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Camus, Cyril. "Mythe et fabulation dans la fiction populaire de Neil Gaiman." Thesis, Toulouse 2, 2012. http://www.theses.fr/2012TOU20030.
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Les œuvres de Neil Gaiman sont souvent qualifiées de postmodernes dans la mesure où elles lient expérimentation et autoréflexivité à une démarche de fiction populaire qui leur paraît antagoniste. A l’inverse d'une œuvre postmoderniste typique, qui met en avant sa mise à nu des mécanismes fabulateurs, les métafictions et les parodies gaimaniennes restent des fictions fantastiques et merveilleuses où les enjeux fabulateurs (psychologie et parcours des personnages, intrigue, émotion et suspens) gardent leur place primordiale. Elles ne sont donc pas des œuvres expérimentales mêlées d'éléments de fiction populaire, mais des œuvres de fiction populaire autoréflexive. Cette posture singulière fait de ces œuvres un terrain d'exploration fertile pour la réflexion sur les spécificités de la fiction populaire, et sur la place privilégiée qu'y occupe la fabulation ("storytelling"), notion qu’Henri Bergson ou Frank McConnell considéraient comme le fil rouge entre l’écriture de fiction d’aujourd'hui et la mythopoèse religieuse d’autrefois. Cette dialectique instaurée entre fabulation, mythe et fiction populaire constitue le cœur thématique des œuvres de Gaiman, qui abondent en réécritures de mythes anciens, modernes, religieux, populaires, et en représentations de personnages d’écrivains et de conteurs traditionnels, ou de personae gaimaniennes, qui, au plus fort de l’intrigue comme aux confins du paratexte, au détour d’une préface ou d’une vignette de bande dessinée, forgent une représentation de la fiction comme mythe, de l’écrivain comme figure mythique du conteur, et de la fabulation comme activité humaine quintessentielle<br>Neil Gaiman’s fantasy works are often deemed postmodernist since they experiment with self-reflexivity and mix it with a supposedly antagonistic impulse towards popular fiction. Typical postmodernist works mostly emphasize their attacks against the fictional illusions of referentiality, character or plot. On the contrary, Gaiman’s works unapologetically remain within the bounds of fantasy, a genre in which imagination and storytelling are paramount–along with their related issues: characterization, plot, emotion and suspense. Thus, Gaiman’s fiction is not experimental fiction enhanced with elements of popular fiction, but actual popular fiction made self-reflexive. Thanks to that peculiar mood, studying Gaiman’s work is a very fruitful means of investigating the distinctive features of popular fiction, and its inherent emphasis on storytelling–or, as Henri Bergson called it, “fabulation.” Both Bergson and Frank McConnell focused on this notion which they saw as the essential link between ancient mythmaking and today’s fiction writing. Gaiman’s fiction mostly relies on such a dialectics between myth, popular fiction and storytelling or fabulation. His fantasy stories constantly rewrite ancient, religious myths, modern myths or the “myths” of popular fiction, and feature many fictional and historical writers, traditional storytellers, or Gaiman’s own personae, so that in paratext as well as in the heart of a narrative, in the quiet and supposedly reliable words of an introduction as surely as on the most striking comics panels, fiction is portrayed as myth, writers as mythical avatars of some archetypal storyteller, and storytelling as the one, quintessential human act
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Morais, Gabriele Cristina Borges de [UNESP]. "Topofilia e topofobia na Londres de Neil Gaiman." Universidade Estadual Paulista (UNESP), 2016. http://hdl.handle.net/11449/141522.
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Previous issue date: 2016-05-31<br>Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)<br>Na dissertação de mestrado “Topofilia e topofobia na Londres de Neil Gaiman”, pretendemos analisar a construção do espaço no romance Lugar Nenhum e a relação que o protagonista estabelece com ele. Na narrativa, Richard Mayhew, um escocês residente em Londres, torna-se invisível não apenas para as pessoas, mas também para os objetos que fazem parte da rotina da cidade, após ajudar uma estranha moradora de rua, que estava ferida. A única pessoa a notar sua presença é um mendigo que lhe apresenta uma alternativa para seu estado desesperador: passar a viver nos túneis e esgotos que formam uma cidade escondida sob Londres. Nesta cidade subterrânea, que seus moradores chamam de Londres de Baixo – em oposição à Londres de Cima, a Londres por nós conhecida – ele consegue reencontrar a moça que resgatara e que fora o estopim para esse novo modo de vida. Richard embarca em uma jornada em busca do responsável pelo assassinato de toda a família da moça, que se chama Door, juntamente com o marquês de Carabas e Hunter, seus protetores. Na Londres de Baixo, embora muitos locais preservem os mesmos nomes a que Richard estava habituado na Londres de Cima, ele descobre que nem tudo é o que parece e que o tempo e o espaço se configuram de forma muito diferente do que ele tinha como certo. Richard tem que se familiarizar com a nova cidade e com os hábitos de seus moradores. E ao estudo dessa espécie de conexão ou “relação de afeto” que se cria entre protagonista e espaço chamamos de topofilia. Além disso, para que se crie a conexão pautada no afeto e a sensação de segurança e pertencimento ao espaço, é preciso que Richard enfrente os medos que nele se escondem: a esta relação com os medos do espaço chamamos topofobia. Pretendemos discutir como topofobia e topofilia se interconectam no romance para criar a familiarização do protagonista – e, consequentemente, do leitor – com o espaço ficcional e como essa familiarização é essencial para a transformação de Richard de um simples trabalhador da Londres de Cima em um herói consagrado da Londres de Baixo.<br>In this Master’s thesis “Topophilia and topophobia in Neil Gaiman’s London”, we intend to analyse the creation of space in the novel Neverwhere and the relation established between its main character and space. In this novel, Richard Mayhew is a Scottish man living in London, who suddenly becomes invisible not only to the people, but also to the objects that are part of the city’s routine, after helping a strange homeless girl whom he found wounded on the sidewalk. The only person who sees Richard is a homeless man, who gives him an alternative solution to his despairing state: to live in a city hidden in the tunnels and sewers under London. In that city, called by its inhabitants London Below – in opposition to London Above, the London we know as “real” – he manages to meet once again the girl he rescued, whose name is Door. Accompanied by her and her protectors, the marquis de Carabas and Hunter, Richard starts a journey to find the responsible for the murder of the girl’s entire family. In London Below, though many places carry the same names to which Richard was used in London Above, he finds out that not all is what it seems and that time and space occur in very different ways. Richard has to familiarize himself with the new city and its inhabitants’ habits:we call the study of this relation of affection between character and space topophilia. Also, to create the affection and the sense of security and belonging to space, it is necessary that Richard face the fears hidden there: we call this relation with those fears in space topophobia. We intend to demonstrate, through the analysis of passages of the novel, how topophobia and topophilia relate to create the familiarization of the main character – and, consequently, the reader’s – with the fictional space, and how this familiarization is essential to turn Richard from an ordinary London worker into a London Below hero.
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Morais, Gabriele Cristina Borges de. "Topofilia e topofobia na Londres de Neil Gaiman /." Araraquara, 2016. http://hdl.handle.net/11449/141522.
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Orientador: Karin Volobuef<br>Banca: Aparecido Donizete Rossi<br>Banca: Renata Philippov<br>Resumo: Na dissertação de mestrado "Topofilia e topofobia na Londres de Neil Gaiman", pretendemos analisar a construção do espaço no romance Lugar Nenhum e a relação que o protagonista estabelece com ele. Na narrativa, Richard Mayhew, um escocês residente em Londres, torna-se invisível não apenas para as pessoas, mas também para os objetos que fazem parte da rotina da cidade, após ajudar uma estranha moradora de rua, que estava ferida. A única pessoa a notar sua presença é um mendigo que lhe apresenta uma alternativa para seu estado desesperador: passar a viver nos túneis e esgotos que formam uma cidade escondida sob Londres. Nesta cidade subterrânea, que seus moradores chamam de Londres de Baixo - em oposição à Londres de Cima, a Londres por nós conhecida - ele consegue reencontrar a moça que resgatara e que fora o estopim para esse novo modo de vida. Richard embarca em uma jornada em busca do responsável pelo assassinato de toda a família da moça, que se chama Door, juntamente com o marquês de Carabas e Hunter, seus protetores. Na Londres de Baixo, embora muitos locais preservem os mesmos nomes a que Richard estava habituado na Londres de Cima, ele descobre que nem tudo é o que parece e que o tempo e o espaço se configuram de forma muito diferente do que ele tinha como certo. Richard tem que se familiarizar com a nova cidade e com os hábitos de seus moradores. E ao estudo dessa espécie de conexão ou "relação de afeto" que se cria entre protagonista e espaço chamamos de topofilia. Além disso, para que se crie a conexão pautada no afeto e a sensação de segurança e pertencimento ao espaço, é preciso que Richard enfrente os medos que nele se escondem: a esta relação com os medos do espaço chamamos topofobia. Pretendemos discutir como topofobia e topofilia se interconectam no romance para criar a familiarização do protagonista - e,...<br>Abstract: In this Master's thesis "Topophilia and topophobia in Neil Gaiman's London", we intend to analyse the creation of space in the novel Neverwhere and the relation established between its main character and space. In this novel, Richard Mayhew is a Scottish man living in London, who suddenly becomes invisible not only to the people, but also to the objects that are part of the city's routine, after helping a strange homeless girl whom he found wounded on the sidewalk. The only person who sees Richard is a homeless man, who gives him an alternative solution to his despairing state: to live in a city hidden in the tunnels and sewers under London. In that city, called by its inhabitants London Below - in opposition to London Above, the London we know as "real" - he manages to meet once again the girl he rescued, whose name is Door. Accompanied by her and her protectors, the marquis de Carabas and Hunter, Richard starts a journey to find the responsible for the murder of the girl's entire family. In London Below, though many places carry the same names to which Richard was used in London Above, he finds out that not all is what it seems and that time and space occur in very different ways. Richard has to familiarize himself with the new city and its inhabitants' habits:we call the study of this relation of affection between character and space topophilia. Also, to create the affection and the sense of security and belonging to space, it is necessary that Richard face the fears hidden there: we call this relation with those fears in space topophobia. We intend to demonstrate, through the analysis of passages of the novel, how topophobia and topophilia relate to create the familiarization of the main character - and, consequently, the reader's - with the fictional space, and how this familiarization is essential to turn Richard from an ordinary London worker into...<br>Mestre
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Herndon, Karlie E. "Food and power in Roald Dahl's James and the giant peach and Neil Gaiman's Coraline." View electronic thesis (PDF), 2009. http://dl.uncw.edu/etd/2009-1/herndonk/karlieherndon.pdf.
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Lucchi, Amanda. ""The White Road" di Neil Gaiman: una proposta di traduzione." Bachelor's thesis, Alma Mater Studiorum - Università di Bologna, 2015. http://amslaurea.unibo.it/8181/.
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L'obiettivo del presente elaborato è di fornire una proposta di traduzione dall'inglese all'italiano del poema "The White Road" di Neil Gaiman, pubblicato in Ruby Slippers, Golden Tears (1995) e in Smoke and Mirrors (1998). L'elaborato è articolato in: una breve presentazione dell’autore, con accento sui temi ricorrenti presenti nelle sue opere; una descrizione del testo scelto, sia in termini di struttura che di contenuti e riferimenti culturali; la proposta di traduzione con testo originale a fronte; un’analisi dei problemi traduttivi riscontrati con le relative soluzioni adottate.
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Marin, Hebe Tocci [UNESP]. "A sacralização da ciência em Deuses Americanos, de Neil Gaiman." Universidade Estadual Paulista (UNESP), 2016. http://hdl.handle.net/11449/141511.
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Previous issue date: 2016-05-31<br>Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)<br>Abordar a ciência e as mudanças científico-tecnológicas na literatura é uma prática que acompanha a humanidade e sua evolução desde o princípio. Dessa prática surge a Ficção Científica (FC), um dos muitos ramos da rica literatura gótica. Na nossa sociedade, que faz uso constante e cada vez maior da tecnologia e seus gadgets, porém, muitas das mudanças imaginadas pelos autores de FC, sendo elas fantásticas ou verossímeis, já foram alcançadas e, desta maneira, o gênero foi compelido a buscar novos temas e abordagens. À beira de uma revolução na FC, o autor inglês Neil Gaiman cria em sua obra Deuses Americanos (2001) um novo tipo de ciência: uma ciência sacralizada, “deusificada”. No romance, deuses de culturas e religiões antigas devem conviver com e sobreviver a novos deuses emergentes – os deuses da mídia, dos carros e dos computadores, entre outros. As duas gerações de deuses disputam a fé da humanidade, o que os alimenta, e nesse processo, muitos desses deuses evoluem, involuem ou até mesmo morrem. A FC criada por Neil Gaiman retorna ao mito para explicar o desconhecido e torna-se então uma espécie de FC “reversa”. Este trabalho propõe um debate sobre essa nova face da FC, com base nas teorias de Fred Botting, Mircea Elíade, Robert Adams e Sigmund Freud, entre outros.<br>Approaching science and technoscientific changes in literature has been done by humanity since the beginning and has evolved alongside with history. From this practice derives Science Fiction (SF), one of the many branches of gothic literature. In our society, which makes constant and increasing use of technology and gadgets, however, many changes imagined by SF authors, either fantastic or verisimilar, have already been reached and so the literary genre was compelled to search for new themes and approaches. On the brink of a revolution in SF, British author Neil Gaiman creates in his masterpiece, American Gods (2001), a new type of science: a sacralized and “godfied” science. In the novel, gods from different cultures and ancient religions must live with and survive to new emergent gods – gods of the media, of cars and computers, among others. Both generations of gods fight over what feeds them – the faith of mankind – and during this process, many of these gods evolve, devolve or even perish. The SF created by Neil Gaiman returns to the myth as an explanation to the unknown and becomes then a kind of “reverse” SF. This work proposes a debate on this new face of SF, based on the theories of Fred Botting, Mircea Elíade, Robert Adams and Sigmund Freud, among others.
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Marin, Hebe Tocci. "A sacralização da ciência em Deuses Americanos, de Neil Gaiman /." Araraquara, 2016. http://hdl.handle.net/11449/141511.
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Orientador: Aparecido Donizete Rossi<br>Banca: Alexander Meireles da Silva<br>Banca: Karin Volobuef<br>Resumo: Abordar a ciência e as mudanças científico-tecnológicas na literatura é uma prática que acompanha a humanidade e sua evolução desde o princípio. Dessa prática surge a Ficção Científica (FC), um dos muitos ramos da rica literatura gótica. Na nossa sociedade, que faz uso constante e cada vez maior da tecnologia e seus gadgets, porém, muitas das mudanças imaginadas pelos autores de FC, sendo elas fantásticas ou verossímeis, já foram alcançadas e, desta maneira, o gênero foi compelido a buscar novos temas e abordagens. À beira de uma revolução na FC, o autor inglês Neil Gaiman cria em sua obra Deuses Americanos (2001) um novo tipo de ciência: uma ciência sacralizada, "deusificada". No romance, deuses de culturas e religiões antigas devem conviver com e sobreviver a novos deuses emergentes - os deuses da mídia, dos carros e dos computadores, entre outros. As duas gerações de deuses disputam a fé da humanidade, o que os alimenta, e nesse processo, muitos desses deuses evoluem, involuem ou até mesmo morrem. A FC criada por Neil Gaiman retorna ao mito para explicar o desconhecido e torna-se então uma espécie de FC "reversa". Este trabalho propõe um debate sobre essa nova face da FC, com base nas teorias de Fred Botting, Mircea Elíade, Robert Adams e Sigmund Freud, entre outros.<br>Abstract: Approaching science and technoscientific changes in literature has been done by humanity since the beginning and has evolved alongside with history. From this practice derives Science Fiction (SF), one of the many branches of gothic literature. In our society, which makes constant and increasing use of technology and gadgets, however, many changes imagined by SF authors, either fantastic or verisimilar, have already been reached and so the literary genre was compelled to search for new themes and approaches. On the brink of a revolution in SF, British author Neil Gaiman creates in his masterpiece, American Gods (2001), a new type of science: a sacralized and "godfied" science. In the novel, gods from different cultures and ancient religions must live with and survive to new emergent gods - gods of the media, of cars and computers, among others. Both generations of gods fight over what feeds them - the faith of mankind - and during this process, many of these gods evolve, devolve or even perish. The SF created by Neil Gaiman returns to the myth as an explanation to the unknown and becomes then a kind of "reverse" SF. This work proposes a debate on this new face of SF, based on the theories of Fred Botting, Mircea Elíade, Robert Adams and Sigmund Freud, among others.<br>Mestre
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Dixon, Sean. "Folklore and Mythology in Neil Gaiman's American Gods." Thesis, University of Oregon, 2017. http://hdl.handle.net/1794/22735.
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This thesis provides a critical analysis of the use of folklore and mythology that exists in Neil Gaiman's award-winning novel, American Gods. I focus on the ways in which American Gods is situated within an intertextual corpus of mythological and mythopoeic writing. In particular, this study analyses Gaiman’s writing by drawing upon Mircea Eliade’s ideas about mythology and Northrop Frye’s archetypal criticism to discuss the emergence of secular myth through fantasy fiction.
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Dessì, Giulia. "“The Treasures of the Gods” di Neil Gaiman: proposta di traduzione." Bachelor's thesis, Alma Mater Studiorum - Università di Bologna, 2017. http://amslaurea.unibo.it/13798/.
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L'elaborato consiste in una proposta di traduzione di un racconto tratto da "Norse Mythology" di Neil Gaiman e in una breve analisi dell’origine e della storia traduttiva dei due testi medievali alla base dell’opera di Gaiman, l’Edda di Snorri e l’Edda poetica, da cui deriva gran parte della nostra conoscenza della mitologia norrena.
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Stepanek, Ellyn. "POP-CULTURE ARTIFACTS: VICE, VIRTUE AND VALUES IN AMERICAN GODS." Cleveland State University / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=csu1209741511.
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Pettersson, Ludvig. "Hjältens resa genom Neverwhere : En karaktärsanalys." Thesis, Uppsala universitet, Litteraturvetenskapliga institutionen, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-216616.
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Gustafsson, Linda. "Det skräckinjagande och det fantastiska : En arketextuell analys av Neil Gaimans Coraline." Thesis, Södertörn University College, School of Gender, Culture and History, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-1480.
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Öfverbeck, Niklas. "Fostrad av döden : En studie av karaktärer i Neil Gaimans "The Graveyard Book"." Thesis, Linnéuniversitetet, Institutionen för språk och litteratur, SOL, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-11220.
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Amaral, Tiago Kern do. "Intertextuality in Neil Gaiman's American Gods." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2016. http://hdl.handle.net/10183/143658.
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A presente dissertação consiste em um estudo do romance Deuses americanos de Neil Gaiman levando em consideração suas conexões a outros textos bem como inserções de diversos textos provenientes de outros trabalhos na prosa do romance. A proposta de leitura do texto de Gaiman segundo este trabalho utiliza os conceitos de intertextualidade e arquétipos de forma a analisar a relação entre a trama de Deuses americanos às várias utilizações de textos cuja escrita “original” não é atribuída ao autor do livro inseridos (ou referenciados) na prosa do romance. Embora o objeto de estudo seja comumente visto como um livro difícil de ser categorizado dentre de um certo gênero, a proposta desta dissertação é demonstrar que o movimento e o fluxo contínuo de discursos (textos) e estilos na prosa do romance remonta a uma visão de um estrangeiro sobre os Estados Unidos e como o país foi criado: ou seja, que ele é não somente um ponto geográfico de confluência de muitos povos, mas também de muitas crenças e culturas que, de um modo ou outro, trouxeram os seus deuses consigo. A análise do uso de intertextos, intratextos e arquétipos no romance está estruturada em três capítulos centrais: o primeiro contextualiza os mitos que aparecem no romance e discute a questão de gênero literário do livro, além do conceito de América no texto de Gaiman. O segundo capítulo examina o uso de mitos por Gaiman em relação a outros trabalhos, tanto os manuscritos antigos de crenças pagãs quanto instâncias mais modernas de mito e alegoria, além de estudar as conexões entre Deuses americanos e outros textos escritos por Gaiman de acordo com o conceito de intratextualidade proposto por Affonso de Sant’Anna. Por fim, o terceiro capítulo se concentra no uso pontual de intertextos no romance, organizando-os entre alusões literárias, referências à cultura pop, além de estudar o conflito entre a era digital e o antigo reinado da fé religiosa, sem deixar de investigar o uso de arquétipos e apropriação na prosa do romance. O trabalho, assim, tem como objetivo verificar a alegação de que a qualidade intertextual do romance é essencial tendo em vista sua trama e cenário, bem como a afirmação de que ele redefine o conceito da América do final dos anos 90 como um espaço multicultural, dinâmico e mítico.<br>This thesis consists of a study of Neil Gaiman’s American Gods in the light of its connections to other texts as well as the punctual insertions of various texts from other works in the novel’s prose. The proposed reading of Gaiman’s text employs the concepts of intertextuality and archetypes in order to further analyze the relation of the plot of American Gods to the various uses of texts - that were not originally written by the book’s author – which are inserted (or alluded to) in the novel’s prose. Although the object of study is generally seen as a book that is hard to brand within a certain genre, this thesis’ approach to the novel demonstrates that movement and the continuous flow of speeches (texts) and styles in the novel’s prose comprises an outsider’s view of America and how the country came into existence – that is, that it is the geographical conflux not only of many peoples, but also of many beliefs and cultures, which in some way or other brought their gods with them. This examination of the use of intertexts, intratexts and archetypes in the novel is structured in three main chapters: The first chapter contextualizes the myths that appear in the novel and discusses the issues of genre and the concept of America in Gaiman’s text. The second chapter analyzes Gaiman’s use of myths in relation to other works – the original manuscripts of ancient beliefs as well as modern instances of myth and allegory – along with the connections between American Gods and Gaiman’s other works according to Affonso de Sant’Anna’s concept of intratextuality. Finally, the third chapter focuses on the punctual uses of intertexts in the novel, breaking them down into literary allusions, references to pop culture and the conflict between the digital era and the age of religious faith, and the use of archetypes and appropriation in the novel’s prose. At the end of the work, I aim to assert my belief that the intertextual nature of the novel is essential to its plot and setting, and re-defines the concept of late-90’s/early 2000’s America as a multicultural, dynamic mythical space.
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Souza, Mariane de. "\"Estação das Brumas\": a intertextualidade nas histórias em quadrinhos e a apropriação da informação cultural em Sandman." Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/27/27151/tde-22022018-171306/.
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Neste trabalho, as histórias em quadrinhos são compreendidas como uma linguagem que, através da justaposição de imagens, transmitem informações que produzem uma resposta no leitor. A proposta é observar as possibilidades de apropriação do conhecimento e da informação cultural presentes em um artefato que se mostra amplo no sentido de interpretação e significação: as histórias em quadrinhos. A metodologia de pesquisa adotada compreende uma abordagem interpretativa e qualitativa que envolve tanto texto verbal como visual. No objeto empírico desta pesquisa, na história em quadrinhos Sandman, de Neil Gaiman, foram percebidas diversas referências culturais, históricas e literárias no conteúdo narrativo. Desta forma, refletiu-se sobre as apropriações culturais, estéticas, cinematográficas, entre outras, que fazem parte da composição da série, observando seus aspectos intertextuais e semióticos. Assim, ao nos debruçarmos sobre a análise da intertextualidade em Sandman, procuramos entender como as informações culturais se articulam na constituição de um campo de conhecimento específico, reunindo referências as mais diversas. Esta análise almejou contribuir para a Ciência da Informação por meio de uma reflexão acerca de como se constituem as mediações da leitura por meio da identificação das camadas intertextuais presentes na obra, os processos sociais de construção de conhecimento e a montagem de \"enciclopédias\" dos leitores na atual sociedade da informação<br>In this work, comics are understood as a language that, through the juxtaposition of images, transmit information that produces an answer in the reader. The proposal is to observe the possibilities of appropriation of knowledge and cultural information present in an artifact that shows itself broad in the sense of interpretation and meaning: comic books. The adopted research methodology comprises an interpretative and qualitative approach that involves both verbal and visual text. In the empirical object of this research, The Sandman, of Neil Gaiman, diverse cultural, historical and literary references in the narrative content were perceived. In this way, the cultural appropriations, aesthetic, cinematographic, among others, that are part of the composition of the series, were considerate, observing its intertextual and semiotic aspects. Thus, when we look at the analysis of intertextuality in Sandman, we try to understand how cultural information is articulated in the constitution of a specific field of knowledge, bringing together the most diverse references. This case study aimed to contribute to the Information Science through a reflection on how the mediations of reading are constituted through the identification of the intertextual layers present in the work, the social processes of knowledge construction and the assembly of \"encyclopedias\" Of readers in today\'s information society.
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Haydu, Leah E. "I am Prosper, I am Ariel, I am Caliban a metatheratical approach to Neil Gaiman's The Sandman /." Huntington, WV : [Marshall University Libraries], 2007. http://www.marshall.edu/etd/descript.asp?ref=761.
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Stepanek, Ellyn M. "Pop-culture artifacts." Cleveland, Ohio : Cleveland State University, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=csu1209741511.
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Thesis (M.A.)--Cleveland State University, 2008.<br>Abstract. Title from PDF t.p. (viewed on July 11, 2008). Includes bibliographical references (p. 43-44). Available online via the OhioLINK ETD Center. Also available in print.
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van, Rysbergen Gerard. ""The myth of storytelling : story, identity and reflection in the work of Neil Gaiman" /." Title page and introduction only, 1999. http://web4.library.adelaide.edu.au/theses/09AR/09arv275.pdf.
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Cerqueira, Ana Luiza Sanches [UNESP]. "O realismo mágico nas Short Stories de Neil Gaiman, um contador de histórias da contemporaneidade." Universidade Estadual Paulista (UNESP), 2010. http://hdl.handle.net/11449/102363.
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cerqueira_als_dr_arafcl.pdf: 770872 bytes, checksum: fe33ffc489e86cd4169fed6d62c59890 (MD5)<br>Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)<br>Na tese de doutorado “O realismo mágico nas short stories de Neil Gaiman: um contador de histórias da contemporaneidade”, realizamos a análise de histórias do autor inglês com base, principalmente, nas teorias do realismo mágico e no canônico texto O narrador, de Walter Benjamin, cuja importância não diminuiu com o passar do tempo, o que justifica nossa opção por utilizar essa obra como um dos pilares de nosso trabalho. A intenção é demonstrar que Gaiman pode ser considerado um contador de histórias da atualidade, que segue o estilo de narração descrito por Benjamin, para quem o narrador se baseia em experiências próprias e tem como objetivo perpetuar suas histórias por gerações. Optamos pela análise de quatro short stories que abordam temas e motivos variados, como o vampiro, o duplo, o gato preto e o diabo, e têm em comum o fato de se nortearem pelo realismo mágico. Por fim, as análises destinam-se a revelar que Gaiman é um autor que faz a inversão de paradigmas e a contestação de ideias prontas e difundidas, apresentando ao leitor novas perspectivas para histórias e temas/motivos consagrados<br>In the doctoral thesis “The magical realism in the short stories by Neil Gaiman: a storyteller of contemporaneity”, we carried out the analysis of tales written by the English author based, specially, upon the theories about the magic realism and on Walter Benjamin’s text The narrator. We intent to show that Gaiman can be considered a storyteller of our time and someone who follows the style of narration described by Benjamin, to whom the narrator relies on personal experiences and has the aim of perpetuating his/her stories for generations to come. We have chosen to analyse a group of four short stories in which varied themes and motives, like the vampire, the double, the black cat and the devil are worked out, as well as aspects of the magic realistic genre. The intent of the analyses is helping to reveal that as an author Gaiman brings about an inversion of patterns and defiance of widely accepted and unchallenged ideas, presenting instead new ways of looking at known stories and celebrated themes/motives
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Renklint, David. "Den Helige Ande i gummistövlar : Kristen treenighet i Neil Gaimans Oceanen vid vägens slut." Thesis, Högskolan i Gävle, Religionsvetenskap, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:hig:diva-26095.
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Syftet med uppsatsen var att analysera Neil Gaimans skönlitterära bok Oceanen vid vägens slut och försöka finna kristen symbolik i form av treenigheten, och detta gjordes utifrån frågeställningen: På vilka sätt går det att finna biblisk och kristen treenighetssymbolik i boken Oceanen vid vägens slut? Metoden som användes var en kvalitativ text- och innehållsanalys med hermeneutisk ansats. Resultatet visade att tolkningen som gjordes av boken och kopplingarna till Bibeln pekar på treenigheten som en tydlig symbol i boken. Treenighetssymboliken i boken kopplades sedan till tre artiklar som under rubriken tidigare forskning berörde tolkning av de olika personerna inom den kristna treenigheten. Slutsatsen blev att det finns en symbolisk treenighet i de tre karaktärerna som utgör familjen Hempstock, och detta styrktes av karaktärer runt dessa, som också kunde kopplas till bibliska och kristna begrepp och företeelser.
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Almeida, Marco Aurelio Barsanelli de [UNESP]. "Um estudo da adaptação cinematográfica da figura do herói do romance Stardust, de Neil Gaiman." Universidade Estadual Paulista (UNESP), 2015. http://hdl.handle.net/11449/138468.
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000864001.pdf: 2233983 bytes, checksum: 74437cf2aac5fed38f87fd02fcb64d8b (MD5)<br>Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)<br>Este trabalho tem o objetivo de analisar o modo como a figura do herói é construída em um romance contemporâneo e, a partir dos dados obtidos nesse estudo, entender a maneira como esse herói é traduzido para o suporte fílmico. Como base para meu trabalho, utilizo o romance Stardust (1999), do escritor inglês Neil Gaiman, e sua adaptação cinematográfica Stardust (2007), lançada no mesmo ano no Brasil sob o título de Stardust: o mistério da estrela. Como aporte teórico utilizo, principalmente, os textos de Campbell (2007), Propp (1978) e Simonsen (1987) no que concerne ao herói, sua jornada e como ele a enfrenta. Utilizarei também, especialmente, as teorias de Hutcheon (2006), Sanders (2006), Stam (2000) e Leitch (2007, 2008) no que refere-se ao estudo da adaptação de obras literárias; e os textos de Martin (2003), Xavier (2005) e Vanoye e Goliot-Lété (1994), sobretudo, ao comentar sobre o cinema, suas características e o modo como produz suas obras. Proponho aqui uma visão da adaptação enquanto obra artisticamente autônoma, bem como do herói como uma figura que, apesar de beber dos grandes clássicos, apresenta-se com novas características<br>This study aims at analysing the way the figure of the hero is built in a contemporary novel and, from the data obtained, understanding the way the hero is translated to the filmic media. The corpus of the research was constituted by the novel Stardust (1999), by the English writer Neil Gaiman, and its film adaptation Stardust (2007), released in Brazil, in the same year, under the title Stardust: o mistério da estrela. As theoretical contribution I use, mainly, the texts by Campbell (2007), Propp (1978) and Simonsen (1987) regarding the hero, his journey and how he faces it. I will also use, specially, the theories of Hutcheon (2006), Sanders (2006), Stam (2000) and Leitch (2007, 2008) for the study of the adaptation of literary works; and the texts of Martin (2003), Xavier (2005) and Vanoye and Goliot-Lété (1994) to comment on film, its characteristics and the way it produces its works. I propose here a vision of the adaptation as an artistically independent work, and the hero as a figure that, despite the recurrent dialogue with the great classics, shows himself with new characteristics
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Almeida, Marco Aurelio Barsanelli de. "Um estudo da adaptação cinematográfica da figura do herói do romance Stardust, de Neil Gaiman /." São José do Rio Preto, 2015. http://hdl.handle.net/11449/138468.
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Orientador: Alvaro Luiz Hattnher<br>Banca: Maria Celeste Tommasello Ramos<br>Banca: Márcio Roberto do Prado<br>Resumo: Este trabalho tem o objetivo de analisar o modo como a figura do herói é construída em um romance contemporâneo e, a partir dos dados obtidos nesse estudo, entender a maneira como esse herói é traduzido para o suporte fílmico. Como base para meu trabalho, utilizo o romance Stardust (1999), do escritor inglês Neil Gaiman, e sua adaptação cinematográfica Stardust (2007), lançada no mesmo ano no Brasil sob o título de Stardust: o mistério da estrela. Como aporte teórico utilizo, principalmente, os textos de Campbell (2007), Propp (1978) e Simonsen (1987) no que concerne ao herói, sua jornada e como ele a enfrenta. Utilizarei também, especialmente, as teorias de Hutcheon (2006), Sanders (2006), Stam (2000) e Leitch (2007, 2008) no que refere-se ao estudo da adaptação de obras literárias; e os textos de Martin (2003), Xavier (2005) e Vanoye e Goliot-Lété (1994), sobretudo, ao comentar sobre o cinema, suas características e o modo como produz suas obras. Proponho aqui uma visão da adaptação enquanto obra artisticamente autônoma, bem como do herói como uma figura que, apesar de beber dos grandes clássicos, apresenta-se com novas características<br>Abstract: This study aims at analysing the way the figure of the hero is built in a contemporary novel and, from the data obtained, understanding the way the hero is translated to the filmic media. The corpus of the research was constituted by the novel Stardust (1999), by the English writer Neil Gaiman, and its film adaptation Stardust (2007), released in Brazil, in the same year, under the title Stardust: o mistério da estrela. As theoretical contribution I use, mainly, the texts by Campbell (2007), Propp (1978) and Simonsen (1987) regarding the hero, his journey and how he faces it. I will also use, specially, the theories of Hutcheon (2006), Sanders (2006), Stam (2000) and Leitch (2007, 2008) for the study of the adaptation of literary works; and the texts of Martin (2003), Xavier (2005) and Vanoye and Goliot-Lété (1994) to comment on film, its characteristics and the way it produces its works. I propose here a vision of the adaptation as an artistically independent work, and the hero as a figure that, despite the recurrent dialogue with the great classics, shows himself with new characteristics<br>Mestre
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Cerqueira, Ana Luiza Sanches. "O realismo mágico nas Short Stories de Neil Gaiman, um contador de histórias da contemporaneidade /." Araraquara : [s.n.], 2010. http://hdl.handle.net/11449/102363.
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Orientador: Karin Volobuef<br>Banca: Luciana Moura Colucci de Camargo<br>Banca: José Garcez Ghirardi<br>Banca: Cleide Antonia Rapucci<br>Banca: Ricardo Maria dos Santos<br>Resumo: Na tese de doutorado "O realismo mágico nas short stories de Neil Gaiman: um contador de histórias da contemporaneidade", realizamos a análise de histórias do autor inglês com base, principalmente, nas teorias do realismo mágico e no canônico texto O narrador, de Walter Benjamin, cuja importância não diminuiu com o passar do tempo, o que justifica nossa opção por utilizar essa obra como um dos pilares de nosso trabalho. A intenção é demonstrar que Gaiman pode ser considerado um contador de histórias da atualidade, que segue o estilo de narração descrito por Benjamin, para quem o narrador se baseia em experiências próprias e tem como objetivo perpetuar suas histórias por gerações. Optamos pela análise de quatro short stories que abordam temas e motivos variados, como o vampiro, o duplo, o gato preto e o diabo, e têm em comum o fato de se nortearem pelo realismo mágico. Por fim, as análises destinam-se a revelar que Gaiman é um autor que faz a inversão de paradigmas e a contestação de ideias prontas e difundidas, apresentando ao leitor novas perspectivas para histórias e temas/motivos consagrados<br>Abstract: In the doctoral thesis "The magical realism in the short stories by Neil Gaiman: a storyteller of contemporaneity", we carried out the analysis of tales written by the English author based, specially, upon the theories about the magic realism and on Walter Benjamin's text The narrator. We intent to show that Gaiman can be considered a storyteller of our time and someone who follows the style of narration described by Benjamin, to whom the narrator relies on personal experiences and has the aim of perpetuating his/her stories for generations to come. We have chosen to analyse a group of four short stories in which varied themes and motives, like the vampire, the double, the black cat and the devil are worked out, as well as aspects of the magic realistic genre. The intent of the analyses is helping to reveal that as an author Gaiman brings about an inversion of patterns and defiance of widely accepted and unchallenged ideas, presenting instead new ways of looking at known stories and celebrated themes/motives<br>Doutor
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Dobrychtop, Guilherme Ieger. ""Morte, o preço da vida" : as representações de morte e pós-modernismo em Sandman, de Neil Gaiman (1988-1998)." reponame:Repositório Institucional da UFPR, 2017. http://hdl.handle.net/1884/49565.
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Orientador : Prof. Dr. Clóvis Gruner<br>Dissertação (mestrado) - Universidade Federal do Paraná, Setor de Ciências Humanas, Programa de Pós-Graduação em História. Defesa: Curitiba, 05/09/2017<br>Inclui referências : f. 197-201<br>Resumo: Este trabalho analisa a história em quadrinhos Sandman, escrita por Neil Gaiman e publicada pela editora norte americana DC Comics durante os anos de 1988 e 1996. A análise se fixou nas relações desta com o pós-modernismo e, principalmente, em como a morte é representada na publicação, uma vez que a morte não apenas aparece como algo importante na narrativa, onde vários personagens são mostrados encontrando o fim de sua vida, como também esta aparece enquanto personagem. Pelo fato da personagem Morte ser caracterizada não da forma mais tradicional, com vestes negras e uma foice, mas sim como uma garota gótica divertida e apaixonante, torna-se propício um diálogo acerca da morte no contexto da obra, o pós-modernismo, e o quanto este é semelhante ou diferente à representação da personagem. Desta forma, trabalhando as relações com a morte ao longo da História, mas fixando-se no contexto proposto, dentre os anos 1988 e 1998, pretende se compreender como a sociedade se comporta diante da morte, como esta encara o ato de morrer, por vezes o negando ou ignorando, sempre o afastando, e como isso pode ser relacionado com uma representação da morte tão diferente, tão encantadora, como alguém de quem não se quer fugir, mas encontrar imediatamente. Palavras-chave: histórias em quadrinhos; morte; pós-modernismo; Sandman;<br>Abstract: This work analyse the comic book Sadnamn, writen by Neil Gaiman and published by the north american publishing company DC Comics amont the years 1988 and 1996. The analysis was focused in the relations os this with the post-modernism and, mainly, in how the death is represented in the publication, once death shows like something importante in the story, where lots of characters are shown finding the end of their lives, and also is shown like a character. By the fact that the character Death is characterized no in the most tradicional way, with black robes and a sickle, but like a fun and lovely goth girl, its possible a dialogue about death in the contexto of comic, the post-modernism, and how similar or different is this to the representation in the comic books. This way, writing about the relations with death over the History, but keeping in the contexto, among the years 1988 and 1998, its intended to understand how the society behaves in the face of death, how it faces the act of dying, many times denying ou ignoring, aways pushing it away, and how this can be related with a very different representation of death, so lovely, like someone that you don't want to run away from, but meet immediately. Key-words: comic books; death; post-modernism; Sandman;
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Mallard, Jack K. "Death Becomes Her: Theodicy in Neil Gaiman's The Sandman." BYU ScholarsArchive, 2011. https://scholarsarchive.byu.edu/etd/2772.
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A study of Neil Gaiman's The Sandman, particularly "The Sound of Her Wings" and "The Kindly Ones: Part 13," demonstrates its theological richness. The Sandman's ability to participate in theodicy becomes clear by framing that study within a framework provided by Ernest Becker's ideas about the terror of death and Karen Armstrong's observations of the historical utility of negative theology and compassion. The analysis of the formal characteristics of The Sandman shows the range of aesthetic possibility inherent in the comics form. Lastly, the study makes apparent the continued readerly desire for engagement with questions about God, transcendence, death, and evil.
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Schnitzler, Laura-Marie [Verfasser], Beate [Gutachter] Neumeier, and Claudia [Gutachter] Liebrand. "Fantasy’s Traumatic Take on the Bildungsroman: Reading Neil Gaiman / Laura-Marie Schnitzler ; Gutachter: Beate Neumeier, Claudia Liebrand." Köln : Universitäts- und Stadtbibliothek Köln, 2017. http://d-nb.info/1204199388/34.
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Chico, Márcia Tavares. "“Aos amigos ausentes, amores perdidos e velhos deuses”: considerações sobre o feminino em Sandman de Neil Gaiman." Universidade Federal de Pelotas, 2017. http://repositorio.ufpel.edu.br:8080/handle/prefix/3577.
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Previous issue date: 2017-03-31<br>Sem bolsa<br>As histórias em quadrinhos vem ganhando maior visibilidade dentro do espaço acadêmico nos últimos anos (GARCÍA, 2012). Dentre os vários elementos analisados, a posição do feminino dentro do meio também ganhou destaque. Por ser considerado um gênero altamente masculino (MELLETTE, 2012), as histórias em quadrinhos apresentam estereótipos do feminino, tais quais a mãe, o interesse romântico e a donzela indefesa. Sendo assim, acreditamos ser importante analisar a representação do feminino dentro das histórias em quadrinhos e como isso se dá dentro da narrativa. A presente dissertação objetiva analisar a representação do feminino nas histórias em quadrinhos, em especial na obra Sandman (1989-1996), escrita por Neil Gaiman. Focaremos nas personagens femininas da família dos Perpétuos – Morte, Desespero e Delirium – assim como na personagem Desejo. Para podermos analisar a representação do feminino, utilizamos o conceito de performatividade de gênero de Judith Butler, o qual traz o gênero como sendo construído discursivamente e “imposto pelas práticas reguladoras da coerência” do mesmo (BUTLER, 2014, p. 48). O gênero, então, seria formado pela repetição e estilização do corpo. Assim, gênero, ao invés de ser a essência de algo, seria performático, no sentido em que cria aquilo que pretende expressar.<br>Comic books have been gaining space in academic discussions in the last years (GARCÍA, 2012). Thus, among the several issues to be analyzed, the female status in the genre has also gained visibility. The comic book genre is considered to be highly masculine (MELLETTE, 2012) and, as a consequence, the stories present several female stereotypes, such as the mother, the romantic interest, or the damsel in distress. Because of that, we think it is important to analyze female representation in the narratives of comic books, focusing on Sandman (1989-1996), written by Neil Gaiman. We will focus on the female characters of the Endless family – Death, Despair, and Delirium – as well as the character of Desire. To do so, we will use the concept of gender performativity proposed by Judith Butler which shows gender as being discursively created and imposed by social practices (BUTLER, 2014). Gender would be formed by the repetition and stylization of the body, which would, then, lead to the production of a seemly natural structure of being (BUTLER, 2014). Gender is not the essence of something, but instead it is performatic, in the sense that it creates that which it intends to express.
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Agnell, Emma. "When the cat is away, the (m)other will play : regression and identity formation in Neil Gaiman's Coraline." Thesis, Högskolan i Halmstad, Sektionen för humaniora (HUM), 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:hh:diva-24581.
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This essay examines Neil Gaiman’s Coraline from a psychoanalytic perspective, with focus on the formation of the super ego. While the young girl’s identity formation has been examined before, the general focus is often oedipal. In this essay, I choose to step away from the oedipal and examine the psychosymbolism throughout the novella. The aim is to see how Coraline’s own psychic development manifests itself in the other world. The characters in the novella are looked upon as representations of different aspects of Coraline’s psyche. Her actions with them are considered to be representations of internal conflicts or resolutions. In short, this essay examines how the novella portrays the psychodevelopmental nature of the child's identity formation.
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Alvim, de Almeida Maiara. "Contos, sonhos e quadrinhos: analisando as questões de mercado e literatura no romance gráfico Sandman, de Neil Gaiman." Universidade Federal de Juiz de Fora, 2013. https://repositorio.ufjf.br/jspui/handle/ufjf/925.
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Previous issue date: 2013-05-03<br>A presente pesquisa tem como objetivo analisar a situação das histórias em quadrinhos, em especial o subgênero romance gráfico, a partir do estudo do caso da obra Sandman, de Neil Gaiman. Investigaremos qual o papel desempenhado por esse obra nas alterações de status pelas quais vêm passando os quadrinhos, situando-a historicamente. Dissertaremos sobre características intrínsecas ao gênero quadrinhos, tais como o uso que faz de imagens e texto para construção de narrativas e discutiremos quais características diferenciariam os romances gráficos dos demais quadrinhos e quais aspectos desse subgênero contribuíram para a identificação dos quadrinhos como uma forma de literatura. Mostraremos como os quadrinhos, também, são um espaço profícuo para o diálogo com as teorias do hipertexto, tal qual colocadas por Landow (1997). Argumentaremos como um romance gráfico seria um hipertexto não eletrônico, ilustrando nosssas considerações com exemplos retirados de Sandman. Discorreremos, também, sobre como Sandman se insere no cânone da literatura internacional através da paródia de obras consagradas, apoiando-nos na teoria da paródia de Linda Hutcheon (1991).<br>This research intends to analyze the state of art in which comics are found nowadays, especially the subgenre known as graphic novel, being Sandman by Neil Gaiman our corpus. We shall investigate the role played by Gaiman‟s graphic novel in the changing of roles experienced by comics in general in the last few decades. We will highlight characteristics of the genre, such as the use of images and text together for the development of narratives, and also discuss which aspects make graphic novels different from other comics. It is also important to identify the aspects that helped to legitimate this subgenre as a literary form. In this study, comics are understood as a fruitful space for dialogue with the hypertext theories, as stated by Landow (1997).We believe that graphic novels can be seen as a non-electronic hypertext, using as an example an analysis of a chapter. Sandman is also seen in relation to its position in the literary canon and the parodies of other well established works, according to Linda Hutcheon‟s parody theory (1991).
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Garcia-Siino, L. "'The tale is the map which is the territory' : from fantasy and metafiction to metafantasy and Neil Gaiman." Thesis, University of Liverpool, 2016. http://livrepository.liverpool.ac.uk/3000343/.
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Critical theory concerning the genre of fantasy has been steadily growing since the 1970s, yet one area concerning the dynamics of its narrative structure and the self-revealing nature of that structure has been left largely, and surprisingly, unexplored. Analysing the critical theories about fantasy, its functions and components, reveals the inherent connections between the genre and the literary technique of metafiction, and demonstrates that fantasy is a metafictive genre of literature. This occurs because fantasy is a form predicated on the conscious act of storytelling coupled with the purposeful awareness of the impossibility of its subject matter – the Fantastic. This thesis proposes that through its dependant and sustained intertext and hypertext, the genre of fantasy is perpetually and blatantly connected to a historical taproot that informs its subject and fuels the wonder it produces in the reader. The fact that fantasy does this has allowed for a newer form, metafantasy, to emerge, that takes modern fantasy as its taproot, subverting and deconstructing it into a meta-metafictive object. By analysing this metafictive reaction to an already metafictive genre through the works of renowned new-wave fabulist Neil Gaiman, this thesis aims to account for the current genre-centric literary phenomena observed by many contemporary fantasy critics. This thesis, therefore, entails a comparative critical genre theory as well as a literary analysis of fantasy, metafiction, transtextuality, and genre evolution applied to the fantasy metatext as well as to Neil Gaiman’s oeuvre. ‘The tale is the map which is the territory’ because in fantasy, the genre is as much the object as the subject it itself seeks to deconstruct.
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Peoples, Timothy Andrew John. "Minding the Gap: Time in Neil Gaiman's Neverwhere and the Hermeneutical Inquiry." Thesis, University of Houston, 2004. http://hdl.handle.net/10919/71593.
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I begin this thesis with a discussion of Neil Gaiman’s career and my interaction with his first novel, Neverwhere. I define time in the novel as the succession and interrelatedness of events and divide this definition into two perceptions: immediacy and graduality. I apply the former to the novel’s separate worlds, which are called London Above and London Below. London Above, in the perception of Richard Mayhew, the main character, favors immediacy and rejects graduality. Though his perception is incomplete, the nature of London Above makes him unsuitable for life there. London Below, on the other hand, exhibits both perceptions. Graduality’s influence on the two worlds shows a departure from Western conceptions of time that makes London Above and London Below a symbiotic that cannot be unified. This symbiosis can be allegorized as the hermeneutical gap. After examining similar concepts in Gaiman’s Stardust and American Gods, I conclude that Gaiman’s writing states that the permanently separated hermeneutical gap allows humanity to reflect upon itself.
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Thompson, Christopher P. "Discreet Feminism: Neil Gaiman’s Subversion of the Patriarchal Society in American Gods." ScholarWorks@UNO, 2015. http://scholarworks.uno.edu/td/2026.
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Neil Gaiman’s use of a hyper-masculine American culture in American Gods sheds light upon the multiple issues surrounding a misogynistic society in which women are treated as sexual objects and punished for their independence as sexual beings. Gaiman’s efforts at highlighting these issues are discreet and hidden under layers of patriarchal expectations, but through the use of his protagonist, Shadow, Gaiman is able to provide an alternative to the society he represents. While he successfully illustrates this more “ideal” society, his endeavors fall short and are almost imperceptible throughout his novel. Gaiman’s work in American Gods, while lacking in its overall presence, brings attention to the issues within a hyper-masculine society and it is through this unique, feminist approach that Gaiman is able to present his strong argument for change.
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Opperman, Susan. "Transmuting the mundane into transcendence : migrations of myth and its connection to contemporary comic books." Thesis, Stellenbosch : University of Stellenbosch, 2011. http://hdl.handle.net/10019.1/6823.
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Thesis (MPhil)--University of Stellenbosch, 2011.<br>ENGLISH ABSTRACT: This thesis investigates the human capacity of modifying established myth in the light of
new circumstances. It focuses on the changing status of myth and mythical cosmologies in
Western culture as advances in telematics and techno-culture has led to the abundant
proliferation of mythic content in modern society. The rise of scientific, secular and rational
tendencies in the Occident has resulted in the demystification and negation of some myths
and the cultural realities they once supported. Mythical symbols, however, do exhibit a
certain degree of independence from their original set ontologies, growing and
transforming continuously within contemporary culture as they are communicated to all
social spheres. A particular focus is placed on the demystification of myth and its ability to
be appropriated within other discourses, most notably fiction. As such, myth tends to
exhibit certain migratory and conservational qualities that this study investigates. This
serves as background for this thesis that is primarily located within the broader theoretical
argument of myth as a system of world-representation in society, the main point of
discussion is the re-appropriation of myth within the narrower field of visual signification,
specifically the comics medium, as exemplified in the works of Neil Gaiman and Conrad
Botes, as well as in my own work.<br>AFRIKAANSE OPSOMMING: Die tesis ondersoek die menslike kapasiteit om gevestigde mites te wysig in die lig van
nuwe omstandighede. Dit fokus op die veranderlike status van mites en mitiese
kosmologieë in die Westerse kultuur, aangesien vooruitgang in die telematiek en tegnokultuur
gelei het tot ’n ryk proliferasie van mitiese inhoud in die moderne samelewing. Die
opkoms van wetenskaplike, sekulêre en rasionele tendense in die Weste het die
demistifikasie en negasie van sommige mites en kulturele realiteite wat hulle eens
ondersteun het, tot gevolg gehad. Mitiese simbole vertoon egter ’n sekere graad van
onafhanklikheid van hul oorspronklike vasgestelde ontologieë en groei wild binne die
kontemporêre kultuur, aangesien hulle deurlopend gekommunikeer word aan verskillende
sosiale sfere. Daar word veral gefokus op die demistifikasie van die mite en sy vermoë om
geapproprieer te word binne ander diskoerse, veral in fiksie. As sodanig is mites geneig
tot migrasie en die vertoon van konserverende kwaliteite, soos ondersoek in hierdie studie.
Alhoewel die tesis eerstens gelokaliseer is binne die breër teoretiese argumentasie
rondom mite as ’n sisteem van wêreldrepresentasie in die samelewing, is die kern van
diskussie die re-appropriasie van die mite binne die smaller veld van visuele
betekenisgewing, spesifiek in strippe as medium, soos uitgelig in die werke van Neil
Gaiman en Conrad Botes, asook in my eie werk.
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Venable, Brandi J. "Feed Me! Insatiable Children and the Monsters Who Want to Devour Them: Fairy Tales and Consumption in Clive Barker's The Thief of Always and Neil Gaiman's Coraline." Bowling Green State University / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1300476358.
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Hansson, Linus. "Satan i serier : En karaktärsanalys av djävulsportträtten i fyra moderna serietidningar." Thesis, Örebro universitet, Akademin för humaniora, utbildning och samhällsvetenskap, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:oru:diva-13740.
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Genom att undersöka Djävulens utseende och roll, har jag försökt beskriva hur Djävulen porträtteras i de serietidningar jag valt ut. Djävulen avbildas på en rad olika sätt i serietidningsform i vårt till stor del sekulariserade samhälle. Vissa av dessa avbildningar har religiösa föregångare, vissa har föregångare i annan litteratur och vissa är helt nya. De tyder på att man inte använder Djävulen alltför lättvindigt i serietidningar och att man ofta är medveten om de kulturella konnotationer han för med sig. Han är en karaktär som ofta framställs som en negativ karaktär, vilket inte är lustigt med tanke på hans roll inom religion och litteratur. Tack vare de förutfattade tankar som finns om honom är han lätt att använda för att skapa effekter inom serierna, antingen genom att spela på den negativa inställningen eller genom att ställa läsarens förväntningar på ända. Han framställs främst i tre större roller: som tragisk, skrämmande eller komisk. Det är inte ovanligt att flera av dessa roller används till samma karaktär. I de serier jag analyserat har han alltid ställts som en kontrast till seriens protagonist, även om han inte alltid är serietidningens antagonist. Djävulens utseende speglar hans roll i serierna på så sätt att han, när han ska vara skrämmande eller antagonist, har ett mer monstruöst utseende än vad han har när han har en tragisk roll. När han ska vara komisk har han ett utseende som kan ses som löjeväckande, men är inte mänsklig för den saken skull. En gemensam faktor är att samtliga djävlar hade någon form av skräckskapande element till sin karaktär. Sammanfattningsvis kan man säga att Djävulen framställs på minst sagt olika sätt i de olika serierna, vilket tyder på att det kan vara svårt att säga något klart generellt om hur denna karaktär porträtteras i serietidningsmediet.
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Peltola, Mikael. "Det populärkulturella minnet i samtida skönlitteratur : En intertextuell läsning av Amanda Svenssons Hey Dolly." Thesis, Linköpings universitet, Institutionen för kultur och kommunikation, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-58874.
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Adapting the concept of the ”popular cultural memory” and its necessary “context knowledge” established by Karin Kukkonen, this bachelor thesis seeks to examine how this memory is “at work” and expresses itself in contemporary fiction, by doing an intertextual reading of the swedish author Amanda Svensson's debut Hey Dolly. Within the intertextual structures of Hey Dolly the reader encounters allusions and references that address almost everything from contemporary popular culture to established authors in the swedish canon, mainly as means for the characters to help them express their emotions and thoughts, by “choosing” from already available content of popular culture to use and modify. The intertextuality alluding to the popular cultural memory does at the same time address the concept of the ideal reader throughout the novel. This ideal reader is addressed by the narrator as one of those “in the know”, as competent enough to see this “popular cultural memory” at work in the novel by “getting” these intertextual allusions and references. Thus any (real) reader has to be equipped with the same expertise of popular culture as the narrator in order to fully understand this intertextuality. The intertextual practices of Hey Dolly should be understood as traits used by the author to express and implicate her/his awareness of the texts “surroundings”, traits indeed found even in the name of Hey Dolly's main protagonist, symptomatically influenced from contemporary, western American commercial culture. Given the premiss where this intertextual framework relies on a heavily contemporary influenced popular cultural context, it potentially would run the risk of not being understood, should future popular culture contexts operate under different premisses. In this regard the high cultural canon memory would have to be regarded as being more stable and “reliable” than the popular cultural memory, as the norms for the canon are more fixed and rarely negotiated. Arguing that this intertextual reading of Hey Dolly is of an immense value and significant for understanding how the Zeitgeist operates and should be approached, this thesis is still based on the premiss where the intertextual reading of Hey Dolly has largely been nonexistent when looking at how Hey Dolly has been received. Instead in the swedish media we find a consistent dominance of how its reception has been read from almost exclusively a gendered point of view, where Hey Dolly is seen and regarded as the forthcoming of a new representation of the girl/woman ideal. The intertextual reading of Hey Dolly would instead be regarded as “secondary” at best, where the story by itself is self sufficient, even if the reader lacks the necessary context knowledge of how this ”popular cultural memory” is at work in the text.
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Natishan, Georgia Kathryn. "Returning the King: the Medieval King in Modern Fantasy." Thesis, Virginia Tech, 2012. http://hdl.handle.net/10919/32346.
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In an interview with Hy Bender, Neil Gaiman states, â We have the right, and the obligation, to tell old stories in our own ways, because they are our stories.â While fantasy stands apart from other types of fiction, it still provides a particular kind of commentary on the culture/time it is being created in, often by toying with older themes and conventions. Stories of the quest for kingship tend to fall by the wayside in favor of the â unlikely heroâ tale. While the kingâ s story is not always vastly different from that of the hero, there are some key points that need to be taken into consideration. Unlike many heroes, especially in the modern sense, kings (whether recognized at first or not) are born for the duty they must eventually fulfill. A hero may be unaware of the problem at first or later reluctant to engage it; more often than not in tales of kingship there is a deep awareness of the problem and the knowledge of their potential in solving it. There is always a sense of inherent purpose and destiny: they must undertake quests in order to legitimize themselves and their power â their right to rule. These stories bear a similar structure and shared themes that can be found in medieval sources as well as earlier myths.
Tales of kingship in modern fiction, specifically in the work of Neil Gaiman (The Sandman) and George R. R. Martin (A Game of Thrones), are similar to the medieval models, as kingship and the requirements of kingship were popular themes in medieval texts, including Beowulf and King Horn. The role of the king in epic tales varies from hero to villain, at times even occupying both roles depending on the story. In the tales explored herein and in much of the medieval source material that inspired the fantasy tradition, the king also takes on the role of healer. The interwoven plots of George R. R. Martinâ s A Song of Fire and Ice series revolve around the struggle for the rightful rule over seven kingdoms, and while the protagonist in The Sandman is in many ways vastly different from Tolkienâ s Aragorn, the character still exists with a sense of purpose, responsibility, and duty; a regal bearing that does not necessarily occur in the majority of typical heroes. The influence of Tolkienâ s work both as a scholar and an author is apparent in Gaimanâ s use of mythology and Martinâ s style of world creation; both authors have admitted their creative debt to and continuing admiration of Tolkienâ s style of fantasy. It is impossible to discuss modern fantasy without acknowledging Tolkien as an influence to these two more recent authors. This paper will discuss The Lord of the Rings as a bridge between modern fantasy and medieval/mythological sources.
In each of these modern fantasy tales of kingship, healing and reunion become major themes, tied into the right/duty of a ruler. The patterns established by medieval tales are used by modern authors to create fantasy kings, giving their narratives legitimacy that may have been difficult to establish without these patterns and links back to the medieval tradition.<br>Master of Arts
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Salisbury, Derek. "Growing up with Vertigo: British Writers, DC, and the Maturation of American Comic Books." ScholarWorks @ UVM, 2013. http://scholarworks.uvm.edu/graddis/209.
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At just under thirty years the serious academic study of American comic books is relatively young. Over the course of three decades most historians familiar with the medium have recognized that American comics, since becoming a mass-cultural product in 1939, have matured beyond their humble beginnings as a monthly publication for children. However, historians are not yet in agreement as to when the medium became mature. This thesis proposes that the medium’s maturity was cemented between 1985 and 2000, a much later point in time than existing texts postulate. The project involves the analysis of how an American mass medium, in this case the comic book, matured in the last two decades of the twentieth century. The goal is to show the interconnected relationships and factors that facilitated the maturation of the American sequential art, specifically a focus on a group of British writers working at DC Comics and Vertigo, an alternative imprint under the financial control of DC. The project consulted the major works of British comic scriptwriters, Alan Moore, Jamie Delano, Grant Morrison, Peter Milligan, Neil Gaiman, Warren Ellis, and Garth Ennis. These works include Watchmen, V for Vendetta, Shade: the Changing Man, Batman: Arkham Asylum, Animal Man, Sandman, Transmetropolitan, Preacher and several other important works. Following a chronological organization, the work tracks major changes taking place in the American comic book industry in the commercial, corporate, and creative sectors to show the processes through which the medium matured in this time period. This is accomplished by combining textual analysis of the comics with industry specific records and a focus on major cultural shifts in US society and culture
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Hirvonen, Irene. "Gods Gone Wild : En queerteoretisk undersökning av Neil Gaimans American Gods." Thesis, Uppsala universitet, Avdelningen för litteratursociologi, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-189789.
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Blomberg, Miranda. ""Should Fiction be Safe Places?" : Neil Gaimans novellsamling Trigger Warning som metafiktion." Thesis, Uppsala universitet, Litteraturvetenskapliga institutionen, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-412454.
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Hill, Mark. "Neil Gaiman's American Gods: An Outsider's Critique of American Culture." ScholarWorks@UNO, 2005. http://scholarworks.uno.edu/td/282.
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In 2001, Neil Gaiman published American Gods, a novel of American life and mythology. As a British author living in the United States, Gaiman has a powerful vantage point from which to critique American culture, landscape, and ideology. Rich with re-invented deities, legends, mythic creatures, and folk heroes cast in a decidedly American mold, American Gods examines the American character, evaluating the myths and beliefs of the culture from the vantage point of an outsider. By examining the character's allegiance to particular cultural legacies (Wednesday as the American con artist, Shadow as the cowboy), I intend to assess this outsider's understanding of what it means to be an American.
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Long, Everitt. "Reading, writing, and rendering the world in Neil Gaiman's The sandman." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0013/MQ32492.pdf.
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Nicholson, Michelle A. "“To be men, not destroyers”: Developing Dabrowskian Personalities in Ezra Pound’s The Cantos and Neil Gaiman’s American Gods." ScholarWorks@UNO, 2019. https://scholarworks.uno.edu/td/2628.
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Kazimierz Dabrowski’s psychological theory of positive disintegration is a lesser known theory of personality development that offers an alternative critical perspective of literature. It provides a framework for the characterization of postmodern protagonists who move beyond heroic indoctrination to construct their own self-organized, autonomous identities. Ezra Pound’s The Cantos captures the speaker-poet’s extensive process of inner conflict, providing a unique opportunity to track the progress of the hero’s transformation into a personality, or a man. American Gods is a more fully realized portrayal of a character who undergoes the complete paradigmatic collapse of positive disintegration and deliberate self-derived self-revision in a more distilled linear fashion. Importantly, using a Dabrowskian lens to re-examine contemporary literature that has evolved to portray how the experience of psychopathology leads to metaphorical death—which may have any combination of negative or positive outcomes—has not only socio-cultural significance but important personal implications as well.
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Kesanakurthy, Yashaswi. "Material girls : examining the effects of subject/object relationships on the protagonists of Neil Gaiman's Coraline and Hiromi Goto's Half World." Thesis, University of British Columbia, 2014. http://hdl.handle.net/2429/50828.
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This study uses thing theory as a focal lens to examine the way subject/object relationships are portrayed within two fantasy novels— Neil Gaiman’s Coraline and Hiromi Goto’s Half World— that have elements of horror in them. It takes into consideration the tropes and stereotypes present within dark stories for children and uses thing theory to look at how subjects and objects are introduced to one another within a horror setting and, consequently, how they transform each other through either use or misuse. This allows for a fuller understanding of how subjects and objects transgress and mutate within the horror genre. It provides an alternative direction from which to approach the analysis of character development by understanding the ways in which child protagonists are transformed by objects and how they, in turn, can manipulate things and situations to shift the balance of power in their favour. The findings provide an alternative approach to the further study of gender representations and cultural identities in horror fiction for children and young adults.<br>Arts, Faculty of<br>Library, Archival and Information Studies (SLAIS), School of<br>Graduate
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Dias, Paulo Jorge Marques. "A voz do narrador em Neil Gaiman: tradução do conto “The thing about Cassandra”." Master's thesis, 2020. http://hdl.handle.net/10316/93674.
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Trabalho de Projeto do Mestrado em Tradução apresentado à Faculdade de Letras<br>Neste trabalho de projeto propõe-se a tradução para português de “The thing about Cassandra”, conto de Neil Gaiman.O trabalho começa por apresentar uma contextualização biográfica de Neil Gaiman, abordando seguidamente alguns dos aspetos mais relevantes da obra do autor. Entre estes, salientam-se o uso recorrente da intertextualidade, além de especificidades inerentes ao fantástico.O conto é analisado numa perspetiva que articula a história propriamente dita com algumas estratégias literárias. Destas, são de destacar a stream of consciousness, a repetição, o discurso direto, a oralidade e a coloquialidade.Procura-se demonstrar que a tradução literária deve assentar em dois pontos basilares: o conhecimento das traves-mestras da obra de um/a autor/a e uma leitura atenta do texto de partida.Além disso, produz-se uma reflexão sobre algumas correntes teóricas pertinentes aos Estudos de Tradução, que exigiram atenção e escolhas ao longo do processo tradutivo. Num primeiro momento, são brevemente expostos os contributos de Friedrich Schleiermacher para as áreas da Tradução e da Hermenêutica. Seguem-se as noções de invisibilidade do tradutor, domesticação e estranhamento, desenvolvidas por Lawrence Venuti. Talvez menos conhecida, é também levada em conta a visão do próprio Gaiman no que à tradução diz respeito.Apresentar-se-á a proposta de tradução do conto, baseada nos conceitos teóricos supracitados e sustentada na análise literária e na interpretação detalhada do texto. Com base na definição de problemas de tradução de Christiane Nord, é feita a análise da tradução, sistematizando os processos que levaram às soluções tradutivas. Seguir-se-á a análise da tradução para português, já existente, do brasileiro Augusto Calil.<br>The following work is a project that offers the translation from English to Portuguese of Neil Gaiman’s short story “The thing about Cassandra”. After briefly mentioning the author’s biography and work, a few aspects pertaining to the bulk of Gaiman’s literary production will be approached. Among such aspects, the author’s use of intertextuality merits reflection, as do specific features regarding the fantastic.The text is then analysed, intertwining the story with its literary strategies. The importance of the use of stream of consciousness in the narrative is discussed, along with Gaiman’s usage of repetition, direct speech, orality and colloquiality.This work then attempts to demonstrate that literary translation lies on two corner stones: the translator’s knowledge of an author’s work and the attentive reading of the original text.Theories pertaining to the field of Translation Studies that underlie the short story translation and its many choices will serve as a basis for a possible translation. Friedrich Schleiermacher’s contributions to Translation and Hermeneutics will be mentioned, followed by Lawrence Venuti’s concepts of the translator’s invisibility, domestication and foreignization. Surely less known, Neil Gaiman’s views on translation will also be considered. The translation is then presented following an analysis based on Christiane Nord’s definition and systematization of translation problems. The final chapter includes a analysis of Brazilian Augusto Calil’s translation of the same short story from English to Brazilian Portuguese.
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Khoza, Solomzi Sonwabo. "The translation of humour in Neil Gaiman and Terry Pratchett's Good omens." Thesis, 2016. http://hdl.handle.net/10539/21812.
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A research report submitted to the Faculty of Humanities University of the Witwatersrand, Johannesburg in partial fulfillment of the requirements for the degree of Master of Arts in Translation Johannesburg, 2016<br>The aim of this paper is to investigate how the different types of humour in Neil Gaiman and Terry Pratchett's Good Omens have been translated into French and German as De Bons Présages and Ein Gutes Omen, respectively. This study applies frame semantics to analyse how the translators recreated the humour of the ST in the instances that they were able to do so. This theory examines how context is created and what expectations arise from an individual’s knowledge of context i.e. their understanding of the context and what the reader or hearer associates with it. The novel involves several subplots, but the same humorous elements such as puns, parody and an invented archaic variety of English appear throughout the book and it is the aim of this study to determine how these elements were dealt with by the translators. I will compare the two translations and determine how, and if each translator was able to recreate the same frames that made the ST humorous.<br>MT2017
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Goldberg, Mila Danielle. "Gods, men, monsters: the defamiliarisation of myth in Beowulf and Neil Gaiman’s American gods." Thesis, 2012. http://hdl.handle.net/10210/4796.
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M.A.<br>This dissertation considers how shifts in the representation of mythological figures, images and tales are reflective of shifts in social ideology. The texts with which this study is concerned have been chosen because of the ways in which they deal with mythological themes and images and their transference from one historical and ideological context to another. This transference is effected principally through the device of what Viktor Shklovsky called “defamiliarisation”. In Neil Gaiman‟s American Gods, the fictional America of the novel is the framing context in which Gaiman considers the nature of mythology as it begins to shift from the ancient to the new. American Gods reveals how the natures of gods and the narrative patterns through which their exploits are told to men are altered as social idioms change. The battle between the gods of ancient mythologies and those of the new world is illustrative of a society undergoing ideological and religious change, especially in the conception of the godhead. Although disparate in time, style and culture, the Anglo-Saxon epic Beowulf also engages with a mythological shift, from pagan to Christian mythological idiomatic thought. Beowulf, the great pagan warrior, and the creatures by which he finds himself confronted intermingle in complex ways to demonstrate the shift, not only in myth, but in the perception of its archetypal figures and their roles. In particular, it is the human element of mythology that is emphasised through the process of defamiliarisation. To illustrate how a text‟s mythology can be adapted in order to be relevant to a temporally and ideologically distant society, this study will also examine the adaptation of the poem Beowulf into two filmic narratives. Beowulf 2007 and Beowulf and Grendel, are both concerned with the process of myth creation and dissemination and display an awareness of their own statuses as constructed narratives. In so doing, they draw attention to the constructed nature of mythology and its ideology. The films defamiliarise Beowulf and through the translation and adaptation of the poem are able to reinvent and thus revive the poetic material.
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Skikne, Taryn Sara. "Neil Gaiman's The Sandman : From interpretive narrative to postmodern myth." Thesis, 2008. http://hdl.handle.net/10539/5773.
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This thesis will explore the proposal that Neil Gaiman’s The Sandman is, as Gaiman
describes it in its epilogue, a “story about stories” (The Wake, epilogue). Its particular
focus will be on Gaiman’s conception of humans as essentially narrative beings, who use
narratives to interact with the world around them, to impose order on information, to
provide interpretive paradigms, and as models for their behaviour.
Gaiman has not only explored this idea, but used the fantastic mode to create a
universe in which these types of ‘interpretive narratives’ directly affect physical reality.
Gaiman’s ideas about the way narratives work have been heavily influenced by both
postmodern and Jungian legacies. The thesis will propose that the dynamic between
postmodern intertextuality and the Jungian idea of the archetypes is a driving force in The
Sandman. While Gaiman embraces a playful, bricoleur intertextuality, he also retains a
belief that humans can invoke the archetypes to access profound meanings, which
transcend the particularities of their expression in any individual instances. Under these
influences, Gaiman concieves of a postmodern, Jungian approach to mythology.
We will see that Gaiman’s interactions with narrative, postmodernism and
Jungianism eventually lead him to formulate an ethic for the contemporary world, and that
he encodes it in his own mythology. This ethic both empowers individuals and demands
that they take responsibility for their power. It also focuses on how the individual can
productively and tolerantly interact with a heteroglossic world. Instead of a fact to be
sought out, meaning becomes a process of active creation.
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Kidder, Orion Ussner. "Telling stories about storytelling: the metacomics of Alan Moore, Neil Gaiman, and Warren Ellis." Phd thesis, 2010. http://hdl.handle.net/10048/1037.
Full textAbstract:
The Revisionist comics of the 1980s to present represent an effort to literally revise the existing conventions of mainstream comics. The most prominent and common device employed by the Revisionists was self-reflexivity; thus, they created metacomics. The Revisionists make a spectacle of critically interrogating the conventions of mainstream comics, but do so using those same conventions: formal, generic, stylistic, etc. At their most practical level, Revisionist metacomics denaturalise the dominant genres of the American mainstream and therefore also denaturalise the ideological underpinnings of those genres. At their most abstract level, they destabilise the concepts of "fiction," "reality," "realism," and "fantasy," and even collapse them into each other.
Chapter 1 explains my methodological approach to metacomics: formal (sequence and hybridity), self-reflexive (metafiction, metapictures, metacomics), and finally denaturalising (articulation and myth). Chapter 2 analyses two metacomic cycles in the mainstream (the Crisis and Squadron Supreme cycles) and surveys the self-reflexive elements of Underground comix (specifically with regard to gender and feminist concerns). Chapter 3 presents three motifs in Revisionist comics by which they denaturalise the superhero: the dictator-hero, postmodern historiography, and fantasy genres. Finally, Chapter 4 analyses three major Revisionist comic-book seriesTransmetropolitan, Promethea, and Sandmanall of which comment on contemporary culture and the nature of representation using the dominant genres of American comics (science fiction, superhero, and fantasy, respectively).<br>English
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Landman, Mario. "Dream of a thousand heroes: the archetypal hero in contemporary mythology, with reference to The sandman by Neil Gaiman." Diss., 2006. http://hdl.handle.net/10500/2444.
Full textAbstract:
Twentieth century American fiction assimilates archetypes of traditional mythologies, in particular the hero archetype, to create a contemporary mythology which relays social issues relevant to its age. This is first approached by creating a theoretical framework, which primarily consists of both Jungian theories of the collective unconscious and the model on which Joseph Campbell based his conception of the archetype in what is known as myth criticism. The theoretical framework also introduces and describes the graphic novel and its use of characterisation distinctive to post-modern fiction.
The Sandman, which is the subject of this study, is then contextualised against the backdrop of the evolution of the American comic book, with its influence of folklore, mythology and visual presentation. Through an overview and analysis of The Sandman series as a whole, as well as a reading of its pivotal narrative, The Kindly Ones, this thesis explores the way in which The Sandman fulfils its purpose of integrating an archetypal hero into contemporary mythology. This is achieved by validating claims proposing the existence of a contemporary mythology through an analysis of Morpheus, The Sandman's protagonist and his unique heroic journey. The conclusion reached is that The Sandman indeed represents a contemporary mythology that contains a new form of social commentary, incorporating archetypes from traditional mythology and re-evaluating the role of the hero in this day and age.<br>Afrikaans & Theory of Literature<br>M. A. (Theory of Literature)