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Louttit, Erin. "Rudyard Kipling and Victorian Buddhism". Thesis, University of St Andrews, 2013. http://hdl.handle.net/10023/3543.
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The thesis recontextualises the fiction of the nineteenth- and twentieth-century writer Rudyard Kipling by exploring aspects of Victorian Buddhism in a selection of his published work. It demonstrates his engagement with a variety of Buddhist histories and cultures, showing a serious artistic and imaginative response to and interpretation of Buddhism. Focusing primarily on the novel Kim, the thesis develops existing criticism, examining the character of the lama. Additionally, it studies features of Victorian Buddhism other than textual sources, drawing on work by scholars in fields such as the history of art and the history of religion. As well as considering varied Buddhist elements in Kim, the thesis examines the theme of the survival of the soul, situating short stories from various periods of Kipling's writing life in the context of scholarly debates about Nirvana and reincarnation. Attention is also given to critically neglected travel writing from the Letters of Marque series written for periodical publication. Kipling's work is shown to be deeply concerned with and sympathetic to Buddhism and Buddhist cultures.
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Welz, Stefan. "'Abreast of the age' : Arbeit und Technologie im Werk Rudyard Kiplings /". Hildesheim : G. Olms Verlag, 2003. http://catalogue.bnf.fr/ark:/12148/cb39248104c.
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Sergeant, David. "Form and Ideology in Rudyard Kipling's Prose". Thesis, University of Oxford, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.491071.
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This thesis provides a synthesizing account of Kipling as an 'amphibian' writer concerned both with the creation of prose works of great aesthetic sophistication and complexity, and of propagandistic writing whose principal objective was the ftirtherance of a particular imperial doctrine. Through a succession of close readings I demonstrate how these two kinds of Kipling text are both distinguished and connected by their formal operation, with the more aesthetically complex work often deploying similar narrative strategies to the propagandistic texts, but in ways that are far more complex and ambiguous.
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Ozawa, Shizen. "Imperial foreignness : on Rudyard Kipling's early writings". Thesis, University of Essex, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.364511.
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Wells, Selma Ruth. "Rudyard Kipling : the making of a reputation". Thesis, University of Sussex, 2012. http://sro.sussex.ac.uk/id/eprint/42978/.
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When Rudyard Kipling died in January 1936, the resulting national and international mourning indicated the popularity and enormous influence of his life and work. It demonstrated the esteem in which he was still held and the consequent longevity of his literary success. This thesis examines how Kipling established, maintained and protected his reputation, his purpose in doing so and considers if concern about his own ethnic purity was a central motivation for him in this regard. This thesis explores Kipling‟s preoccupation with the reputation of the enlisted man – or „Tommy Atkins‟ figure – and his sympathy with the „underdog‟ and discusses how recuperation of this denigrated image was instrumental in establishing and increasing Kipling‟s poetic and literary success. His intimate personal relationship and fascination with the enlisted man is investigated, especially in terms of Empire and the Great War and juxtaposed with discussion of Kipling‟s numerous elite, establishment military and political connections. His post-war link to the soldier is considered, including the powerful and enduring effects of the death of his son. Exploration of Kipling‟s writing is undertaken using material from the University of Sussex Special Collections Kipling Archive, including Kipling‟s personal papers and correspondence which are referred to throughout and the six volume collection of Kipling‟s correspondence edited and published by Thomas Pinney. Additional, selective close-reading of his verse and prose illustrates arguments in the personal papers and indicates that Kipling‟s literary reputation vindicated both himself and the image of the soldier. Work from poets contemporary with Kipling is used in context, to provide comparison and contrast. In addition to the main thesis, an appendix volume is in place to offer further exploration of the primary archive material.
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Swidzinski, Joshua. "Rudyard Kipling and the poetics of failure /". Access restricted. DAL users only, 2008.
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Amrani, Ourida. "La valeur symbolique de l'Inde chez Rudyard Kipling". Paris 4, 1990. http://www.theses.fr/1990PA040032.
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Dans la symbolique de l'Inde, le mot "symbole" tel que nous l'avons distingué est "image". C'est l'image de l'Inde elle-même. Cette Inde est suggérée par l'objet immédiat et la description qu'en donne Kipling s'élargit jusqu'à devenir une "vision" puis un "symbole". L'Inde est le symbole du monde et de la vie et comme l'inde est intimement liée aux étapes et aux racines de la vie de Kipling, elle est non seulement un symbole extérieur mais c'est aussi un symbole intérieur car elle est liée à ce qu'il y a de plus intime dans la nature personnelle, la vie, les sentiments et les idées de l'homme Kipling. Nous avons utilisé la méthode psychologique associée à la méthode sociologique dans la première partie intitulée "l'Inde dans la vie de Kipling" la deuxième partie à été consacrée à Kipling et à la recherche de son identité, quête chargée de toute une portée symbolique héritée des réalités de l'occident autant que des songes de l'enfance. Enfin, notre troisième partie a été de recréer en recourant à toutes les formes possibles de l'analyse, plus qu'un paysage de l'Inde, un univers symbolique, ainsi l'Inde de Kipling a été décrite tour à tour comme symbole de paradis, de nostalgie ou d'enfer, symbole de l'empire britannique et du monde actif, symbole de la quête religieuse et enfin symbole du mondeIn the symbolism of India, the word "symbol" is considered as meaning an "image". It is the "image" of India herself. Kipling's India is suggested by the immediate object and the description that he gives us grows into a "vision", then becomes a "symbol". India is the symbol of the world and of life. And, as India is intimately linked to the stages and roots of Kipling’s life, she is not only an external symbol, but also an inner one. India is linked to what is innermost in the personal nature of the man Kipling, his life, his sentiments and his ideas. To explain this, we have used the psychological method associated with the sociological one in the first part entitled "India in Kipling’s life", the second part is about Kipling’s search for identity, a quest for the other self with a whole symbolic value inherited of the realities of the west as well as of the dreams of childhood. Finally, in the third part we have described the landscape of India herself as a symbolic universe. Thus, Kipling’s India has been described as a symbol of paradise, of nostalgia, of hell, a symbol of the British Empire and the world of action, a symbol of the religious quest and lastly a symbol of the world
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Dor, Laili. "L'ecriture plurielle dans la fiction de rudyard kipling". Paris 3, 1999. http://www.theses.fr/1999PA030100.
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Le present travail envisage l'oeuvre de kipling comme la transcription d'un monde sans cesse menace d'eclatement, qu'il s'agisse des crises intestines de l'empire ou de la premiere guerre mondiale. Kipling renonce aux canons litteraires victoriens pour adopter une ecriture novatrice, fondee sur la pluralite. Cette ecriture plurielle se caracterise par sa fragmentation : kipling privilegie la nouvelle, et rompt le fil du recit, en introduisant notamment dans le texte une variete de langues et de dialectes. La pluralite, pour kipling, est aussi profondeur, depuis la profondeur concrete des entrailles de la terre jusqu'a la profondeur abstraite du sens cache. L'ecart entre surface et profondeur devient alors l'objet d'un jeu, par le biais de diverses pratiques de travestissement, qui trouvent leur apogee dans le great game, l'organisation d'espionnage de kim. Le travestissement est une incitation, pour les personnages comme pour le lecteur, a developper des capacites hermeneutiques, que kipling presente en contrepoint avec le parcours mystique de la quete. Dechiffrer le monde, comme dechiffrer le texte, c'est percevoir son sens profond et ses lignes de coherence. Le lecteur perspicace decouvre ainsi, tout au long de l'oeuvre de kipling, un reseau d'echos et de recurrences. L'organisation de la pluralite passe egalement par la mise en harmonie des differentes voix du texte, qui temoigne du reve de l'auteur de se faire (en)chanteur.
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Nightingale, Nicola. "A man for all reasons : colonialism and the cult of masculine reticence in Kipling's writing /". Thesis, Hong Kong : University of Hong Kong, 1998. http://sunzi.lib.hku.hk/hkuto/record.jsp?B19977001.
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Kemp, Sandra Dawn. "Limits and renewals : transformations of belief in Kipling's fiction". Thesis, University of Oxford, 1985. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.385495.
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Welby, Elizabeth. "Out of Eden : mapping psychic spaces in Rudyard Kipling's fiction". Thesis, University of East Anglia, 2010. https://ueaeprints.uea.ac.uk/34230/.
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Stuckey, Lexi. "Something of himself : textual and historical revision in Rudyard Kipling's Kim /". Read thesis online, 2008. http://library.uco.edu/UCOthesis/StuckeyL2008.pdf.
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De, Brito Ana Cassilda Saldanha. "Rudyard Kipling's Just So Stories translated into Portuguese : contexts and text". Thesis, University of Glasgow, 1999. http://theses.gla.ac.uk/4874/.
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The aim of this thesis is twofold: to present a translation into Portuguese of Just So Stories by Rudyard Kipling informed by a consideration of textual, contextual and extratextual parameters; and to treat some key issues In Translation Theory and practice which have arisen out of the process of translating the text. The thesis is divided into two parts: Part One, the Introduction; and Part Two, the Translation. In Chapter One of Part One, the evolution of the reception of Kipling's oeuvre is summarised. His work became controversial, with a discrepancy between critical reservation and public acclaim. Against this background, the writings intended primarily for children form an exception. Critical response to this category, although restricted, has generally supported the favourable view of the public. Among the works most highly praised has been Just So Stories. This favourable, although scarce, attention suggests that a detailed critical examination of the text is essential to a full understanding of Kipling's work. Consequently, Just So Stories is considered in terms of its origins, critical reception, style, literary affiliations and possible sources. General points are illustrated by case studies drawn from the text. In Chapter Two, the complex factors which determine what works are translated are summarised. In contemporary Portugal, children's literature publishing is flourishing, and Kipling is represented almost exclusively as a children's author. So, a balanced view of his work is inaccessible to the Portuguese reader. Even within the field of children'S literature, Kipling is not faithfully represented. The only published translation of Just So Stories into Portuguese is an unacknowledged adaptation of a French translation, itself an incomplete version of the original English text. This Portuguese version raises wide issues about the function and role of the translator, which are discussed in detail, with reference to the work of leading theorists of translation theory. In Chapter Three, in order to deal with the factors relevant to the translation of Just So Stories, a distinction is drawn between problems resulting from culture-specific differences and problems resulting from differences in the structures of the two languages. The problems are identified and analysed, and specific case studies drawn from the translation are adduced in illustration of the solutions adopted. As a result of the task of translating Just So Stories and of the study of Translation Theory texts, a view of translation as an approximation and of the translator as a visible interpreter has been reached. Part Two of this thesis consists of the translation of the twelve stories published in 1902, and of the two extra stories published later, 'The Tabu Tale' and 'Ham and the Porcupine'. Notes are kept to a minimum and are only intended to supplement the discussion of translation problems carried out in Chapter Three.
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Miladi-Cherif, Hajer. "Lieux d'écriture : les patries imaginaires de Rudyard Kipling et Salman Rushdie". Paris 3, 2001. http://www.theses.fr/2001PA030053.
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Cette etude s'insere dans le cadre du debat postcolonial en s'engageant dans une lecture relationnelle de rudyard kipling et salman rushdie et en cherchant a decrire la negociation ideologique et poetique qui anime leurs versions respectives de la rencontre anglo-indienne a des moments clefs. Si la litterature postcoloniale est generalement consideree en termes de reecriture et de << contre-attaque >> par rapport au canon occidental, l'objectif de cette etude est de demontrer que dans le cas de rushdie, une telle structure oppositionnelle est problematique puisqu'elle dissimule aussi un vaste champ d'intersections imaginaires et que les frontieres entre discours colonial et postcolonial peuvent etre mouvantes. Afin de pouvoir examiner ces lieux d'ecriture, le premier chapitre de cette etudeest consacre aux formes utilisees pour transcrire l'inde ainsi qu'aux couleurs attribuees a l'espace narratif. Le deuxieme chapitre etudie la maniere dont l'ecriture s'elance dans le grand jeu de la traduction, de l'espionnage et du voyeurisme, a la recherche de modalites de connaissance de l'inde. Le troisieme chapitre est consacre a la representation de l'alterite indienne chez kipling et a la maniere dont la fiction de rushdie cherche a deconstruire les typologies kiplingienne selon une redistribution des roles. Toutefois, cette deconstruction trouve ses limites quand il s'agit de la representation de l'alterite feminine. Dans le dernier chapitre, les filiations et les structures d'appartenance qui emergent des configurations familiales chez les deux auteurs sont elargies a une consideration generale des affiliations de l'ecriture a ses contextes de reception.
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Khanum, Suraiya. "Gender and the colonial short story: Rudyard Kipling and Rabindranath Tagore". Diss., The University of Arizona, 1998. http://hdl.handle.net/10150/282819.
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Gender is given a new definition that differs from the feminist conceptualization of the issue in this study of selected short stories by Rudyard Kipling (1865-1936) and Rabindranath Tagore (1865-1941). In the colonial ordering or pervasive power mechanism, gender regulates all men and all women. Gender is just as manifest in race, class, rank, manners, and beliefs as it is in sexual ordering. My new coinage of the term "genderization" is defined as an enforcement of power relationships and indicates either a negative or positive effect on society within colonial practices. Literature seen as an avenue of creative genderization leads to a fresh assessment of Kipling and Tagore. Despite a history of divisive practical conditions and a negative discursive heritage, a creative and conciliatory transformation of gender is contained within the short fiction of Kipling and Tagore. Indispensable in understanding postcolonialism, yet not credited for it, Kipling spoke from the forum of the ruling Anglo administration and indirectly undermined the rigid race policy. This author deserves more recognition for the cross cultural healing gestures within his Indian short stories. Tagore, the first non-European Nobel Prize winner and the father of Indian modernism, spoke in a muted manner to appease the persistent censorship and the hostilities of the orthodox Hindus against his desired modernist reforms. Well known in the West for his lyrical poetry, easily accredited as the spiritual mentor of Gandhi, Tagore is much less understood as a writer who used short story as a positive vehicle of reform. The idea of "structuration" proposed by Anthony Giddens, defines society in three distinct yet interactive structures that cover the practical world (political, economic, bureaucratic, and military), the discursive tradition (religion, literature, media, and education), and the unconscious (myth, music, cultural beliefs). Giddens' kinetic, inclusive, and flexible model helps to elucidate these cryptic short stories written during a transitional period of high imperialism. Biographical and sociopolitical data are intertextually brought together to reveal the subtexts of the short stories. These two dissimilar authors, responding to the great paradigm shift of modernism, nonetheless project an ideal world of rational and material progress in an international global union.
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Threadgold, Jocelyn Marie. "Rudyard Kipling and the Empire : responses to The Jungle books and Kim /". Title page, contents and conclusion only, 2002. http://web4.library.adelaide.edu.au/theses/09AR/09art5311.pdf.
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RANDOL, GARRY. "Ordre et désordre dans les nouvelles et écrits journalistiques de Rudyard Kipling". Lille 3, 1992. http://www.theses.fr/1992LIL30008.
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Dans la grande diversité thématique des nouvelles et des écrits journalistiques de Kipling, le sentiment de la fragilité des structures de l'ordre interne et externe constitue une préoccupation constante. Ces oeuvres révèlent l'évolution de la réflexion de Kipling sur cette question. Dans les écrits de la période anglo-indienne c'est l'homme d'action à la frontiere impériale qui assume la fonction de défenseur d'une certaine vision de l'ordre, alors qu'après son depart de l'Inde, et surtout après la guerre des Boers, le sentiment de vulnérabilité nationale amène Kipling à adopter les thèses d'un conservatisme extrêmiste et militariste. Après la guerre, marqué par la mort de son fils, Kipling tourne son attention vers des thèmes plus intimes : comment guérir les désordres dont souffrent ceux qui reviennent du front, comment s'adapter au profond sentiment d'injustice provoqué par le deuil. Si le traitement du thème de l'ordre évolue au cours de la vie de Kipling, les écrits retracent une quête qui n'aboutit pasIn the broad thematic diversity of kipling's short prose works, the sense of the fragility of structures of internal and external order constitutes a constant preoccupation. These works reveal the evolution of kipling's reflection on this question. In the early anglo-indian writings it is the man of action at the imperial frontier who assumes the function of defending a certain vision of order, whereas after leaving india, and especially after the boer war, a sense of national vulnerability leads kipling to take a politically reactionary and militaristic stance. In post-war years, marked by the death of his son, kipling turns his attention to more intimate themes: how best to cure the physical and mental disorders effecting thos returning from the fighting, and how best to adapt to the deep sense of injustice caused by bereavement. If kipling's treatment of the theme of order evolves in the course of his life, the writings trace a quest which comes to no successful issue
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Wilkes, Jacob M. "Speaking of Myself: Independence, Self-Representation, and the Speeches of Rudyard Kipling". Diss., CLICK HERE for online access, 2009. http://contentdm.lib.byu.edu/ETD/image/etd2867.pdf.
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Lowry, Maria Elizabeth. "Plain tales and puzzles : narrative strategies in the short stories of Rudyard Kipling". Thesis, University of Oxford, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.324548.
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Devadawson, Christel Rashmi. "Indian thought, myth and folklore in the fiction of Rudyard Kipling and E.M.Forster". Thesis, University of Cambridge, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.240919.
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Raimbault, Elodie. "Figures de l'espace et de la frontière dans la fiction de Rudyard Kipling". Thesis, Paris 3, 2009. http://www.theses.fr/2009PA030128.
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Voyageur durant toute sa vie, connaisseur de l’Inde, des États-Unis, de l’Afrique du Sud et du Sussex, défenseur de l’Empire britannique quand sa stabilité territoriale est menacée, Rudyard Kipling possède une expérience de l’espace mondial directe et physique qu’on retrouve problématisée sur les plans thématique, narratif et stylistique dans sa fiction. La notion de frontière produit à tous niveaux des relations de différentiation et d’opposition mais aussi de contact et d’échanges : le voyage se fait conquête, aventure ou vagabondage, le rapport à l’espace est politique ou poétique. L’espace impérial est nécessairement délimité et Kipling conçoit un Empire agent fédérateur d’une mosaïque de nations. Stylistiquement, la phrase de Kipling parvient de même à fédérer des langues et registres variés sans nuire à l’unité textuelle et la narration se fonde sur l’articulation entre les éléments individuels et l’ensemble. L’instance narrative crée des lignes de convergence qui relient entre eux les récits en créant des réseaux d’œuvre à œuvre, aboutissant à la construction partielle d’un monde cohérent et à une possibilité d’ouverture dans cet espace balisé. L’économie interne des œuvres les révèle en tant qu’objets composites et unifiés, faisant jouer poèmes et illustrations au sein de recueils de nouvelles, intrigue principale et micro récits dans les romans. Le texte est figuration à part entière lorsqu’il inclut une carte annotée et qu’il crée un espace typographique signifiant et moderne. Mettant en regard l’espace représentant et l’espace représenté, l’agencement du texte et celui du monde narratif qu’il peint, l’espace littéraire kiplingien fonctionne de façon dynamiqueRudyard Kipling was a traveller all his life and a champion of the British Empire at the time when its territorial stability was put at risk; he knew India, the U.S.A., South Africa and Sussex intimately. His direct and physical experience of the globe frames the thematic, narrative and stylistic characteristics of his novels and short story collections. Through the notion of borderline, relationships of differentiation, opposition, contact and exchange are built up thematically, in the narrative and in the style: the traveller is represented as a conqueror, an adventurer or a wanderer and global space is apprehended either politically or poetically. Imperial space is necessarily delineated and Kipling conceives of an Empire federating a mosaic of nations. Likewise, Kipling’s sentences stylistically patch up diverse languages, dialects and registers without endangering their textual unity and his narration hinges on the relation between separate elements and the whole text. The narrative authority creates converging lines between stories and networks appear between books, building up a coherent fictional world which suggests the possibility of an opening in this highly demarcated space. In their internal organisation, the books are at once composite and unified, the main narrative interacting with poems and illustrations in the short story collections and with micro narratives in the novels. Text becomes truly figurative in the annotated maps and when the typographical space is modern and significant. Kipling’s literary space dynamically confronts physical territories and a linguistic representative space, the textual organisation and the narrative world it depicts
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Au, K. W. "Defining spaces : clubs and their membership in the colonial fiction of Kipling, Orwell and Scott". Click to view the E-thesis via HKUTO, 2003. http://sunzi.lib.hku.hk/hkuto/record/B35731321.
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Chemmachery, Michaux Jaine. "Modernité et colonisation : les nouvelles sur l’empire de Rudyard Kipling et de Somerset Maugham". Thesis, Rennes 2, 2013. http://www.theses.fr/2013REN20026/document.
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Les nouvelles coloniales de Kipling et de Maugham mettent en scène, respectivement, la société anglo-indienne à l’époque du Raj et la vie dans les colonies anglaise et hollandaise des îles d’Asie du sud-est durant l’entredeux-guerres. Malgré ces spécificités contextuelles et l’écart temporel entre les époques auxquelles les deux auteurs écrivent leurs nouvelles, ces dernières sont invariablement traversées par le motif d’une colonisation pensée comme crise. Or le genre de la nouvelle porte formellement l’idée de crise. En utilisant le rapprochement opéré par les études postcoloniales entre modernité et colonisation comme paradigme de lecture, cette thèse montre comment la nouvelle peut opérer une prise spécifique sur ce rapport et se révéler lieu de trouble. Dans le cadre de cette réflexion sur la propension de ce genre à déstabiliser la modernité politico-philosophique et les idéologies qu’elle charrie – la promotion de la raison, du savoir, du progrès – il apparaît que les nouvelles de Kipling et de Maugham opèrent selon des modalités différentes. Celles de Kipling interrogent poétiquement le politique et la modernité tels qu’ils apparaissent dans leur spécificité coloniale par le biais d’une écriture qui opère depuis les marges, ce par un double décalage par rapport au roman domestique. Le fait même de prendre pour objet la société coloniale, elle-même située sur les marges de la société métropolitaine anglaise, s’inscrit en effet dans une écriture du décentrement. Les nouvelles de Maugham s’énoncent elles aussi depuis certainesmarges mais s’inscrivent davantage dans un constat général du déclin de la civilisation européenne durant l’entre-deux-guerres et dans une réflexion sur la situation de l’écrivain face à divers centres, sources d’autorité et de savoir. Le trouble que produit la nouvelle est donc certes lié au statut de « voix solitaire » de cette dernière mais surtout à sa position de marginalitéKipling’s and Maugham’s short stories respectively stage Anglo-Indian society during the Raj and English and Dutch colonial societies in interwar South-East Asia. In spite of contextual differences and the two specific moments when the authors wrote their short stories, the latter invariably deal with a problematic colonisation seen as a crisis while the genre of the short story formally conveys the notion of crisis. By using the relation between modernity and colonisation as it was conceptualised by the Postcolonial studies as a paradigm, this dissertation shows how short stories can operate a specific take on this relation and be considered as a site of disturbance. In this reflection on the propensity of short stories to destabilise political and philosophical modernity and the various ideologies it is associated with – such as the promotion of reason, of knowledge, of progress – Kipling’s and Maugham’s colonial short fictions seem to operate in different ways. Kipling’s short stories poetically question the “political” and modernity as they appear in the colonial paradigm through awriting that operates from a marginal position moving away from the domestic novel. By focusing on colonial society, itself being located on the margins of English metropolitan society, the writers’ works practise a decentering form of writing. Maugham’s short stories partake more of a general feeling about the decline of European civilisation in the interwar period but also reflect on the location of the writer who faces various centres which produce knowledge and cultural authority. The destabilising effect of the short story is certainly linked to its position as a “lonely voice” but above all to its marginal position
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Parker, Daniel S. "Phenomenology of Space and TIme in Rudyard Kipling's Kim: Understanding Identity in the Chronotope". Digital Archive @ GSU, 2012. http://digitalarchive.gsu.edu/english_theses/132.
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This thesis intends to investigate the ways in which the changing perceptions of landscape during the nineteenth century play out in Kipling’s treatment of Kim’s phenomenological and epistemological questions of identity by examining the indelible influence of space— geopolitical, narrative, and imaginative—on Kim’s identity. By interrogating the extent to which maps encode certain ideological assumptions, I will assess the problematic issues of Kim’s multi-faceted identity through an exploration of both geographical and narrative landscapes and the various chronotopes—Bakhtin’s term for coexisting frameworks of time and space—that ultimately provide a new reading of identity-formation in Kim.
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Carloni, Marta <1987>. "Pleasures and Pains of "Going Native" in Rudyard Kipling's Kim and Four Short Stories". Master's Degree Thesis, Università Ca' Foscari Venezia, 2015. http://hdl.handle.net/10579/6358.
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This dissertation aims to analyze the myth of “going native” in Rudyard Kipling’s Kim and four short stories, namely Miss Youghal’s ‘Sais’, Beyond the Pale, To Be Filed for Reference and The Man Who Would Be King. In the nineteenth century the expression “to go native” referred to colonizers who adopted the customs and the values of the colonized, but the phrase was sometimes used pejoratively to imply that the process of “going native” led to a physical and mental degeneration. In Kim and these four short stories by Kipling, the colonizers who “go native” in India do so for different reasons and with different outcomes. The five works I have selected are meant to illustrate the multiple facets of the myth of “going native” according to Kipling. This dissertation begins by assessing the ways in which India and the divide between East and West are represented in Kim and these short stories. It then proceeds to analyze the different aspects of the myth of “going native”, including both positive and negative interpretations of the same. Lastly, this dissertation ends with a comparison between these works by Kipling and Joseph Conrad’s Heart of Darkness, which also depicts a character who “goes native”. While Kipling’s early stories (Miss Youghal’s ‘Sais’, Beyond the Pale, To Be Filed for Reference and The Man Who Would Be King), like Heart of Darkness, focus on the negative or ambivalent aspects of “going native”, Kim contains an unexpectedly positive representation of this fantasy, which suggests an optimistic re-interpretation of the myth by Kipling.
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Baneth-Nouailhetas, Emilienne L. "Le roman anglo-indien de Rudyard Kipling à Paul Scott : discours colonial et discours poétique". Paris 3, 1995. http://books.openedition.org/psn/3753.
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Ce travail a pout but de souligner les marques de genericite qui permettent de faire valoir l'unite de la fiction anglo-indienne. En examinant des oeuvres romanesques de r. Kipling (kin), f. A stell (on the face of the waters), a. Perrin (the woman in the bazaar), e. M. Forster (a passage to india), g. Orwell (burmese days) et paul scott (the raj quartet), l'etude y releve la preponderance du discours ideologique, element indispensable de la fiction coloniale et anglo-indienne. Le discours colonial y est integre comme un instrument de la reflexion narrative sur les modalites de production du texte litteraire. Il engendre ainsi un discours poetique dont l'evolution dans la chronologie des oeuvres temoigne de la specificite et du dynamisme de l'ecriture anglo-indienne. Le discours ideologique colonial fonde en effet une certaine approche romanesque, s'imposant a des recits qui sont toujours subordonnes a la doctrine : qu'il soit une demonstration de la doctrine ou son invalidation, le recit ne peut eviter de s'y referer car la situation coloniale est le contexte qui rend le recit possible. Le discours ideologique est donc toujours l'antecedent du recit anglo-indien mais il devient vecteur de creation romanesque et d'innovation : les romans successifs enrichissent une quete poetique infinie en recherchant les moyens de s'affranchir de cette empreinte hypotextuelleThis study seeks to underline the "generic" characteristics which evince the liberary unity of angloindian fiction. Through an investigation of novels by r. Kipling (kim), f. A. Steel (on the face of the waters), alice perrin (the woman in the bazaar), e. M. Forster (a passage to india), g. Orwell (burmese days), and paul scott (the raj quartet), this analysis underlines the dominance of ideological discourse as an essential element of colonial fiction, and more specifically, of the angloindian novel. The colonial discourse is absorbed by the narrative process and becomes the insturment of a poetic reflection on the modes of textual production. It thus breeds a poetic discourse which demonstrates, in its chronological evolution, the specificity and dynamism of anglo-indian fiction : the ideological discourse initiales a certain novelistic approach, and imposes itself upon narratives which inevitably refer to it. Indeed, whether it confirms or refutes colonial doctrines, the narrative cannot but acknowledge the existence of this discourse, as the colonial situation is the very context of its creation the anglo-indian narrative is therefore always predetermined by a hypotextual discourse, but this discourse becomes a vehicle of literary creation, as the anglo-indian novel constantly seeks to break free from its hold through innovative poetic techniques
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Uhlén, Karin. "A White Orphan’s Educational Path in British India : A Postcolonial Perspective on Rudyard Kipling’s Novel Kim". Thesis, Linnéuniversitetet, Institutionen för språk (SPR), 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-49439.
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In this essay Rudyard Kipling’s novel Kim (1901) is dealt with from a postcolonial perspective, and the aim is to show how three father figures - Colonel Creighton, Mahbub Ali and the lama - individually influence Kim’s education. Furthermore, how their point of view on education and parenting can be used to understand the larger concepts of postcolonialism and the pedagogy of Empire. This essay will argue that Kipling provides three different approaches to education that each can be considered the most suitable for a white orphan in British India during the late nineteenth century. Colonel Creighton is the personification of the imperial mindset, an authoritarian leader who strongly believes in institutions such as schools. Whereas Mahbub Ali, the wild horse from beyond the border and a servant of the Great Game, advocates freedom and a non-institutionalised form of education. Last but not least, the Buddhist lama from Tibet wishes to make Kim his chela and teach him the Wheel of Life. Reading Kipling’s novel Kim helps us to create an awareness of how the world order has changed during the decades and also gives us the opportunity to look at our present time in different lights.
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Estus, Steven Clark. "Home and who: A rhetorical analysis of Rudyard Kipling's "Tiger! tiger!' and "Letting in the jungle"". CSUSB ScholarWorks, 2003. https://scholarworks.lib.csusb.edu/etd-project/2343.
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These stories are representative of an idea that is repeatedly expressed both in the concrete details of Kipling's stories and in the way he uses language. It is possible to see that Kipling, the archetypical man of the empire, may not always have been the empire's man in his work; and causes for that may be found in the alluring, very non-English place he lived in for several years of his youth: India.
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Pfeffer, Adam Keith. ""The Little Stop Before the Words": Bildungsroman and the Building of a Colonial Discourse in Rudyard Kipling's "Kim"". W&M ScholarWorks, 2001. https://scholarworks.wm.edu/etd/1539626314.
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Griffiths, Sheila Margaret. "Kim and his progeny". Thesis, Hong Kong : University of Hong Kong, 1999. http://sunzi.lib.hku.hk/hkuto/record.jsp?B21240966.
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Martin, Michael G. "A Study of the Original Composition "Land of Our Birth" for Male Chorus, Brass, Percussion, Woodwinds, and Piano". The Ohio State University, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=osu1376500829.
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Samee, Sabir Abdus. "White Man’s Burden in Rudyard Kipling’s “The Limitations of Pambe'Serang”, “At the End of the Passage” and “Only a Subaltern”". Thesis, Högskolan Dalarna, Engelska, 2005. http://urn.kb.se/resolve?urn=urn:nbn:se:du-1403.
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Lall, Sumita. "Rudyard Kipling, Hollywood, and the imperial gaze, the politics of looking in Kipling's 1901 novel and MGM's 1950 film Kim". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape11/PQDD_0011/MQ52591.pdf.
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Marsh, Darren Lee. "Literary commerce in the late nineteenth century : Robert Louis Stevenson, Rudyard Kipling and the conditions for a profession of authorship". Thesis, University of Birmingham, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.409493.
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Becker, Elizamari Rodrigues. "Forças motrizes de uma contística pré-modernista : o papel da tradução na obra ficcional de Monteiro Lobato". reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2006. http://hdl.handle.net/10183/7650.
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Este estudo objetiva analisar três forças motrizes que muito influenciaram a escritura de Monteiro Lobato: o conto, a tradução e a ideologia humanista. Conhecido por sua literatura infantil, pouco se estudou sobre sua obra adulta e menos ainda sobre sua profícua atividade tradutória. Como contista, Lobato pode ser dito – ao lado de Machado de Assis – um dos grandes incentivadores do conto, resgatando-o de sua posição marginal e elevando-o à categoria de gênero literário em uma época geralmente negligenciada pela crítica – sua produção anterior à Semana de Arte Moderna (1922) –, alcançando seu público através de estratégias de marketing inovadoras e, portanto, formando um novo público leitor brasileiro. Seus ideais nacionalistas e suas crenças ideológicas estão presentes em tudo o quanto escreveu, proporcionando ao leitor do século XXI um claro panorama de sua época. O humanismo é, se não a mais visível ideologia em sua obra, a que gerou maior conflito, sobretudo em contraste com sua formação cristã e seu refinado tom pessimista. Tendo traduzido mais de cem livros, Lobato contribuiu indiscutivelmente tanto para a circulação quanto para a edição de obras traduzidas – inglesas e norteamericanas em sua maioria –, enriquecendo, dessa forma, nosso polissistema literário e promovendo uma sensível mudança no status da tradução, marginal e secundária na época. Ele consciente e cuidadosamente escolhia o que traduzia com o intuito de alcançar um objetivo: dar ao público leitor brasileiro – especialmente ao infantil – literatura estrangeira de qualidade. Segundo ele, Kipling estava arrolado entre os “sumos” contistas, o que o levou a traduzir e publicar suas obras, experiência que resultou tanto na apropriação quanto na expropriação daqueles textos, o que pode ser facilmente verificado por qualquer leitor atento tanto da contística quanto do epistolário de Lobato, nas muitas estratégias por ele empregadas: empréstimos, invocações de personagens, reconstrução de histórias e imagens das narrativas de Kipling.
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BALDI, ROBERTA GIOVANNA. "I "Departmental Ditties" di Rudyard Kipling: dalla serie del 1886 apparsa sulla Civil and Military Gazette alla sequenza inglese del 1890". Doctoral thesis, Università Cattolica del Sacro Cuore, 2007. http://hdl.handle.net/10280/164.
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La tesi investiga i Departmental ditties' di Rudyard Kipling.
Il capitolo uno delinea in particolare la permanenza dell'autore in India come sub-editor' della Civil and Military Gazette, che tra il febbraio e l'aprile del 1886 pubblica la serie dei Departmental Ditties'. Il capitolo due esamina i dieci microtesti originari. Il capitolo tre discute le maggiori alterazioni testimoniate dalla sequenza poetica nelle sue prime quattro edizioni in Departmental ditties and other verses (1886, 1888 E 1890).The dissertation investigates Rudyard Kipling's 'Departmental Ditties'. Chapter One refers in particular to Kipling's sojourn in India as sub-editor of the Civil and Military Gazette, which between February and mid-April 1886 published the 'Departmental Ditties' series. Chapter Two investigates the ten original poems. Chapter Three discusses the main alterations of the sequence by comparing its first four editions in the poetic collection departmental ditties and other verses (1886, 1888 and 1890).
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BALDI, ROBERTA GIOVANNA. "I "Departmental Ditties" di Rudyard Kipling: dalla serie del 1886 apparsa sulla Civil and Military Gazette alla sequenza inglese del 1890". Doctoral thesis, Università Cattolica del Sacro Cuore, 2007. http://hdl.handle.net/10280/164.
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La tesi investiga i Departmental ditties' di Rudyard Kipling.
Il capitolo uno delinea in particolare la permanenza dell'autore in India come sub-editor' della Civil and Military Gazette, che tra il febbraio e l'aprile del 1886 pubblica la serie dei Departmental Ditties'. Il capitolo due esamina i dieci microtesti originari. Il capitolo tre discute le maggiori alterazioni testimoniate dalla sequenza poetica nelle sue prime quattro edizioni in Departmental ditties and other verses (1886, 1888 E 1890).The dissertation investigates Rudyard Kipling's 'Departmental Ditties'. Chapter One refers in particular to Kipling's sojourn in India as sub-editor of the Civil and Military Gazette, which between February and mid-April 1886 published the 'Departmental Ditties' series. Chapter Two investigates the ten original poems. Chapter Three discusses the main alterations of the sequence by comparing its first four editions in the poetic collection departmental ditties and other verses (1886, 1888 and 1890).
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Hart, Catherine Elizabeth. "English or Anglo-Indian?: Kipling and the Shift in the Representation of the Colonizer in the Discourse of the British Raj". The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1337258865.
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Soubigou, Gilbert. "Le theme de l'aventurier-roi au vingtieme siecle". Nantes, 1988. http://www.theses.fr/1988NANT3004.
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L'aventurier-roi est un personnage oublie en marge du pouvoir colonial. Dans la realite, james brooke, david de mayrena et t. E. Lawrence ont ete des aventuriers fondateurs de royaumes. En litterature, le theme de l'aventurier-roi au vingtieme siecle est illustre par kipling (le personnage de dravot dans l'homme qui voulut etre roi), conrad (kurtz dans coeur des tenebres), jules et michel verne (killer dans l'etonnante aventure de la mission barsac), malraux (perken-grabot dans la voie royale et clappique-mayrena dans le miroir des limbes), schoendoerffer (learoyd dans l'adieu au roi). Dans la realite comme dans la fiction, le reve eveille et la quete prometheenne conduisent a la prise de pouvoir mais aussi a la chute, et l'itineraire de l'aventurier-roi se termine dans la derision et le "qu'importe?". L'aventure du royaume a ete, neanmoins, un anti-destinThe king-adventurer is a forgotten character, on the fringe of colonial power. In their lives, james brooke, david de mayrena and t. E. Lawrence have been king-adventurers, adventurers who have founded kingdoms. In literature, that theme has been respectively illustrated by kipling (the character of dravot in the man who whould be king), conrad (kurtz in heart of darkness), jules and michel verne (killer in l'etonnante aventure de la mission barsac), malraux(perkengrabot in la voie royale and clappique-mayrena in le miroir des limbes), schoendoerffer (learoyd in l'adieu au roi). In reality as in fiction, the promethean quest for a kingdom, born in day-dream, ends in derision and in the "is it worth it?" nevertheless, the adventure of the kingdom has been a counter-fate
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Hultqvist, Kristian. "Den gröne mannens börda : Kolonial plikt i H G Wells The War of the Worlds". Thesis, Stockholms universitet, Institutionen för kultur och estetik, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-196217.
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In 1898, H G Wells published The War of the Worlds, a scathing indictment of colonialism from the perspective of the colonized. The following year, Rudyard Kipling penned The White Man’s Burden, describing colonial conquest as driven by duty, for the sake of the subjugated. They shared a vantage point from the literary pedestal of fin-de-siècle London, but what they saw was very different. The War of the Worlds can be read as an allegory of colonialism where the tables are turned and the colonial masters are suddenly exposed to a ruthless and technologically superior power. What can be inferred about the Martians’ motives? Can they be perceived as driven by duty, by wishing to take care of or serve their captives’ needs? With the information provided in the The War of the Worlds, could a Martian Kipling write “The Green Man’s Burden” to motivate the invasion of the Earth? Using postcolonial tools of analysis, this essay digs into the britishness of Wells’ colonizers and colonized, as well as into the britishness of Wells’ own perspective. Some postcolonial theorists argue that representatives of the colonial powers cannot represent the subjugated. Does his background and nationality disqualify Wells to describe the effects of colonialism? I argue that it does not. Staying in the social space of the West helped Wells erode the ideology of colonialism by tailoring it to be received and understood by his target audience, his contemporary countrymen.
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Delmas, Catherine. "L'Orient dans le roman britannique, 1895-1950 : mythe et réalité". Paris 4, 1996. http://www.theses.fr/1996PA040016.
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La représentation de l'Orient dans le roman britannique moderne ne peut se limiter à l'exotisme et au pittoresque de sa couleur locale. Au-delà du mythe réducteur d'un Orient fabuleux de nombreux romans présentent une vision de l'Orient qui si elle a pu être influencée par l'orientalisme et le contexte idéologique impérialiste de l'époque, n'en offre pas moins la représentation d'une réalité: celle d'un retour au sacré, d'une part, pour des écrivains tels que Forster et Kipling qui se tournent vers l'hindouisme et le bouddhisme pour y puiser de nouveaux mythes; celle de l'imaginaire, d'autre part, lorsque les mythes associés à l'Orient dans les romans du corpus révèlent certains archétypes ancrés au plus profond de notre imaginaire. Le roman d'aventures devient ainsi celui de l'aventure de l'âme et le voyage mythologique l'expression métaphorique d'une quête existentielle menant le héros dans le monde clos de son refuge où il mêle de façon paradoxale repli sur soi et quête de transcendance. Lorsque le mythe paradisiaque se fait descente aux enfers, mythe et réalité de l'Orient s'inscrivent alors dans une représentation métaphysique plus vaste du mondeThe way the east is represented in the modern British novel cannot be limited to an exotic or a picturesque description. Beyond the clichés and the limitations imposed by the myth of the fabulous east, most novels offer a vision which comes close to reality - although it may have been influenced by orientalism and the imperialistic context of the time: firstly when such as foster and Kipling turn to the sacred myths of Hindu and Buddhist civilizations and cultures; secondly when the myths that are usually associated with the east reveal various archetypes anchored in man's imagination. The adventure novel becomes the soty of an inner journey into the self. The mythological voyage is then the metaphorical representation of an existential quest undertaken by a hero looking for an eastern refuge where he hopes to forget the outside world and reach transcendence. When the myth of the Garden of Eden becomes a descent into hell, the myth and the reality of the east are ultimately part of a metaphysical representation of the world
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Gosling, Edward Peter Joshua. "Tommy Atkins, War Office reform and the social and cultural presence of the late-Victorian army in Britain, c.1868-1899". Thesis, University of Plymouth, 2016. http://hdl.handle.net/10026.1/4359.
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This thesis examines the development of the soldier in late-Victorian Britain in light of the movement to rehabilitate the public image of the ordinary ranks initiated by the Cardwell-Childers Reforms. Venerated in popular culture, Tommy Atkins became a symbol of British imperial strength and heroism. Socially, however, attitudes to the rank-and-file were defined by a pragmatic realism purged of such sentiments, the likes of which would characterise the British public’s relationship with their army for over thirty years. Scholars of both imperial culture and the Victorian military have identified this dual persona of Tommy Atkins, however, a dedicated study into the true nature of the soldier’s position has yet to be undertaken. The following research will seek to redress this omission. The soldier is approached through the perspective of three key influences which defined his development. The first influence, the politics of the War Office, exposes a progressive series of schemes which, cultivated for over a decade, sought to redefine the soldier through the popularisation of military service and the professionalisation of the military’s public relations strategy and apparatus. A forgotten component of the Cardwell-Childers Reforms, the schemes have not before been scrutinised. Despite the ingenuity of the schemes devised, the social rehabilitation of the soldier failed, primarily, it will be argued, because the government refused to improve his pay. The public’s response to the Cardwell-Childers Reforms and the British perception of the ordinary soldier in the decades following their introduction form the second perspective. Through surveys of the local and London press and mainstream literature, it is demonstrated the soldier, in part as a result of the reforms, underwent a social transition, precipitated by his entering the public consciousness and encouraged by a resulting fascination in the military life. The final perspective presented in this thesis is from within the rank-and-file itself. Through the examination of specialist newspaper, diary and memoir material the direct experiences of the soldiers themselves are explored. Amid the extensive public and political discussion of their nature and status, the soldier also engaged in the debate. The perspective of the rank-and-file provides direct context for the established perspectives of the British public and the War Office, but also highlights how the soldier both supported and opposed the reforms and was acutely aware of the social status he possessed. This thesis will examine the public and political treatment of the soldier in the late-nineteenth century and question how far the conflicting ideas of soldier-hero and soldier-beggar were reconciled.
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Leadingham, Norma Compton. "Propaganda and Poetry during the Great War". Digital Commons @ East Tennessee State University, 2008. https://dc.etsu.edu/etd/1966.
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During the Great War, poetry played a more significant role in the war effort than articles and pamphlets. A campaign of extraordinary language filled with abstract and spiritualized words and phrases concealed the realities of the War. Archaic language and lofty phrases hid the horrible truth of modern mechanical warfare. The majority and most recognized and admired poets, including those who served on the front and knew firsthand the horrors of trench warfare, not only supported the war effort, but also encouraged its continuation. For the majority of the poets, the rejection of the war was a postwar phenomenon. From the trenches, leading Great War poets; Owen, Sassoon, Graves, Sitwell, and others, learned that the War was neither Agincourt, nor the playing fields of ancient public schools, nor the supreme test of valor but, instead, the modern industrial world in miniature, surely, the modern world at its most horrifying.
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Roberts, Timothy Paul English UNSW. "Little terrors:the child???s threat to social order in the Victorian bildungsroman". Awarded by:University of New South Wales. English, 2005. http://handle.unsw.edu.au/1959.4/23930.
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This thesis is a study of rebellious child protagonists in Victorian bildungsroman. It discusses five novels ??? Jane Eyre, The Mill on the Floss, What Maisie Knew, Vanity Fair and Kim ??? that feature ???radical child??? protagonists who use indirect methods of narrative control to resist conservative models of character development. It argues that these novels form a subset of subversive English bildungsromane, which threaten the genre???s traditionally liberal values. Theories of narrative desire, reader seduction and discursive manipulation are used to reveal how the radical child in the Victorian bildungsroman takes command of the reader???s sympathy and gains power over the realist text, despite its physical and social powerlessness. Especially important is the presence of a fantasy counterplot, which coexists with, and ultimately undermines, the bildungsroman???s realistic surface narrative of successful socialisation. The counterplot allows radical child protagonists to develop in a non-linear manner that contradicts bourgeois ideals of stable progress. Focusing instead on sites of rupture between the individual and society, subversive bildungsromane resist both the dialectical model of character, which aims to harmoniously unite the protagonist with the realist world, and the dialogic model of interaction, which requires the restriction of personal liberty for the common good. This rebellious child in the Victorian bildungsroman thus represents an assault on the genre???s democratic ideals. Rejecting compromise, the radical child replaces the bildungsroman???s central ethic of interpersonal responsibility with an individualistic ethic of domination. Indeed, the thesis argues that the appeal of such child protagonistslies in their rejection of the obligatory, but anticlimactic, exchange of freedom for security that underpins the realist bildungsroman???s social contract, a rejection attractive to the reader precisely because it is unrealisable in reality. Finally, the thesis compares this radical child with the Gothic monster. While the monster is punished for its subversion, the radical child???s counterplot enables it to enact most of its subversive desires unpunished. The conservative English bildungsroman thus becomes a more effective way of representing asocial energies than the more obviously radical Gothic genre, which openly displays its anti-democratic sentiments.
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Marty, Christophe. "L’aventure coloniale dans le roman britannique vue par le cinéma américain : King Solomon’s Mines (1950), Kim (1950), The Quiet American (1958 ; 2002), The Man Who Would Be King (1975), Apocalypse Now (1979 ; 2001)". Thesis, Paris 3, 2010. http://www.theses.fr/2010PA030125.
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Portant sur six adaptations hollywoodiennes de récits de Rider Haggard, Kipling, Conrad et Greene, ce travail analyse la manière dont le cinéma américain retravaille divers aspects des supports littéraires à des fins esthétiques [attention aux détails exotiques, remaniements narratifs, jeu des acteurs, couleurs, décors] et idéologiques [réflexion sur l’impérialisme colonial]. En confrontant les films et les récits qui les précèdent, il s’agit d’examiner la manière dont le cinéma prend appui sur la littérature pour tisser un réseau où transparaît le regard que Hollywood porte sur la tentation impérialiste américaineThe study focuses on six adaptations of narratives by Rider Haggard, Kipling, Conrad and Greene. It addresses the way Hollywood worked over several aspects of the literary works for aesthetic [attention to exotic details, reshaping of narratives, acting, colours, setting] as well as ideological purposes [a reflection on colonial imperialism]. Comparing the films with their literary antecedents, the study analyses the manner cinema is backed by literature to weave a network of signs which reveal Hollywood’s approach to American imperialist temptation
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Su, Pei-yi, i 蘇佩儀. "Dualism and Cultural Hybridity in Rudyard Kipling''s Kim". Thesis, 2003. http://ndltd.ncl.edu.tw/handle/58621197498967900779.
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碩士國立成功大學
外國語文學系碩博士班
91
As an imperialist writer, Kipling’s childhood sojourn in India caused a “double vision” in his works and raised controversy from post-colonial critics. Edward Said, a post-colonial critic, thinks of white writers like Kipling as an “imperial agent” of the British Empire as well as a jingoist who assists in passing on racism. Kipling’s Oriental stereotypes and his characterization of “benevolent despots” who recruit dissidence of the colonized by racial tolerance raised the so-called “The Kipling Controversy.” Through the Kipling controversy, this paper aims to discover how the two cultural hybrids in Kipling’s Kim demonstrates but challenges Said’s political interpretations and how they match “the mimic man” that the post-colonial critic Homi Bhabha proposes. In chapter one, Robert Young’s theory of “hybridity” is adopted to explain how the binary opposition of nature and culture reveals Kipling’s ambivalence towards Indianness and Englishness. In chapter two I focus on how Kipling juxtaposes the two cultural hybrids, Kim and Hurree Babu, in order to balance the power relationship between the ruler and the ruled. In chapter three, I mainly discuss the identity crisis of cultural hybrids, showing how Kipling tries to seek resolutions for colonial conflicts through Kim’s identity crisis. In chapter four, Homi Bhabha’s “The third space” is compared to Kipling’s “middle way,” uncovering both the political and the metaphysical sides of “cultural hybridity.” Through Kipling’s concept of cultural hybridity and dualism, on the one hand, we are informed that identity can be constructed for political use; on the other hand, we are also reminded that identity can be redefined metaphysically. Chapter five is a brief conclusion, summing up how Kipling’s concept of “cultural hybridity” lays the foundation of dualism in Kim and explores new ways of thinking for colonial literature.
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Brandão, Silvia Margarida Coelho. "Traduzir o texto colonial - Uma crítica de tradução comparativa de Kim". Master's thesis, 2017. http://hdl.handle.net/10316/85652.
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Dissertação de Mestrado em Tradução apresentada à Faculdade de LetrasEsta dissertação visa analisar, numa perspetiva diacrónica, a tradução de Kim, enquanto texto literário colonial. Nos primeiros dois capítulos, discutem-se a vida e a obra de Rudyard Kipling e apresenta-se sucintamente o romance que será objeto de análise. Segue-se uma reflexão sobre os conceitos de literatura e de tradução literária. No quarto capítulo, apresentam-se considerações sobre a teoria pós colonial, refletindo-se sobre o papel da tradução no projeto imperial e sobre as (ex )colónias como pontos de convergência cultural. No quinto capítulo, procede-se à contextualização das traduções em estudo, uma anterior, outra posterior à Revolução dos Cravos, discutindo o impacto da censura durante o Estado Novo e o mercado da tradução atual. No capítulo seguinte, procede-se à análise do corpus, nomeadamente no que diz respeito à tradução dos conceitos foreign (estranhos e estrangeiros), das epígrafes, da construção do outro, da escrita fonética e das formas de tratamento, bem como à questão da censura. Constata-se que o texto de 1990 é um texto mais domesticado e explicativo do que o de 1960, embora siga a estrutura do texto de partida mais de perto do que este. Observa-se também que, em ambos, existe uma maior preocupação com o conteúdo do que com a forma ou com os recursos de escrita não convencional empregados pelo autor. Finalmente, conclui-se que a tradução do texto colonial requer uma abordagem híbrida, igualmente preocupada com preservar a essência do texto de partida e assegurar a compreensão do leitor de chegada.
The aim of this thesis is to analyze, from a diachronic perspective, the translation of Kim, as a colonial literary text. The first two chapters present an overview of Rudyard Kipling’s life and work as well as of the novel which is the object of analysis. This is followed by a discussion of the concepts of literature and literary translation. The fourth chapter addresses postcolonial theory, focusing on the role that translation played in the imperial project and on (former) colonies as sites of cultural convergence. The fifth chapter aims at providing a context for the two translations under analysis, one published before, the other after the Portuguese Revolution of 1974, reflecting on the impact of censorship during the dictatorial period of the so-called Estado Novo and the current translation market. The following chapter focuses on corpus analysis, namely on the translation of foreign concepts, epigraphs, the construction of the other, phonetic writing and forms of address, as well as on the issue of censorship. The 1990 translation proves to be a more domesticated and explanatory text than the 1960 translation, although it follows the structure of the source text more closely than the other. It can also be noted that in both texts there is a greater concern with content than with form or the non conventional writing devices used by the author. Finally, it can be concluded that translating a colonial text requires a hybrid approach, equally concerned with preserving the essence of the source text and ensuring the target reader’s comprehension.
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Snider, Philip R. "A new pattern in a shift of light : a study of Rudyard Kipling as a 20th century writer". Thesis, 1993. http://hdl.handle.net/2429/1467.
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For most of the hundred years or so that Rudyard Kipling's works have been available in print, they have suffered under a certain amount of critical disapprobation. In many cases such criticism has been politically motivated, particularly among writers and critics of the Modernist movement. This is a paradox because, in his best works, Kipling shows a strong affinity for Modernist issues as demonstrated in his concern for the themes of isolation and abandonment, and the quest for healing, and in his use of indeterminate narrative structure. The dichotomies in his life and work have also resulted in profound misunderstandings of his writings. Nevertheless, his subjects and methods combine to establish Rudyard Kipling as a powerful and significant 20th century writer.
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Swamidoss, Hannah Monica. "The quest for a home : acculturation, social formations, and agency in British fiction, 1816-1911 /". 2008. http://proquest.umi.com/pqdweb?did=1500083211&sid=10&Fmt=2&clientId=10361&RQT=309&VName=PQD.
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Klunker, Ulf Rudyard [Verfasser]. "Bestand und Identität der human-teratologischen Präparate in den Meckel'schen Sammlungen unter besonderer Berücksichtigung des wissenschaftlichen Werkes von Johann Friedrich Meckel dem Jüngeren (1781-1833) / von Ulf Rudyard Klunker". 2003. http://d-nb.info/969420927/34.
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