Academic literature on the topic 'Aldous Huxley'

O presente estudo analisa a paixão da decepção na personagem John em Admirável Mundo Novo (HUXLEY, 2009). Para tanto, o trabalho de dissertação utiliza como base metodológica a Semiótica das paixões. O objetivo desse estudo é verificar como a estrutura social apresentada na obra de Huxley influenciou na decepção da personagem John. Diante disso, analisaram-se as estruturas das sociedades na obra, o imaginário de John sobre esses lugares e seu percurso em procurar um lugar no mundo. Por ser pertinente na compreensão das estruturas sociais apresentadas na obra, a dissertação fez um levantamento do contexto sócio-histórico do autor na criação das estruturas das sociedades de Admirável Mundo Novo. O estudo divide-se em três partes. O primeiro momento dedica-se a fazer um levantamento teórico sobre a Semiótica das paixões. A segunda parte do estudo é voltada a analisar as estruturas sociais apresentadas na obra Admirável Mundo Novo e a fazer uma relação com o período sócio-histórico no qual o autor se insere. O último capítulo do estudo dedica-se exclusivamente à paixão da decepção de John e como ela foi surgindo na personagem durante seu percurso em busca de um lugar no mundo.<br>This study analyzes the passion of disappointment in the character John from Brave New World, by Aldous Huxley. Therefore, this dissertation uses the semiotics of passions as a methodological basis. The aim of this study is to verify how the social structure presented in Huxley's oeuvre influences towards the character's disappointment. Thus, the structures of societies in the work are analyzed, as well as John's imaginary about those places and his journey in search for a place in the world. On account of its relevance to the understanding of social structures presented in the oeuvre, this study scrutinizes the socio-historical context of the author in creating the foundations of the societies in Brave New World. This work is divided into three parts. The first moment is dedicated to making a theoretical review of the Semiotics of passions. The second part of the study focuses on the analysis of social structures presented in Brave New World and relates them to the author's socio-historical period. The last chapter of the study is exclusively dedicated to John's passion of disappointment and to how it emerges in the character during his journey in search of a place in the world.

This dissertation is a study of the literature of Aldous Huxley, especially his fiction, with a particular focus on the issue of identity. By observing his representations of the self and Others, and by elucidating his attitude towards political and cultural problems pertaining to identity, I aim to reveal significant aspects of this topic, which have not been fully recognized in recent research on his work. Each chapter offers close readings of his texts biographically, historically and theoretically. Chapter I, “Self,” sheds light on Huxley’s early writing on the Great War, particularly the “Farcical History of Richard Greenow,” disclosing his insights into the mind, which are then compared with psychoanalytic discourses on human aggression. Chapter II, “Woman,” focuses on Point Counter Point and analyses female characters while considering the actual women around the author as well as gender criticism of the maternal and the feminine. Chapter III, “Savage,” examines Brave New World by contextualizing the Savage Reservation and the hero Savage with their possible sources in anthropology in order to align the text with postcolonial concerns. Chapter IV, “Mass,” delves into how Huxley deepened his Utopian ideas in his later career, and investigates specifically Eyeless in Gaza and Island in relation to Marxist discussions of Utopia and totality. With his sensitivity and imagination, the novelist Aldous Huxley consistently questioned the concept of identity in ways that might now seem postmodernist. However, his fear that loss of identity would lead to loss of meaning in life, history and the world prompted him to seek a paradoxical form of identity that was not fixed or exclusive, and that was based on his scientific and religious belief in the changing and hybrid “unity,” existing behind all animate and inanimate beings.

Made available in DSpace on 2015-05-14T12:40:03Z (GMT). No. of bitstreams: 1 arquivototal.pdf: 816611 bytes, checksum: 4117bbf74011ab28c0f0fccd2227f005 (MD5) Previous issue date: 2014-02-27<br>Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES<br>The present work analyzes Erico Veríssimo as a translator of Point counter point (1928) by Aldous Huxley in Globe Publishing House. His translation, Contraponto (1934), is analyzed in the context of translation and ideology of Vargas Age, a nationalist and authoritarian government. The methodology is developed via cultural transferences, and it intends to comprehend the trajectory of Erico Veríssimo as a translator and remake the translation process of Point counter point. The profile of the translator Veríssimo is initially traced through his first experiences at Globe Magazine, where he published rapid translations, inventing pseudonyms for them. Later on, he published translations of books internationally known and the translation process occurred in an elevated and more elaborated standard. The route and the choice of Contraponto translation initially presented an editorial audacity of Veríssimo, who risked commercially, once the literary work was dense and the author was not known in Brazil. However, it was a decisive point to the translator Veríssimo and to the divulgation of Huxley in Brazil. Contraponto became a best-seller and an editorial milestone. It was published in the Nobel Collection, which brings to the ordinary reader and the intellectuals of that epoch the translation of literary works of international repercussion, raising and enriching culturally its public. The editorial policy of Globe in translating the world classics is linked to the nationalist ideals of Vargas in valuing the role of vernacular language and the education in the search for an identity for the Nation. In a selective textual analysis from the concepts of specific cultural items in translation by Aixelá and the Theory of Polisystems, it is highlighted that translation is marked by conservation strategy (repetition), in a tendency of adequacy. The translation of Veríssimo permits the visualization of marks of foreign culture. Moreover, it does not nationalize cultural specificities, adding new information to the reader. With the concepts of translation and ideology brought by Lefevere, it is understood that rewriting can be inspired by ideological motivations. Therefore, it could be associated that Contraponto approaches ideological questions related to fascism, linking them to Vargas Age, with which had totalitarian similarities.<br>Este trabalho analisa Erico Veríssimo enquanto tradutor na Editora Globo da obra Point counter point (1928), de Aldous Huxley, intitulada Contraponto (1934), no contexto da tradução e ideologia no Regime Vargas, governo autoritário e nacionalista. A metodologia é desenvolvida via transferências culturais, buscando compreender a trajetória de Erico Veríssimo como tradutor e refazer o processo tradutório da obra de Huxley. O perfil do tradutor Veríssimo é traçado inicialmente através de suas primeiras experiências na Revista do Globo, onde lançava no mercado traduções rápidas, inventando pseudônimos para as mesmas; e, posteriormente, com a publicação de traduções de obras de renome internacional, onde o processo tradutório ocorria num padrão elevado e mais elaborado. O percurso e a escolha da tradução Contraponto representam inicialmente uma ousadia editorial de Veríssimo, arriscando-se comercialmente, uma vez que a obra era densa e o autor desconhecido no Brasil; e, de fato, foi um ponto decisivo para Veríssimo tradutor e para a divulgação de Huxley no Brasil. Contraponto foi sucesso de vendas e um marco editorial, publicado na coleção Nobel, que levava ao leitor médio e aos intelectuais da época as traduções de repercussão internacional, formando e enriquecendo culturalmente seu público. A política editorial da Globo de traduzir os clássicos mundiais coaduna com os ideais nacionalistas de Vargas de valorizar o papel da língua vernácula e da educação na busca da identidade da Nação. Numa análise textual seletiva a partir dos conceitos dos itens culturais específicos em tradução trazidos por Aixelá e da teoria de polissistemas, destacamos que a tradução é marcada pela estratégia de conservação (repetição), numa tendência à adequação. Sua tradução permite a visualização das marcas da cultura estrangeira, não nacionaliza especificidades culturais, acrescentando informações novas ao leitor. Com os conceitos de tradução e ideologia advindos de Lefevere, entendemos que a reescritura pode ser inspirada por motivações ideológicas, logo podemos associar o fato de Contraponto tratar de questões ideológicas ligadas ao fascismo com o Governo Vargas, que possuía semelhanças totalitaristas.

The early twentieth century saw the beginning of modern environmentalism. Intellectuals dreamed up solutions to the world’s problems and hoped for a better future being made possible by advances in science and technology. However, Aldous Huxley produced Brave New World which, as this essay argues, mocks the enthusiasm of his intellectual peers. The dystopian novel depicts a future in which technology dehumanizes the population, and uses a great deal of animal imagery to make this point. This essay analyses the use of animal imagery from an ecocritical perspective arguing that the “pathetic fallacy” is reversed. By examining the use of biotechnology and central planning in the novel, and applying the ecocritical perspective that humanity and nature are part of a whole, this essay argues that society resembles a farm for human animals, which is partly expressed by Huxley’s use of the image of a bee colony. The argument is presented that Huxley satirizes his environmentally concerned peers by depicting a totalitarian state which, though unconcerned with environmental issues, echoes the eco-fascist methods proposed by the author’s friends and family.