality provides the operational tool for the research, which examines the density of geographical, historical and literary references in Half a Life and Magic Seeds with the purpose of shedding light into Naipaul's literary production, inasmuch as these two recent novels condense and revisit the author's worldview.

Esta dissertação mapeia a rede de relações intertextuais em Half a Life (2001) e sua continuação Magic Seeds (2004), os romances mais recentes do Prêmio Nobel de Literatura de 2001, V. S. Naipaul, como contribuição para o estudo da obra do autor. A noção de intertextualidade permeia os estudos literários, e o termo tem sido largamente empregado desde que foi cunhado por Julia Kristeva nos anos sessenta. Desde então as mais variadas, e muitas vezes divergentes, teorias sobre intertextualidade compartilham a idéia de que um texto só adquire significado pleno na interação com outros textos. A abordagem metodológica proposta é baseada na teoria da transtextualidade de Gérard Genette. Esta escolha implica o estudo de intertextos, paratextos, metatextos, arquitextos e hipertextos que constituem a interface entre os dois romances e outros escritos. O nome do protagonista "William Somerset Chandran" constitui o fio que guia o estudo das várias relações transtextuais nos dois romances. A partir do prenome do protagonista – William – este estudo situa os romances no contexto da tradição do Bildungsroman, e argumenta que estes estabelecem uma paródia arquitextual do gênero na medida em que subvertem seu cerne, ou seja, a formação do caráter do protagonista. O nome do meio do protagonista – Somerset – remete à ficcionalização do escritor Somerset Maugham na narrativa, ao mesmo tempo em que esta desmistifica a ótica ocidental sobre o hinduísmo popularizada por Maugham em The Razor's Edge. O sobrenome do protagonista – Chandran – leva ao estudo do conjunto de referências à origem indiana de Naipaul e o papel desta na produção do autor. Este nome se reporta ao romance de Narayan The Bachelor of Arts, cujo protagonista também é nomeado Chandran. Narayan é um escritor de destaque na literatura anglo-indiana e referência recorrente na obra de Naipaul. Os temas de migração e choque cultural apresentados nos dois romances têm sido presença constante na obra de Naipaul. Esta pesquisa mapeia a relação de continuidade entre os dois romances em questão e o conjunto da obra de Naipaul, salientando o papel da ambientação geográfica da narrativa, marcada pela jornada do protagonista através de três continentes. A teoria da transtextualidade é uma ferramenta operacional para a pesquisa, a qual examina a densidade das referências geográficas, históricas e literárias em Half a Life e Magic Seeds, visando aportar elementos para o estudo da produção literária de Naipaul, na medida em que estes romances recentes condensam e revisitam a visão de mundo deste autor. / This thesis traces the network of intertextual relations in the two latest novels by the 2001 Nobel Prize winner V. S. Naipaul: Half a Life (2001) and its sequel Magic Seeds (2004) as a means of contribution to the study of the author's work. The notion of intertextuality is a pervasive one within literary studies, the word itself started to be widely used in the sixties, following the definition of Julia Kristeva. Nuanced and even conflicting as the varied theories of intertextuality may be, they all share the idea that a text is not isolated or self-sufficient, but acquires full meaning in the interplay with other texts. A methodological approach based on Gerard Genette's theory of transtextuality is proposed for the analysis. This choice implies the study of intertexts, paratexts, metatexts, architexts and hypertexts that constitute the interface between the two novels at hand and other texts. The protagonist's name "William Somerset Chandran" sets the thread of several transtextual instances pervading the two novels. Taking the cue of the protagonist's first name – William – this thesis places the novels within the context of the Bildungsroman tradition and argues that these novels establish an architextual parody of this genre, subverting its core meaning of character formation. The protagonist's middle name – Somerset – leads to the discussion of the way the writer Somerset Maugham is fictionalized in the narrative and how it undermines the metropolitan ethos towards Hinduism as exposed in Maugham's novel The Razor's Edge. The protagonist's last name – Chandran – spawns a set of references to Naipaul's Indian ancestry and the role it plays in his fictional and non-fictional production; this name alludes to Narayan's novel The Bachelor of Arts, whose main character is also called Chandran. Narayan is a leading figure in Anglo-Indian Literature and a recurrent reference in Naipaul's writings. The themes of displacement and culture clash tackled by these novels have haunted the author throughout his career. The research maps out the two novels' relationship with the realm of Naipaul's previous writings; as well as brings to the fore the role of setting in the narratives, marked by the protagonist's dislocations in three continents. The theory of transtextuality provides the operational tool for the research, which examines the density of geographical, historical and literary references in Half a Life and Magic Seeds with the purpose of shedding light into Naipaul's literary production, inasmuch as these two recent novels condense and revisit the author's worldview.

Esta dissertação mapeia a rede de relações intertextuais em Half a Life (2001) e sua continuação Magic Seeds (2004), os romances mais recentes do Prêmio Nobel de Literatura de 2001, V. S. Naipaul, como contribuição para o estudo da obra do autor. A noção de intertextualidade permeia os estudos literários, e o termo tem sido largamente empregado desde que foi cunhado por Julia Kristeva nos anos sessenta. Desde então as mais variadas, e muitas vezes divergentes, teorias sobre intertextualidade compartilham a idéia de que um texto só adquire significado pleno na interação com outros textos. A abordagem metodológica proposta é baseada na teoria da transtextualidade de Gérard Genette. Esta escolha implica o estudo de intertextos, paratextos, metatextos, arquitextos e hipertextos que constituem a interface entre os dois romances e outros escritos. O nome do protagonista "William Somerset Chandran" constitui o fio que guia o estudo das várias relações transtextuais nos dois romances. A partir do prenome do protagonista – William – este estudo situa os romances no contexto da tradição do Bildungsroman, e argumenta que estes estabelecem uma paródia arquitextual do gênero na medida em que subvertem seu cerne, ou seja, a formação do caráter do protagonista. O nome do meio do protagonista – Somerset – remete à ficcionalização do escritor Somerset Maugham na narrativa, ao mesmo tempo em que esta desmistifica a ótica ocidental sobre o hinduísmo popularizada por Maugham em The Razor's Edge. O sobrenome do protagonista – Chandran – leva ao estudo do conjunto de referências à origem indiana de Naipaul e o papel desta na produção do autor. Este nome se reporta ao romance de Narayan The Bachelor of Arts, cujo protagonista também é nomeado Chandran. Narayan é um escritor de destaque na literatura anglo-indiana e referência recorrente na obra de Naipaul. Os temas de migração e choque cultural apresentados nos dois romances têm sido presença constante na obra de Naipaul. Esta pesquisa mapeia a relação de continuidade entre os dois romances em questão e o conjunto da obra de Naipaul, salientando o papel da ambientação geográfica da narrativa, marcada pela jornada do protagonista através de três continentes. A teoria da transtextualidade é uma ferramenta operacional para a pesquisa, a qual examina a densidade das referências geográficas, históricas e literárias em Half a Life e Magic Seeds, visando aportar elementos para o estudo da produção literária de Naipaul, na medida em que estes romances recentes condensam e revisitam a visão de mundo deste autor. / This thesis traces the network of intertextual relations in the two latest novels by the 2001 Nobel Prize winner V. S. Naipaul: Half a Life (2001) and its sequel Magic Seeds (2004) as a means of contribution to the study of the author's work. The notion of intertextuality is a pervasive one within literary studies, the word itself started to be widely used in the sixties, following the definition of Julia Kristeva. Nuanced and even conflicting as the varied theories of intertextuality may be, they all share the idea that a text is not isolated or self-sufficient, but acquires full meaning in the interplay with other texts. A methodological approach based on Gerard Genette's theory of transtextuality is proposed for the analysis. This choice implies the study of intertexts, paratexts, metatexts, architexts and hypertexts that constitute the interface between the two novels at hand and other texts. The protagonist's name "William Somerset Chandran" sets the thread of several transtextual instances pervading the two novels. Taking the cue of the protagonist's first name – William – this thesis places the novels within the context of the Bildungsroman tradition and argues that these novels establish an architextual parody of this genre, subverting its core meaning of character formation. The protagonist's middle name – Somerset – leads to the discussion of the way the writer Somerset Maugham is fictionalized in the narrative and how it undermines the metropolitan ethos towards Hinduism as exposed in Maugham's novel The Razor's Edge. The protagonist's last name – Chandran – spawns a set of references to Naipaul's Indian ancestry and the role it plays in his fictional and non-fictional production; this name alludes to Narayan's novel The Bachelor of Arts, whose main character is also called Chandran. Narayan is a leading figure in Anglo-Indian Literature and a recurrent reference in Naipaul's writings. The themes of displacement and culture clash tackled by these novels have haunted the author throughout his career. The research maps out the two novels' relationship with the realm of Naipaul's previous writings; as well as brings to the fore the role of setting in the narratives, marked by the protagonist's dislocations in three continents. The theory of transtextuality provides the operational tool for the research, which examines the density of geographical, historical and literary references in Half a Life and Magic Seeds with the purpose of shedding light into Naipaul's literary production, inasmuch as these two recent novels condense and revisit the author's worldview.