Dissertations / Theses on the topic 'Anais Nin'

This thesis brings together the two genres for which Nin has become so (in)famous: her autobiography and her erotica in what I have termed 'auto/erotica'. By reading her autobiography and her erotica in and against each other I attempt to explore her development of a feminine aesthetic, or 'womb writing' as a strategy of resistance with which to challenge dominant discourses of 'woman' and the 'feminine', and her exclusion from cultural production. Drawing on the work of Jacques Derrida, Helene Cixous, Luce Irigaray and Julia Kristeva, this thesis explores the role of the border in the cultural production of bodies and sexual difference within Western discourses of sexuality, with particular reference to the discourses of psychoanalysis, modernism and pornography/erotica. My focus is on the trope of the borderline within Nin's texts, which, I argue is less a marker of radical difference than a site of instability offering the possibility of 'other' or 'between' spaces of resistance. This study engages with the politics of gender and genre by drawing on various feminist rewritings of autobiographical theory and Jacques Derrida's 'The Law of Genre' and the Ear of the Other in order to explore the tension between the 'auto' (the selfsame) and the 'graphy' in the formation of the 'bio' and gender identity. I explore how the threat of the other within the selfsame, the tracing of the differance of desire, affects the generic self-identity of 'autobiography' and 'erotica' as representations of (sexual) identity. Nin utilises the radical instability of the autobiographical genre to put into question the 'genre' of gender identity, the gendering of genre and the undecidable border between the 'body' and the 'text', the 'life' and the 'work'. Drawing on various psychoanalytical feminist film theories of the female spectator and the masquerade I explore how Nin performs the 'feminine' or 'woman' of (male) Surrealist and mainstream heterosexual pornography/erotica in order to emphasise the gaps, to hold at a distance, the female from the feminine. The concern of this thesis is the 'ob/scene' margins of 'erotica' and the trace of 'otherness' that threatens the single and self-identical body/text. The 'outworks' or prefaces of Nin's work not only disrupt fixed generic boundaries but also echo the desiring subject's fantasy of gender identity, wholeness and unity. By drawing attention to the role of vision in the constitution of gendered subjectivity and the (re)production of the phallus as the primary signifier of desire, I explore how Nin's erotica undermines a position of phallic certainty by drawing attention to the out-of-sight spaces, of 'ob/scene' pleasures that disturb and disrupt the illusion of 'masculine' phallic mastery. I argue that it is in the 'inter view', this dialogue or movement between (at least) two genres - autobiography and erotica - that other possible representations might be glimpsed.

Anaïs Nin's Diary and her fiction have been lauded by critics for their imagery, Freudian allusions, and creativity. What has not been considered, and is equally important, is her Erotica series, Delta of Venus and Little Birds. These books, her most popular, not only address the issues that she covers in her other works, but also ask questions about how humans are gendered, and consider the degree to which individuals construct their own gender identities. In exploring these questions, she presages not only the theorists who effectively deconstruct her message, but also the gender-bending society which inspired them. Queer theory is particularly effective for considering the sexual messages with which Nin populates her writings. Much as Judith Butler de-emphasizes totalizing gender roles, Nin allows her characters to occupy multiple gender roles. Thus, Nin's female protagonists often take on the sexual positions generally granted to men in American society. Conversely, her male characters are often relegated to less-empowered roles. Although these shifts might not seem particularly impressive in our more liberated society, they were undoubtedly surprising in Nin's day. Moreover, it is impressive that these role-reversing characters were created over forty years before the advent of queer theory, and long before the popular rise of the Feminist movement.
Master of Arts

My critical essay uses Foucault???s theory of discursive formation to chart the emergence of the figure of the single modern woman as she is created by the various discourses surrounding her. It argues that representations of the single modern woman continue a tradition of perceiving the female body as a source of social anxiety. The project explores ???chick-lit??? as a site within the discursive formation from which the single modern woman emerges as a paradoxical figure; the paradoxes fundamentally linked to her sexuality. This essay, then, essentially seeks to investigate representations of female sexuality within chick-lit, exposing for scrutiny the paradoxes inherent in and around the figure of the single modern woman. My fictional piece is a work of erotica. It is divided into four sections: The Reader, The Writer, The Muse and The Critic. Essentially it explores the relationships between female sexuality and literature; between female sexuality and feminist, post-feminist and patriarchal values and between literature and issues of truth, perspective and representation. The two works complement each other to illuminate the paradox of female sexuality: one from a theoretical perspective and the other from a fictional perspective. The critical work focuses on female sexuality and its relationship to, and development within, the current social context. Chick-lit, as a new and immensely popular genre of fiction which holistically explores the lives of single modern women was useful for examining the relationship between the sexual persona of the single modern woman and society. The fiction is concerned with a narrower focus: specifically the sexual life of the single modern woman. Through the creative process, it became apparent that working within the genre of ???erotica??? would be not only more useful than working within chick-lit, but more powerful in exploring the themes I was interested in. The creative work draws on numerous points of interest raised in the critical work from, for example, the grander notions of the relationship between object and discourse ??? in this case female sexuality and literature ??? and the female body as a source of social fascination and anxiety to finer observations such as what it means to have sex ???like a man.??? In essence, the creative work seeks to examine the many faces of the single modern woman as a sexual being and to illuminate, on an intimate level, the many conflicts between and surrounding those faces and to suggest that while paradox remains in female sexual ideology, the single modern woman will remain suspended in a kind of sexual paralysis.

Barnes's Vagaries Malicieux, and Nin's Delta of Venus, are examples the developing vision of female sex, and both authors use their literary techniques to accomplish their aesthetic vision of amorality. Nin's visions are based on her and her friends' extreme experiences. Her primary concern was expressing her erotic and amorally aesthetic gaze, and the results of her efforts are found in her aesthetic vision of Paris and the amoral lifestyle. Barnes uses metaphor and linguistics to fashion her aesthetic vision. Her technique in "Run, Girls, Run!" both subverts any sense of morality, and offers an interesting and challenging read for its audience. In "Vagaries Malicieux" Barnes's Paris is dark while bright, and creates a sense of nothingness, indicated only by Barnes's aesthetic appreciation.

Made available in DSpace on 2015-04-14T13:39:13Z (GMT). No. of bitstreams: 1 460149.pdf: 698283 bytes, checksum: 09b1b88964bea0ea869efaf7aa5cb9e7 (MD5) Previous issue date: 2014-02-28
The eroticism always has been present in written culture once it is an essential element of the human condition and appears even when it is absent. However, this universe is composed from elements that cause discomfort, not just pragmatic, but theoretical. This dissertation aims to enter this obscure and marginal field. So, considering the eroticism as part of the text s structure and also a representation of a social and individual phenomenon, it was analyzed the Erotica of Ana?s Nin. For this, the approach was based on the philosophical conception of Bataille, with an intersection of the concepts of body (Le Breton) and sexuality (Foucault). After, it was made a brief introduction of the eroticism in literature, in order to legitimize and consolidate the erotic literary tradition, in which is inserted the writer Ana?s Nin. Finally, the literary corpus is compound by tales of the collections Delta of Venus and Little birds, and it was analyzed from the theoretical framework developed with the thinkers above cited.
O erotismo sempre esteve presente na cultura escrita, uma vez que, sendo um elemento essencial da condi??o humana, manifesta-se mesmo na sua aus?ncia. Contudo, esse universo ? constru?do a partir de elementos que geram um desconforto, n?o apenas pragm?tico, mas te?rico. Nessa perspectiva, esta disserta??o tenciona adentrar esse campo ainda t?o obscuro e marginal. Considerando o erotismo tanto como parte da tessitura textual de uma obra liter?ria, quanto como representa??o de um fen?meno social e pessoal, objetivou-se analisar a constru??o do erotismo na literatura er?tica de Ana?s Nin. Para isso, o erotismo foi abordado atrav?s da concep??o filos?fica de Georges Bataille, em uma intersec??o com os conceitos de corpo (David Le Breton) e sexualidade (Michel Foucault). No segundo momento, realizou-se uma breve introdu??o da presen?a do erotismo na literatura, com objetivo de legitimar e consolidar a exist?ncia de uma tradi??o liter?ria er?tica, na qual se insere a escritora Ana?s Nin. Por fim, o corpus liter?rio, composto por contos selecionados das colet?neas Delta de V?nus e Passarinhos, foi analisado a partir do quadro te?rico desenvolvido com os pensadores supracitados.

The purpose of this organic inquiry and alchemical hermeneutic study was to explore the nature, essence, and archetype of the other woman with the goal of understanding how and why women become involved in triadic relationships. The study seeks to comprehend the lived experience of the other woman, including her history, character, behavior, ideologies, and desires. This study explored how and why other women are othered (i.e., cast out or rejected) in society, and the resultant effects upon them. A further goal of the work was to understand the dynamics of the triadic relationship from the other woman's point of view and to find ways to ease the pain experienced by all parties involved in and affected by these often complex and problematic relationships, which can lead to severe suffering, alienation, heartbreak, and in extreme cases, even murder or suicide.

Although she has been with us for eons, the other woman's true identity has been all but erased from existence. She has been buried in the shadows of society's taboos, relegated to the role of the scapegoat, and burdened with carrying negative projections of an ill-begotten stereotype. Using Carl Jung's theories of the archetypes and complexes and James Hillman and Pat Berry's archetypal psychology, the researcher explored and contrasted the lived experiences of the other woman stereotype and the other woman archetype portrayed in film over the last hundred years, as well as women in history, including pioneering feminist, Anaïs Nin, and the mother of depth psychology, Sabina Spielrein. The other woman archetype proved to be elusive because her identity has been mostly usurped by negative stereotypes. Further, the problems resulting from othering the other woman do not rest in the dyad or in the triadic relationship, but originate with the problem of the imbalance of masculine and feminine energy on the planet.

The researcher concludes with the hope that the other woman can be re-visioned as just "another woman," on an individuation journey towards the Whole Woman archetype. Keywords: Affairs, Betrayal, Feminism, Film, Individuation, Infidelity, Othering, Whole Woman Archetype

Etude de la croissance personnelle et artistique d'Anaïs Nin à Paris entre 1931 et 1939 à travers ses relations avec Joaquin Nin, son père, Henry Miller et ses deux psychanalystes parisiens, René Allendy et Otto Rank. Évaluation de l'influence de ces quatre hommes sur sa vie et sa production littéraire. La naissance d'une artiste dans un monde d'hommes
Study of Anais Nin's personal and creative growth in Paris between 1931 and 1939 through her relationships with her father, Joaquin Nin, Henry Miller and her two Parisian psychoanalysts, René Allendy and Otto Rank. Evaluation of the four men's influence on her life and literary production. The birth of an artist in a man-made world

My thesis re-situates the diarist and fiction writer Anaïs Nin within the fields of life-writing criticism, modernist studies, and intimacy studies by reading her diaries as performing, producing and inviting various intimate affects. This thesis focuses mainly on Nin‟s edited and unexpurgated published diaries and also draws on material gathered from the Anaïs Nin Special Collection at the Charles E. Young Library, based at the University of California, Los Angeles. Chapter 1 argues that Nin figures the diary as a space for fantasies of intimacy. Using the Communion as an integral part of these fantasies, Nin imagines scenes of interembodiment and intersubjectivity with her father that rely as much on his absence as on his presence. Performing an intimate relationship with her father, Nin also uses the diary to write her subjectivity as „in-relation.‟ Chapter 2 considers Nin‟s intimate relationships with other writers and artists in the 1930s, namely D.H. Lawrence. I argue that, by writing herself into an intimate relationship with Lawrence, Nin fashions and performs an artistic identity, working within and also resisting a modernist poetics of impersonality and objectivity. As such, this chapter calls for a revaluation of Nin as a modernist writer which attends to recent critical accounts of the importance of life-writing within modernism. Chapter 3 reads Nin‟s „Father Story,‟ an account in the diary of a brief affair Nin had with her father in her early thirties. I use the figure of seduction to argue that Nin‟s story resists a close reading and to critique various critical readings of this story in the 1990s which are underpinned by critical anxiety about the „right‟ way to read incest. For many critics, Nin‟s „Father Story‟ is too literary, rendering both it, and her, as inauthentic. Chapter 4 explores the intersections between Nin‟s diary and psychoanalysis. This chapter argues that Nin confuses the languages of sexual and psychoanalytic intimacy in ways that lead us to question the distance between sex and analysis. Nin uses psychoanalysis as another tool for dramatizing her life through art and another stage on which to perform intimacy. Chapter 5 considers the publication of the edited diary in the late 1960s-1970s, which coincided with a growing interest in women‟s life-writing as a representation of authentic, collective experience. This chapter argues that Nin performed intimacy in public with her readers, whilst all the time holding her private self at a distance.

Submitted by Maria Medeiros (maria.dilva1@ufcg.edu.br) on 2018-11-08T12:34:15Z No. of bitstreams: 1 RAQUEL THOMAZ DE ANDRADE - DISSERTAÇÃO (PPGH) 2010.pdf: 795042 bytes, checksum: 1763aaf8b92066d77a25f6672c7d8faa (MD5)
Made available in DSpace on 2018-11-08T12:34:15Z (GMT). No. of bitstreams: 1 RAQUEL THOMAZ DE ANDRADE - DISSERTAÇÃO (PPGH) 2010.pdf: 795042 bytes, checksum: 1763aaf8b92066d77a25f6672c7d8faa (MD5) Previous issue date: 2010-09-29
No tocante à escrita íntima, Anaïs Nin emerge como uma das autoras com a obra mais vasta, tendo escrito – e posteriormente publicado – diários entre os anos de 1914 e 1974. Esse extenso relato confessional lhe deu certo destaque dentro do movimento feminista, ao mesmo tempo em que despertou críticas relacionadas ao seu narcisismo. Dessa forma, seu material íntimo surge como uma obra emblemática no que se refere às tensões do movimento de luta pelos direitos das mulheres. Pois, mesmo com sua postura narcisista e pretensamente passiva politicamente, as atitudes Nin iam de encontro aos valores de sua época. Esse fato remete a uma questão: até que ponto o comportamento da autora não pode ser considerado com uma atitude política, já que resistia a padrões de comportamento de sua época? Assim, esse trabalho tem como objetivo analisar a escrita íntima de Anais Nin, considerando as suas representações acerca do feminino, da vida pública, da política e da arte e a sua inserção num período de sua escrita; problematizando a relação entre os diários íntimos e as teorias acerca dos gêneros confessionais e discutindo a relação entre o ―ficcional‖ e o ―real‖ nas memórias da autora, bem como a utilização da vida privada de Nin para a construção de uma obra de arte e, conseqüentemente, da sua figura pública. As principais fontes da pesquisa foram os diários não expurgados, que tiveram uma publicação póstuma durante os anos de 1980 e 1990. A escolha não se deve somente por esses diários serem versões menos censuradas da escrita íntima da autora, como também por envolverem um período (1931 – 1939) em que Nin começa a demonstrar interesse na publicação da obra, bem como a tecer comentários mais aprofundados acerca de questões como arte e política. Dessa forma, o universo construído pela escrita íntima dessa escritora será analisado, levando em consideração o tempo histórico no qual ela estava inserida, com o intuito de observar as suas representações acerca da relação entre a mulher, os espaços público e privado, a arte e a política.
On regard of intimate works, Anaïs Nin emerges as one of the most prolific authors, having written – and later published – journals between the years of 1914 and 1974. This extensive fictional report gave her a certain highlight within the feminist movement, while awakened criticism towards her narcissism. Consequently, her intimate material comes as an emblematic work concerning the strains within the fight for the women‘s rights. Because, even with a narcissistic and a passive political posture, Nin‘s stances went against the period values. This fact lead us to a question: how far the writer‘s behavior is as a political attitude, since it resisted the contemporary behavior patterns? Thus, this work aspires to analyze Anaïs Nin intimate writings, considering her representations concerning the feminine, public life, politics and art and her insertion within the writing‘s time; questioning the relationship between the intimate journals and the theories on the confessional genres and discussing the relationship between ―fictional‖ and ―real‖ amidst the writers memoir, as well as the use of Nin‘s private life in the makeup of her composition and, consequently, of her public figure. The main research sources were the unexpurgated diaries, which had a post mortem publication during the years of 1980 and 1990. The choice was not made only after the fact that these diaries are less censured versions of the writer‘s intimate work, but also after their coverage a period of time (1931-1939) in which Nin starts to show interest in the work‘s publication, as well as commenting art and politics in a deeper way. Thus, the universe built by this writer‘s journals will be analyzed, taking her historical insertion, aiming her representations on the relationship between the woman, the public and private spaces, art and politics.

Ouvrage capital dans l'œuvre romanesque d'Anaïs Nin, le recueil des "Cités intérieures", composé de cinq livres (Les miroirs dans le jardin, Les enfants de l'albatros, Les chambres du cœur, Une espionne dans la maison de l'amour, Ma séduction du Minotaure) publiés en 1961, met en scène trois femmes représentatives de la pensée de cet écrivain : Djuna, Lillian et Sabina. L'étude de "La vision du féminin" dans cette œuvre s'est organisée à la manière d'un triptyque : la première partie, "L'essence du féminin", dévoile les silhouettes kaléidoscopiques de ces héroïnes que répercutent indéfiniment miroirs et regards, dans un émiettement bariolé de détails physiques et un tournoiement d'objets ; constate les affinités que ces femmes, en quête de leur être substantiel instaurent avec les éléments naturels (eau, air, feu, terre) ; révèle la plasticité d'un espace conquis et adapté à leur féminité. Dans la seconde partie, "La femme, être sociable", est analysé l'aspect social de femmes attachées au monde des arts et elles-mêmes artistes (Lillian se consacre au piano, Djuna à la danse, Sabina au théâtre) : notamment, les rapports d'identification et de rivalité que les femmes établissent entre elles, et les liens qui unissent hommes et femmes, confrontés, par leur éducation, à une certaine codification des comportements. Enfin, la troisième partie, "Une écriture féminine", éclaire les interférences unissant le journal, monde de l'intériorité, aux romans, lieux de l'extériorité; présente les procédés stylistiques utilisés par Anaïs Nin pour traduire la complexité d'une conscience - figures métaphoriques, références esthétiques, principe ludique de la mémoire et de l'onirisme -; et souligne l'état conflictuel ressenti par des héroïnes, projections autobiographiques d'un auteur, dans leur souhait d'abandonner un rôle représentatif de personnage pour acquérir un statut de personne
A major work in the fiction of Anais Nin, the collection of "The cities of the interior3, composed of five books (Ladders to fire, Children of the albatross, The four-chambered heart, A spy in the house of love, Seduction of the Minotaur) was published in 1961 and introduces three women who represent the ideas of this writer: Djuna, Lillian and Sabina. The study of "The perception of womanhood" in this work is arranged like a triptych: the first part, "The quintessence of womanhood", unveils the kaleidoscopic silhouettes of these characters which are reflected indefinitely by mirrors and glances in a motley patchwork of physical details and in whirl of objects. It shows the affinities which grow between these women, searching for their essential being, and the natural elements (water, air, fire, earth) and reveals the plasticity of a conquered space adapted to their femininity. In the second part, "woman, a social being", the social side of women attached to the world of the arts and themselves artists (Lillian a pianist, Djuna a dancer and Sabina an actress) is analyzed: especially the relationships of identification and rivalry which the women create between themselves and the ties which unite men and women who, through their education, are faced with a certain code of behaviour. The third part, "A feminine writing" highlights the interferences linking the diary, the interior world, with the novels, the outside world. It shows the stylistic procedure used by Anais Nin to translate the complexity of a consciousness - metaphors, aesthetic references, the playful working of the memory and dreams -. It also underlines the state of conflict felt by the characters, the autobiographical projections of an author, in their desire to abandon a role of a character in order to acquire the status of a person

This thesis explores Anaïs Nin’s idea of a synthesis of the arts in writing and its extension to different media through an analysis of her interdisciplinary collaborations with artists and composers in the United States of the 1950s and 1960s. I discuss these collaborations within the context of Nin’s unconventional understanding of the unconscious as multidimensional space and her interest in the sensory effects of different art forms, which are at the centre of Nin’s art theory. I look at the sources she drew on to formulate her ideas in Paris of the 1930s, including Symbolism, D.H. Lawrence’s writing, French Surrealism and various psychoanalytical models, and discuss how they relate to cultural and socio-political developments in America at mid-century. This includes a strong focus on Nin’s ambiguous negotiation of female identity and female creativity in her writing and the frictions it causes when it is translated into other media by her male collaborators. While Nin’s interest in different art forms and her attempt at imitating their sensuous effects in writing has been explored from a literary perspective, Nin’s extra-literary collaborations remain largely unexplored. Similarly, the work of most of the artists Nin collaborated with has not been analysed critically in a scholarly context. Unlike previous studies of Nin’s work, then, the approach of this thesis is an interdisciplinary analysis of her collaborations, which focuses equally on Nin’s writing and on the work and input of the artists she worked with. Each of the four chapters focuses on a different collaboration and art form including photomontage, film, music and collage. This thesis argues that Nin’s artistic encounters and her engagement with different art forms in America of the 1950s and 60s open up interesting new discourses around interdisciplinarity and gender, the legacy of surrealism in America and counterculture art production in the 1960s.

This study explores the relationship between female identity formation within patriarchal society and women's literary discourse. The 'Introduction' serves to highlight Lou Andreas-Salomé's and Anaïs Nin's acute awareness of the tradional conflict between the role of artist and the role of woman. With both writers, their efforts to come to terms with their own creative powers involve tentative questions about the function of writing itself, which they both experience as a vital need. Part One of the study, therefore, addresses itself to reflecting the role of language as a basic means of socialization, which produces genderized subjects. This is related to the power of language to enable the construction of identity. Patriarchal culture produces woman as man's complementary Other. Questions of female identity and desire thus gain particular importance for the writer who strives to constitute her identity as autonomous subject. The first two chapters of Part Two focus on the problems that confront the women who, within the process of writing assume creative powers that are traditionally conceived as male prerogatives. The internalized image of woman as mother operates as a powerful impediment to creative self-assertion. An equally fundamental obstacle in the writer's quest for literary authority are the problematic links each writer establishes between a masculinized creator God, paternal authority and cultural discourse. Transcending their culturally induced duality between woman and creator Lou Andreas-Salomé and Anaïs Nin develop opposed literary strategies. Yet both resort to non-threatening female stereotypes that are able to accommodate their anxiety of authorship. Chapters III and IV revolve around the experience of writing itself in terms of a re-construction of inherited meanings and the woman's problem of creating her own meanings. Chapter V concentrates on the gaps that structure either writer's discourse and contribute to making it impossible to establish the woman as subject of desire. Chapter VI explores the ways in which internalized concepts of femininity work to limit the freedom of the imagination, reduce the field of vision and result in projecting transgressive female desires in disguised or displaced form. The 'Conclusion' stresses the inadequacy of existing controversial attitudes to both writers and highlights significant differences between the fiction of Lou Andreas-Salomé and Anaïs Nin.

CoordenaÃÃo de AperfeÃoamento de Pessoal de NÃvel Superior
AnaÃs Nin, autora nascida na FranÃa, mas radicada nos Estados Unidos, à tida como pioneira por ter escrito obras erÃticas do ponto de visto feminino. Nin ficou conhecida por descrever atos sexuais de uma forma metafÃrica. Em um de seus diÃrios, ela diz que tentou utilizar uma escrita feminina como forma de tomar espaÃo em um mundo que sempre foi liderado por homens. Esta pesquisa tem como objetivo analisar de que maneira uma de suas obras mais conhecidas, o livro de contos Delta of Venus, publicada em 1977, um ano apÃs a sua morte, foi retratada nas telas, pois o livro foi adaptado para a TV, em 1995, por Zalman King, diretor/produtor/roteirista de diversos filmes erÃticos, e, por isso, conhecido como rei do soft-core porn. Uma vez que um dos temas centrais da obra de Nin à o sexo, o trabalho aqui apresentado se fundamenta em Krzywinska (2006), que comenta a abordagem do tema no cinema, Willians (2004) e Alexandrian (1991), que discorrem sobre os estudos pornogrÃficos e a histÃria da literatura erÃtica. Cattrysse (1992), que seguindo a Teoria dos Polissistemas, de Even-Zohar (1990), deu inÃcio ao processo de sistematizaÃÃo da adaptaÃÃo fÃlmica, serà utilizado para fundamentar o capÃtulo que trata sobre a adaptaÃÃo, assim como Hutcheon (2012) e Cartmell (2012). O propÃsito da presente pesquisa Ã, principalmente, perceber de que forma King transportou para as telas o texto tÃo caracterÃstico de Nin e de quais tÃcnicas ele se utilizou para tal. O contexto no qual a adaptaÃÃo fÃlmica se insere impossibilita a manutenÃÃo da qualidade literÃria de Nin, bem como a abordagem dos temas transgressores apresentados pela autora, no entanto, atravÃs da anÃlise de cenas retiradas do filme, à possÃvel perceber caracterÃsticas da autora presentes na adaptaÃÃo.
AnaÃs Nin, who was born in France but brought up in the United States, is considered a pioneer for having written erotica from a female point of view. Nin is known for describing sexual relations making use of metaphors. In one of her diaries, she said that she tried to use a feminine writing style as a way to gain space in a world that was always reigned by men. This research has as a goal to analyze in what ways her most well-known work, the book of short stories Delta of Venus, published in 1977, an year after her death, was portrayed on the screen, because her book was adapted for the TV in 1995, by Zalman King, director/producer/screenwriter of many erotic films and, as such, know as the king of soft-core porn. Once the main theme of her work is sex, the research here presented is grounded on Krzywinska (2006) that writes about the way the cinema approaches the theme and Williams (2004) and Alexandrian (1991) that comment on porn studies and the erotic literature history. Cattrysse (1992), who follows the Polysystem Theory by Even-Zohar (1990) and has started the systematization of film adaptation, will be used to substantiate the chapter that concerns the adaptation. As well as Hutcheon (2012) and Cartmell (2012). The purpose of this research is, first of all, to observe if King was able to keep Ninâs one of a kind text alive on the screen and which techniques he used in order to do so. The historical context to which the movie belongs to does not make it possible for the literary quality of Ninâs text to shine through, as well as the strong themes she writes about. However, by analyzing some chosen scenes from the movie, it is possible to perceive some characteristics of Ninâs writing in the adaptation.

The study analysis Anaïs Nin's work, Henry & June from a queer theoretical perspective. The purpose is to show what the work makes with text and how it produces ambivalence with sex and gender and thereby demonstrate the queer leakage in heteronormative performativities. The first part analyzes how it is working with self-representation in diary form. In order to view the work historically and linguistically the work has been related to analyzes and essays by other researchers mentioned in the analysis. The analysis shows that the writer Anaïs Nin has a clear agenda with her work. Nin want to develop an alternative approach to sex, gender and marriage.

Submitted by Lucelia Lucena (lucelia.lucena@ufpe.br) on 2015-03-13T19:32:24Z No. of bitstreams: 2 Nunes,_MJG-_Dissertação_final_2012.pdf: 4070100 bytes, checksum: bc731749f56a74be967907ff824bd9a2 (MD5) license_rdf: 1232 bytes, checksum: 66e71c371cc565284e70f40736c94386 (MD5)
Made available in DSpace on 2015-03-13T19:32:24Z (GMT). No. of bitstreams: 2 Nunes,_MJG-_Dissertação_final_2012.pdf: 4070100 bytes, checksum: bc731749f56a74be967907ff824bd9a2 (MD5) license_rdf: 1232 bytes, checksum: 66e71c371cc565284e70f40736c94386 (MD5) Previous issue date: 2012-02-15
CAPES, FACEPE
A infecção pelo HPV (Papilomavírus humano) é o fator de risco mais comum para o desenvolvimento de Neoplasia Intraepitelial Anal (NIA). Além do fator viral deve-se considerar história de intercurso anal, infecção pelo HPV em outros sítios (vulvar, vaginal ou cervical) e tabagismo, bem como processos inflamatórios crônicos anorretais que, associados à imunodepressão, podem acelerar a divisão celular e dar origem à neoplasia. Objetivo: Identificar a presença do HPV e avaliar a expressão da proteína p16 em amostras anais de mulheres HIV negativas portadoras de lesões visíveis a anuscopia. Métodos: O estudo foi realizado com pacientes atendidas no Hospital de Câncer de Pernambuco, submetidas a anuscopia de magnificação. Diante da presença de lesões entre o canal anal e a zona de transição com o reto, realizava-se a coleta de células anais e biópsia. Foi extraído DNA para posterior análise da identificação do HPV através da Reação em Cadeia Polimerase (PCR), utilizando-se os primers GP5+/6+ e MY09/11 e genotipagem através do PapilloCheck®. Os fragmentos de tecido obtidos por biópsia foram submetidos a rotina histológica, corados pela Hematoxilina-Eosina e a reação imunohistoquímica para identificação da expressão da proteína p16. Resultados: Foram classificadas histologicamente 65 amostras e agrupadas como: I-Negativo para displasia: Ia-Normal, alterações benignas e/ou inflamatórias 52,31%, Ib-alterações proliferativas 41,54% e II-Neoplasias 6,15%. Entre os casos negativos para displasia 93.44% não apresentaram marcação para p16. Em 75% dos casos de neoplasias observou-se marcação nuclear e/ou citoplasmática, quanto ao padrão de marcação nesses casos verificou marcação em um terço e três terços do epitélio para NIA I e III, respectivamente. Todas as lesões com diagnóstico histológico de neoplasia apresentaram positividade para HPV para o método da PCR utilizando os primers GP5+/6+ e MY09/11. O primer GP5+/6+ mostrou-se mais eficiente para detecção do DNA-HPV em amostras anais do que o MY09/11. Foram genotipadas 82 amostras e destas 50% apresentaram positividade para 20 genótipos do HPV, sendo HPV6 (18.84%) o mais prevalente seguido por HPV16 (15.94%) e HPV53 (10.14%). Foi observada múltipla infecção em 24.64%, mostrando variação entre 2 – 8 tipos virais. Conclusões: O uso de ferramentas adicionais como método molecular (PCR e genotipagem) e imunohistoquímico associados ao exame histológico pode oferecer um diagnóstico do HPV mais preciso nas lesões intraepiteliais anais.

The stimulus for this thesis was twofold. Firstly, the piecemeal criticism on the short stories of three writers, better known for their work in other genres, invited a more systematic investigation. Secondly, the recurring themes of place and time in the short story prompted an exploration into their integral role in constructing notions of identity. While making no claim for a comprehensive study of either the genre or the complete oeuvres of Anaïs Nin, Angela Carter, and Margaret Atwood, my intention was to establish a comparative framework, which would facilitate renewed discussion into these writers' stories as central rather than marginal to their aesthetics. The first chapter focuses on the shifting epistemological and ontological boundaries of place and self, with material aspects progressively displaced by subjective and metafictional constructions. The ideas of Claudia Becker on Gothic headwords, Brian McHale on postmodernist ontology, and Marc Augé on non-places of supermodernity are found to be particularly useful. The second chapter concentrates on the reconfiguration of temporal experience into fictional plots and the relation of subjects, particularly women, to discourse. The main theoretical framework is provided by Paul Rickoeur's work on narrative time and Mikhail Bakhtin's work on dialogics. Both chapters also invoke a wider context of short story genre criticism and feminist, postcolonist, new historicist, and structuralist theory. The stories of Nin, Carter, and Atwood are shown to offer competing formulations of identity, juxtaposing permanence with continuous change, and unity with fragmentation. All three writers trace the alienation of modern consciousness from historical place and time, issuing in self-loss and the deconstruction of the subject as a discursive illusion. I conclude that the writers' emphasis on storytelling as an intrinsic human impulse and means of communication nevertheless re-affirms the subject as a necessary fiction fundamental to human existence.

Tese (doutorado)—Universidade de Brasília, Instituto de Letras, Programa de Pós-Graduação em Literatura, 2016.
Submitted by Albânia Cézar de Melo (albania@bce.unb.br) on 2016-05-20T13:17:20Z No. of bitstreams: 1 2016_DamianaPereiraPaula.pdf: 1251426 bytes, checksum: 27418b3ac4b7dfcfa1588e0634b789c9 (MD5)
Approved for entry into archive by Raquel Viana(raquelviana@bce.unb.br) on 2016-07-21T17:07:14Z (GMT) No. of bitstreams: 1 2016_DamianaPereiraPaula.pdf: 1251426 bytes, checksum: 27418b3ac4b7dfcfa1588e0634b789c9 (MD5)
Made available in DSpace on 2016-07-21T17:07:14Z (GMT). No. of bitstreams: 1 2016_DamianaPereiraPaula.pdf: 1251426 bytes, checksum: 27418b3ac4b7dfcfa1588e0634b789c9 (MD5)
O universo ficcional da escritora Anaïs Nin se destaca no cenário literário pela sua poeticidade e lirismo bem como pela sua preocupação em desvendar o mundo da subjetividade humana por meio da criação de imagens e símbolos. Em sua vasta obra, a autora se dedicou à escrita de diários, romances experimentais, poema em prosa, contos, contos eróticos, cartas, crítica literária e ensaios. O objetivo da presente tese é analisar o tema da criação artística e da personalidade criadora no poema em prosa A casa do incesto. A abordagem estética do poema está centrada em dois aspectos: primeiramente realiza um estudo de suas influências - fortemente marcadas pelo movimento Surrealista, pelas ideias psicanalíticas, pela poesia Simbolista, sobretudo Rimbaud – e, em um segundo momento, explora a relação que o poema mantém com a escrita dos diários. _______________________________________________________________________________________________ ABSTRACT
The fictional universe created by Anaïs Nin is celebrated for its highly poetical and lyrical form, abounding with images and symbols through which the world of human subjectivity is revealed. Nin was a prolific writer and throughout her life published diaries, experimental novels, a prose poem, short-stories, erotica, letters, literary criticism and essays. The present thesis aims at analyzing the theme of artistic creation and the creative personality in the prose poem House of Incest. The aesthetic approach of the poem is focused on two different aspects: Firstly, it explores the influences of the Surrealist movement, psychoanalysis and Symbolism - especially Rimbaud. Secondly, it investigates the connections between the poem and the diaries.

Pour camoufler son passé, dissimuler ses relations adultères, un inceste consenti avec son père et des mensonges peu avouables, les « morceaux choisis » qu’Anaïs Nin livre au lecteur comme son Journal, à partir de 1966, s’affranchissent de toute fidélité aux manuscrits. Le journal posthume, dit « non expurgé » et basé sur les transcriptions dactylographiées que la diariste réalisait de ses journaux, n’est pas non plus exempt de réécritures et d’amendements conséquents. Parmi les quelque cent dix volumes d’un journal manuscrit protéiforme, cette étude tente de mettre au jour ce qui reste, mais surtout ce qui s’ajoute et remet en cause l’appellation de « journal ». Tentant de saisir un moi sans cesse en fuite, la diariste compose sa vie dont l’imaginaire, même dans les manuscrits, fait pleinement partie. Au sein d’un corpus imposant consulté à UCLA et à l’université de Northwestern, cette étude se concentre sur la période du début du Journal (par opposition au Journal de Jeunesse) jusqu’à la publication par Nin de The Winter of Artifice (1939 et 1942), fictionnalisation de sa vie à une époque où publier le journal est inenvisageable. Ce recueil est aussi une tentative de maîtrise d’une œuvre achevée afin de vaincre l’éternel conflit du journal avec le temps et celui de la femme avec son père. Comparer les manuscrits de ces fictions, lues et corrigées par Henry Miller, les journaux manuscrits, les journaux publiés de façon anthume et posthume permet de saisir l’enjeu des réécritures, de l’autocensure ainsi que la démarche créative de Nin qui relève de mises en scène que la diariste légitime plus tard en s’appropriant les principes psychanalytiques d’Otto Rank
To camouflage her past, dissemble about her adulterous affairs, and conceal consensual incest with her father and a lifetime of brazen lies, the « selected pieces » that Anaïs Nin offers to readers as her Diary, as of 1966, bear only a tangential relationship to the manuscripts. Even the so-called unexpurgated diary, published posthumously and based on the typescripts that Nin made of her diaries, contains significant revisions and emendations. Among the hundred and ten-odd volumes of a protean, handwritten diary, this study brings to the fore what remains, but also what was added, leading us to question whether the resulting document can truly be called a « diary ». In attempting to capture her ever-elusive self, Nin composed her life, and even in the manuscripts, the imaginary played a great part in that process. From a vast corpus examined at UCLA and Northwestern university, this study focuses on the period from the beginning of The Diary (as distinct from The Early Diary), till Nin publishes The Winter of Artifice (1939, and 1942), a fictionalization of her life at a time when publishing the diary was impossible. This piece is also an attempt to deal with—and, Nin hoped, vanquish—the lingering conflict of the diary with time and that of the woman with her father. Comparing the drafts of this work, revised by Henry Miller, with the handwritten diaries and the anthumously and posthumously published versions enables us to fully seize the extent of Nin’s rewriting and self-censorship, as well as the scope of a creative approach which amounts to many stagings of the self that the diarist would later legitimatize by making Otto Rank’s psychoanalytical principles her own

Les femmes ont pour particularité de transmettre la vie, de la continuer en en gardant l'empreinte dans le creux de ce corps. Qu'en est-il de l'écriture des femmes lorsqu'elle vient se heurter à ce corps à corps qu'est la maternité qui devra composer avec la passion maternelle ? J'ai voulu, par ma recherche, mettre en évidence la difficulté qu'a notre civilisation à construire un discours autour de ce creux maternel, à partir des textes d'écrivaines du début du XXe siècle à nos jours (Colette, Anaïs Nin, Duras, Huston, Kristeva, Angot, Darrieussecq. . . ). La littérature propose un espace où chaque texte est transformé par l'autre et vice versa. Ces écrivaines parviennent alors à utiliser leur art afin de dépassionner en transmettant le langage, la capacité de penser et de créer, à cet autre qu'est l'enfant. Elles tentent de tisser une toile sur le clivage de la passion maternelle entre emprise et sublimation. Dans la traversée de cette expérience intérieure, l'amour de ces mères et la sublimation des femmes s'entremêlent dans leurs écrits et proposent à l'enfant de sortir de ce creux féminin
Women have that particular characteristic of being able to bringing forth life, of living it, and, all the while, of keeping a trace of it within their bodies. What happens to women's writing when it collides with the physical demands of motherhood and makes it so necessary for them to come to terms with their maternal passion? I decided to study the works of women writers such as Colette, Anais Nin, Marguerite Duras, Nancy Huston, Julia Kristeva, Christine Angot, Marie Darrieussecq and others, from the beginning of the 20th century to the present in order to follow as closely as possible the construction of a maternal discourse within their writing. These writers manage to use their art to go beyond the passion while passing on the language, the ability to think and to create to that other being, their child. They try to bridge the cleavage of maternal passion to avoid choosing between submission or sublimation. Traversing their inner experience, we are able to discover the love of these mothers as well as the sublimation of women

碩士
國立中興大學
外國語文學系
91
Bisexuality is a trouble. In a heterosexualized or homophobic society, it is hard to recognize other sexualities, such as bisexuality. Since it is a heterosexualized society, we cannot understand bisexuality without heterosexual disturbance. It means that heterosexual concept has penetrated into bisexual recognition. In addition, there are various concept of bisexuality: physiological, psychological and sexual. Since there are so many definitions, it is hard to define one’s bisexual identity with one single definition. Thus, we cannot define Anaïs Nin’s bisexuality by one single theory, either. In my thesis, I will use Sigmund Freud’s concepts of bisexual talent and heterosexualized bisexuality, Eve Sedgwick’s minoritizing and universalizing views of sexuality, and Judith Butler’s performativity of gender to read Nin’s bisexual relations with Hugo, Henry and June. Hugo is her husband, and Henry and June her lovers. In addition, her fragmentary self-writing as self-representation in her diary is also important for me to understand her bisexual desires. Within these approaches, I will conclude that a process of performance is the representation of her bisexuality. In other words, her performance is a real “out” for her bisexuality.

An efficient foraging strategy is one of the most important traits for the fitness of animals. The theory of optimal foraging tries to predict foraging behaviour through the overarching question: how animals should forage so as to minimize costs while maximizing profits? Social insects, having occupied nearly every natural niche through widely different strategies, offer themselves as an ideal group to study how well optimal foraging theory can explain their behaviour and success. Specialization often leads to unique adaptations in morphology and behaviour. I therefore decided to investigate the behaviour of Megaponera analis. This ponerine ant species is specialized on hunting only termites of the subfamily Macrotermitinae at their foraging sites. Their foraging behaviour is regulated by a handful of individual scouts (10-20) that search for termite foraging sites before returning to the nest to recruit a large number of nestmates (200-500 ants). These ants then follow the scout in a column formation to the termites and after the hunt return together to the nest, these raids occur two to five times per day. Predators of highly defensive prey likely develop cost reducing adaptations. The evolutionary arms race between termites and ants led to various defensive mechanisms in termites, e.g. a caste specialized in fighting predators. As M. analis incurs high injury/mortality risks when preying on termites, some risk mitigating adaptations have evolved. I show that a unique rescue behaviour in M. analis, consisting of injured nestmates being carried back to the nest, reduces combat mortality. These injured ants “call for help” with pheromones present in their mandibular gland reservoirs. A model accounting for this rescue behaviour identifies the drivers favouring its evolution and estimates that rescuing allows for maintaining a 29% larger colony size. Heavily injured ants that lost too many legs during the fight on the other hand are not helped. Interestingly, this was regulated not by the helper but by the uncooperativeness of the injured ant. I further observed treatment of the injury by nestmates inside the nest through intense allogrooming directly at the wound. Lack of treatment increased mortality from 10% to 80% within 24 hours, with the cause of death most likely being infections. Collective decision-making is one of the main mechanisms in social insects through which foraging is regulated. However, individual decision-making can also play an important role, depending on the type of foraging behaviour. In M. analis only a handful of individuals (the scouts) hold all the valuable information about foraging sites. I therefore looked at predictions made by optimal foraging theory to better understand the interplay between collective and individual decision-making in this obligate group-raiding predator. I found a clear positive relation between raid size and termite abundance at the foraging site. Furthermore, selectivity of the food source increased with distance. The confirmation of optimal foraging theory suggests that individual scouts must be the main driver behind raid size, choice and raiding behaviour. Therefore most central place foraging behaviours in M. analis were not achieved by collective decisions but rather by individual decisions of scout ants. Thus, 1% of the colony (10–20 scouts) decided the fate and foraging efficiency of the remaining 99%. Division of labour is one of the main reasons for the success of social insects. Worker polymorphism, age polyethism and work division in more primitive ants, like the ponerines, remain mostly unexplored though. Since M. analis specializes on a defensive prey, adaptations to reduce their foraging costs can be expected. I found that the work division, task allocation and column-formation during the hunt were much more sophisticated than was previously thought. The column-formation was remarkably stable, with the same ants resuming similar positions in subsequent raids and front ants even returning to their positions if displaced in the same raid. Most of the raid tasks were not executed by predetermined members of the raid but were filled out as need arose during the hunt, with a clear preference for larger ants to conduct most tasks. I show that specialization towards a highly defensive prey can lead to very unique adaptations in the foraging behaviour of a species. I explored experimentally the adaptive value of rescue behaviour focused on injured nestmates in social insects. This was not only limited to selective rescuing of lightly injured individuals by carrying them back (thus reducing predation risk) but moreover includes a differentiated treatment inside the nest. These observations will help to improve our understanding of the evolution of rescue behaviour in animals. I further show that most optimal foraging predictions are fulfilled and regulated by a handful of individuals in M. analis. Lastly, I propose that the continuous allometric size polymorphism in M. analis allows for greater flexibility in task allocation, necessary due to the unpredictability of task requirements in an irregular system such as hunting termites in groups. All of my observations help to further understand how a group-hunting predator should forage so as to minimize costs while maximizing profits
Ein effizientes Furagierverhalten ist eine der wesentlichsten Voraussetzungen für die Überlebensfähigkeit von Tieren. Die Theorie des „Optimal Foraging“ versucht, das Furagierverhalten durch die übergreifende Frage zu verstehen: Wie sollten Tiere nach Futter suchen/jagen, um die Kosten zu minimieren und gleichzeitig die Gewinne zu maximieren? Soziale Insekten, die fast jede natürliche Nische durch diverse Strategien besetzt haben, bieten sich als ideale Gruppe an, um zu untersuchen, wie gut „Optimal Foraging“ ihr Verhalten und ihren Erfolg erklären kann. Da Spezialisierung oft zu einzigartigen Anpassungen in Morphologie und Verhalten führt, war das Jagdverhalten von Megaponera analis diesbezüglich sehr vielversprechend. Diese Ponerinae Ameisenart ist spezialisiert auf die Jagd von Termiten der Unterfamilie Macrotermitinae an ihren Futterstellen. Ihr Jagdverhalten wird durch eine Handvoll von einzelner Späher (10-20) geregelt, die nach Termiten-Futterstellen suchen, bevor sie zum Nest zurückkehren, um eine große Anzahl von Nestgenossinnen (200-500 Ameisen) zu rekrutieren. Die Ameisen folgen dann dem Späher in einer Kolonne zu den Termiten und zurück, diese Überfälle finden zwei bis fünf Mal am Tag statt. Es ist wahrscheinlich, dass Prädatoren von defensiver Beute kostenreduzierende Anpassungen entwickeln. Das evolutionäre Wettrüsten zwischen Termiten und Ameisen führte zu verschiedenen Abwehrmechanismen bei Termiten, z.B. eine Soldaten-Kaste, die sich auf die Bekämpfung von Raubtieren spezialisiert hat. Da M. analis ein hohes Verletzungsrisiko durch Termitensoldaten hat, haben sich bei ihr einige kostenreduzierende Anpassungen entwickelt. Ich zeige, dass ein einzigartiges Rettungsverhalten bei M. analis, bestehend aus verletzten Nestgenossinnen, die zum Nest zurückgetragen werden, die Mortalität reduziert. Diese verletzten Ameisen „rufen“ um Hilfe mit Pheromonen, die in ihren mandibularen Drüsenreservoirs vorhanden sind. Ein Modell, das dieses Rettungsverhalten berücksichtigt, hilft dabei die wichtigsten Faktoren zu identifizieren, welche die Evolution dieses Rettungsverhaltens begünstigen. Ferner wird schwerverletzten Ameisen, die während des Kampfes zu viele Beine verloren haben, nicht geholfen. Interessanterweise wird dies nicht durch den Helfer reguliert, sondern durch die mangelnde Kooperation der verletzten Ameise. Des Weiteren beobachtete ich die Behandlung der Verletzten durch Nestgenossinnen im Nest durch intensives „Allogrooming“/lecken direkt an der Wunde. Eine Unterbindung der Behandlung erhöhte die Mortalität von 10% auf 80% innerhalb von 24 Stunden, höchstwahrscheinlich aufgrund von Infektionen. Die kollektive Entscheidungsfindung ist einer der Hauptmechanismen bei sozialen Insekten, durch die die Futtersuche reguliert wird. Allerdings spielt die individuelle Entscheidungsfindung, je nach Art des Furagierverhaltens, auch eine wichtige Rolle. In M. analis haben nur eine Handvoll von Individuen (die Späher) alle Informationen über die Futterstellen. Ich betrachtete daher die Vorhersagen, die durch „Optimal Foraging“ gemacht werden, um das Zusammenspiel von kollektiver und individueller Entscheidungsfindung bei diesem obligaten Gruppenjäger besser zu verstehen. Ich fand eine klare positive Beziehung zwischen Raubzugsgröße und Termitenabundanz an der Futterstelle. Außerdem erhöhte sich die Selektivität der Futterstelle mit der Entfernung zum Nest. Die Bestätigung der „Optimalen Foraging“ Theorie deutet darauf hin, dass einzelne Späher der Haupttreiber hinter Raubzugsgröße, Wahl und Raubzugsverhalten sein müssen. Dies bedeutet, dass in M. analis das Furagierverhalten nicht durch kollektive Entscheidungen, sondern durch individuelle Entscheidungen der Späher reguliert wird. So entschied 1% der Kolonie (10-20 Späher) das Schicksal und die Furagier-Effizienz der restlichen 99%. Die Arbeitsteilung ist einer der Hauptgründe des Erfolgs sozialer Insekten. Arbeiterpolymorphismus, Alterspolyethismus und Arbeitsteilung bei primitiveren Ameisen, wie den Ponerinen, blieben bisher jedoch meist unerforscht. Da M. analis sich auf eine defensive Beute spezialisiert hat, sind Anpassungen zur Reduzierung ihrer Furagierkosten zu erwarten. Ich zeige, dass die Arbeitsteilung und Kolonnenformation während der Jagd viel anspruchsvoller ist, als bisher angenommen. Die Kolonnenformation war bemerkenswert stabil: dieselben Ameisen nahmen ähnliche Positionen in späteren Raubzügen ein und die vorderen Ameisen kehrten sogar zu ihrer Position zurück, wenn diese absichtlich verändert wurde. Dies weist auf unbekannte Regulationsmechanismen für die Bildung der Kolonne hin. Darüber hinaus wurden die meisten der Raubzugsaufgaben nicht von vorgegebenen Mitgliedern des Raubzugs ausgeführt, sondern wurden je nach Bedarf während der Jagd verteilt. Meine Versuche zeigen, dass die Spezialisierung auf eine hoch defensive Beute zu sehr einzigartigen Anpassungen im Furagierverhalten einer Art führen kann. Ich erforschte experimentell den adaptiven Wert eines Rettungsverhaltens, das auf verletzte Nestgenossinnen bei sozialen Insekten fokussiert war. Dies beschränkte sich nicht nur auf die selektive Rettung von leicht verletzten Individuen, welche zurückgetragen wurden (wodurch das Prädationsrisiko reduziert wurde), sondern umfasst darüber hinaus eine differenzierte Behandlung im Nest. Ich zeige weiter, dass die meisten „Optimal Foraging“ Vorhersagen von einer Handvoll Individuen in M. analis erfüllt und reguliert werden. Schließlich postuliere ich die Hypothese, dass der kontinuierliche allometrische Größenpolymorphismus in M. analis eine größere Flexibilität bei der Aufgabenverteilung ermöglicht, die aufgrund der Unberechenbarkeit der Aufgabenanforderungen in einem unregelmäßigen System wie dem Jagen von Termiten in Gruppen Erforderlich ist. Alle meine Beobachtungen verbessern unser Verständnis des Verhaltens eines Gruppenjägers, das während der Jagd die Kosten zu minimieren und die Gewinne zu maximieren hat