Thesis (Ph. D.)--University of Washington, 1996. / Vita. Includes bibliographical references (leaves [202]-207).

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Made available in DSpace on 2015-03-26T13:44:21Z (GMT). No. of bitstreams: 1 texto completo.pdf: 645287 bytes, checksum: 08e09df8d79cf20b4b597198af6c3f95 (MD5) Previous issue date: 2011-02-15 / Salman Rushdie, currently one of the great names of contemporary literature in English is recognized for his contribution on representations in which the concept of identity, local and global intertwine to language as an ideological construct. Literature is thus a proper space for the questioning gaze on the inherent authoritarianism of the former. However, rather than a speech explicitly whistleblower or propaganda, the author establishes a fictional game on the paths of History in his books, destabilizing so-called official truths. This way, he prints his autobiographical experience towards censorship. In this work, then we aim at analyzing the constitution of the subject who is undermined by Power in Haroun and the Sea of Stories (1991) from two points: in what it concerns to the fluidity of language and to the inherent voices of the speech. These, on their turn, are linked to the issue of the authorship and the place of formation of this subject, seen inside his contextual complexity which involves other issues, such as gender. / Salman Rushdie, atualmente um dos grandes nomes da literatura contemporânea em língua inglesa, é uma figura reconhecida pela sua contribuição às representações em que o conceito de identidade, local e global se entrelaçam aos da linguagem enquanto uma construção ideológica. A literatura revela-se, assim, um espaço propício ao olhar que questiona o uso autoritário que pode ser feito daquela. Contudo, ao invés de um discurso explicitamente denunciador ou panfletário, o autor estabelece um jogo ficcional em torno dos meandros da História em seus livros, desestabilizando pretensas verdades oficiais. Dessa forma, imprime sua experiência autobiográfica face à censura para incitar a desvalorização das ficções a serviço da opressão. Neste trabalho, analisaremos, portanto, a constituição do sujeito suscetível às mazelas do Poder em Haroun e o Mar de Histórias (1990) a partir de dois pontos: quanto à da fluidez da linguagem e das vozes inerentes do discurso. Estas, por sua vez, se ligam à questão da autoria e à reflexão do espaço de formação desse sujeito, visto dentro de sua complexidade contextual que envolve também outros parâmetros, tais como o gênero.

This paper attempts to analyze Salman Rushdie's The Satanic Verses, its structure, multiple dimensions and characters through the lens of postcolonialism, separately from the infamous controversy. The thesis consists of three chapters which primarily deal with the themes of dehumanization, migration, exile, cultural contamination and possession (both literal and imaginary) of the territory through bodies. In addition to Rushdie's novel which lies in the core of this thesis, this paper also introduces a number of other literary texts and one film, all belonging to the authors coming from different backgrounds though curiously repeating and overlapping some of the notions when it comes to the portrayal of the migrants. Whereas the introduction of the thesis could be regarded as general, giving a necessary background to the reading of The Satanic Verses and outlining the methodology, the conclusion concerns not so much the repetition of what the chapters investigate, but rather draws the final line, discusses and interprets what the characters as well as entire narrative had arrived to. Whereas "the migrant can do without the journey altogether; it's no more than a necessary evil; the point is to arrive",1 Rushdie's novel seems to continuously enable movement rather than fixity. 1Salman Rushdie, The...

Freie Univ., Diss.--Berlin, 2000. / Literaturverz. S. 283 - 297.

Submitted by isabela.moljf@hotmail.com (isabela.moljf@hotmail.com) on 2017-05-29T15:43:51Z No. of bitstreams: 1 guilhermeaugustodossantospovoa.pdf: 3716234 bytes, checksum: a6becfa2706586b0a06889e051c63560 (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2017-05-29T19:50:26Z (GMT) No. of bitstreams: 1 guilhermeaugustodossantospovoa.pdf: 3716234 bytes, checksum: a6becfa2706586b0a06889e051c63560 (MD5) / Made available in DSpace on 2017-05-29T19:50:26Z (GMT). No. of bitstreams: 1 guilhermeaugustodossantospovoa.pdf: 3716234 bytes, checksum: a6becfa2706586b0a06889e051c63560 (MD5) Previous issue date: 2015-03-30 / CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / A virada dos últimos anos trouxe novamente à superfície a perigosa, porém inevitável fragmentação dos territórios como conhecíamos. As guerras e invasões, bem como a crise econômica na Europa e nos Estados Unidos da América, acentuaram-nos a percepção de que, em um mundo onde a aceleração da realidade cria novas formas a cada dia, fronteiras nada mais são que imaginárias. Como consequência, isso não é só aplicado ao chão físico, mas também ao chão das ideias. Partindo desse cenário instável, nos focamos em dois objetos: um romance de Salman Rushdie, Luka e o Fogo da Vida (2010), e um jogo de videogame, Alice Madness: Returns (2011), de American McGee. O objetivo deste trabalho é, assim, analisar a constituição do sujeito traduzido sob dois pontos fundamentais: o da fluidez da linguagem e o das vozes do discurso. Como poderemos notar, esses pontos influenciarão tanto a formação dos autores e a criação de seus projetos artísticos quanto as discussões sobre a identidade cultural nas obras escolhidas. Essa formação, dotada de máscaras autorais, cria um efeito de irônica neutralização discursiva nessas produções. Sendo assim, elas se tornam essenciais para analisarmos a proposta pós-moderna da escrita de Rushdie e McGee: descentrada, plural e paradoxal. Dessa maneira, eles tornam-se os protagonistas dentro do palco que é a linguagem – produto de complexas relações imbuídas de poder. Através de uma mistura de histórias antigas e atuais, canonizadas ou não por instituições ou pelas sociedades, os autores migrantes fazem uma revisitação pós-moderna de diversos temas e histórias em textos que, enquanto híbridos, atravessam diversos códigos linguísticos, campos do saber e linguagens midiáticas. / The turn of the last years has once again brought about the dangerous though inevitable fragmentation of territories as we knew it. Wars and invasions, as well as the economic crisis in Europe and the United States of America, have emphasized our gaze upon the perception that in a world where the acceleration of reality creates new means every day borders are naught but imaginary. As a result, this is not only applied to the physical grounds, but also to the grounds of ideas. Paving our way from this unstable setting, we focus on two objects: a novel by Salman Rushdie, Luka and the Fire of Life (2010), and a video game, Alice Madness: Returns (2011), by American McGee. The aim of this thesis is thus to analyze the constitution of the translated subjects in two ultimate points: the fluidity of language and the voices of the discourse. As we may notice, these topics will influence both the formation of the authors and their artistic inventiveness as well as the discussion on the cultural identity in the chosen works. This formation, loaded with authorial masks, creates an effect of ironic discoursive neutralization in these productions. Therefore, they are essential for us to analyze the postmodern writing of Rushdie and McGee: de-centered, plural, and contradictory. Because of that, they become the protagonists on a stage, language – a product of complex relations embodied on power. Through a mixture of old and current stories – which may be canonized or not by institutions or companies – these migrant authors create a postmodern revival of various themes and stories in texts that are hybrid in their texture: crossing, thus, several language codes, fields of knowledge, and media languages.

Master of Arts / Department of English / Dean G. Hall / Salman Rushdie's 1999 novel The Ground Beneath Her Feet is ostensibly a rock 'n' roll novel, largely set in the 1960s, that traces the commercial rise of Indian rock star protagonists Vina Apsara and Ormus Cama. As their fame and wealth rise to global status and their stage show comes to entail a logistical complexity of military proportions, it becomes increasingly difficult to discern the couple's earlier countercultural ideals within their new established culture status. I argue that despite the change from countercultural to establishment-based values in the novel's protagonists, Rushdie does make a case in The Ground Beneath Her Feet for the possibility of countercultural efficacy against the commodifying culture of global capitalism (which I refer to as the "Frame"). His recipe for combating the exclusive hierarchies produced by the Frame is a combination of the non-totalizing politics of postmodernism and the subversive potential of uncommodified rock music. I pay close attention to establishing the historical templates--John Lennon of the Beatles and Brian Wilson of the Beach Boys--of the novel's protagonists in an effort to understand the sort of countercultural alternative Rushdie is proposing. I likewise focus on the novel's depiction of the Beach Boys' Smile album, which as a still commercially unreleased record, reinforces Rushdie's imperative in The Ground Beneath Her Feet for an uncommodifying counterculture and works in tandem with his portrayals of the artistic plights of several minor characters in the novel as well.

In my dissertation, "Narrative Representations (of Time) in the 20th Century Novel" I examine the way in which depictions of time intersect with narrative representation in the modern and postmodern novel. I specifically focus on the use of parentheses as a way to capture differing types of chronology in narrative. The parenthesis, in a purely visual sense, physically disrupts the act of reading by creating a type of barrier around one text, separating it from the main narrative. I argue that it is with this disruption that 20th century authors were able to experiment with depictions of time and the disruption of linear narrative. Borrowing Gerard Genette's phrase "temporal ellipses" I examine how authors in the 20th century used the "temporal parentheses" in order to convey different temporal experiences in narrative. For Virginia Woolf's To The Lighthouse, the parenthesis works as a way of presenting simultaneity of experiences when spatially separated. For William Faulkner's Absalom, Absalom, the parenthesis creates a kind of compressed time, so that the past becomes a heavy burden upon the present, as represented by the way a narrative experience can be extended within parentheses. In Salman Rushdie's Midnight's Children the parenthesis is used to bridge and create a dialogue between the present moment of the telling and the past moment of the story. In Toni Morrison's Sula, the parenthesis calls attention to physical placement, representing the way in which personal identity is linked to physical place and the rejection of permanence in the novel.

This literary analysis focuses on gendered constructions of masculinity in The Satanic Verses by Salman Rushdie. The main argument is that masculinity is a construction of gender much like femininity. Masculinity, however, has often been disregarded as an approach within gender studies of literature where the aspects of femininity have taken precedence. The theoretical approach in this analysis is the sociological perspective of gender, not determined solely by the biological sex. I will discuss sociological gender, and the constructions of masculinity, from the following five aspects: the male body, sex, fatherhood, violence and performance. I will address the physical mutations of the protagonists’ bodies, the sexual relationships between the characters as well as the reproductive organ and its contextual meaning. I will also focus on the ideas of, and relations to, fatherhood, violence the characters are subjected to, as well as the performance of acting your identity. All of these five aspects show constructions of masculinities clearly, and there is a need for addressing them more thoroughly in literary analyses.