Dissertations / Theses on the topic 'Gulliver's travels (Swift, Jonathan)'

Orientador: Marisa Lajolo
Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
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Resumo: O propósito deste trabalho é fazer uma comparação entre a obra Gulliver's Travels (1726), de Jonathan Swift, e suas primeiras adaptações brasileiras. Em primeiro lugar, consideramos o texto integral e depois passamos à história de suas condensações e adaptações dentro da própria língua inglesa. A seguir fomos ao nosso tema principal, as adaptações da obra para o português feitas por Carlos Jansen (em 1888) e Monteiro Lobato (em 1937), discutindo problemas de adaptação, tradução, e recepção e as relações entre o texto, o intermediário (tradutor, adaptador) e o público a quem este se destina. Neste caso, o público seria, num primeiro momento, no final do século XIX, os estudantes do Colégio D. Pedro II, e num segundo momento, início do século xx, as crianças brasileiras em geral e em particular as leitoras da obra infantil de Lobato. A adaptação de Lobato, (assim como sua obra infantil posterior a 1926), foi publicada pela Cia Editora Nacional
Abstract: The aim of this work is a comparison between the original Gulliver's Travels, by Jonathan Swift and the two first Brazilian versions of it. Firstly we considered the integral work and then we studied the story of its condensations and abridgements within the English language. After that we went to the main theme of our work, which is the adaptations of the work made by Carlos Jansen (in 1888) and Monteiro Lobato (in 1937). When we did that we discussed the problems of adaptation, translation and reception, and the relations among the work, the intermediate (the translator, adaptator) and the public to whom the adaptation is supposed to be held in our case this public was, in the first moment, the students ftom D. Pedro II school. Then, more precisely in the beginning of the twentieth century, the Brazilian children in general, and the readers of Lobato's works in particular published-like all his works after 1926 - by the publishing house, Companhia Editora Nacional
Doutorado
Teoria e Historia Literaria
Doutor em Letras

Les "Voyages de Gulliver" s'inscrivent dans la tradition du voyage imaginaire, genre fondé par Lucien de Samosate, et qui a connu un grand essor en France au XVIIe siècle. Les liens entre l'oeuvre de Swift et les récits en français relèvent de deux types. D'une part, des relations intertextuelles rattachent les "Voyages" à plusieurs hypotextes (l'"Histoire véritable" dans la version des d'Ablancourt, le "Quart livre" de Rabelais et "L'autre monde" de Cyrano de Bergerac). D'autre part, certaines similitudes résultent de l'appartenance commune au genre du voyage imaginaire. Partageant de nombreux codes et topoi͏̈ avec l'"Histoire des Sévarambes" de Veiras, "La Terre australe connue" de Foigny, et les "Voyages et aventures de Jacques Massé" de Tyssot de Patot, le récit de Swift s'ancre dans un réseau générique, et mène une réflexion critique sur la société, sur les rapports entre vérité et fiction ainsi que sur la continuité littéraire, quíl incarne et perpétue
"Gulliver's travels" belong to the imaginary voyage tradition, founded by Lucian of Samosata and particularly popular in 17th-Century France. The links between Swift's work and the texts in French are of two types. The "Travels" are intertextually connected to several hypotexts (the d'Ablancourt version of the "True history", Rabelais' "Quart livre", Cyrano de Bergerac's "L'autre monde"), whereas other resemblances are the result of traits characteristic of the genre. Swift's text shares many codes and topoi͏̈ with Veiras' "Histoire des Sévarambes", Foigny's "Terre australe connue" and Tyssot de Patot's "Voyages et aventures de Jacques Massé", anchoring itself firmly within a textual network in order to reflect upon human society, truth and fiction, as well as literary continuity, which the work both embodies and perpetuates

Desde sua primeira impressão, em Londres, no ano de 1726, Viagens de Gulliver, de Jonathan Swift, tem sido amplamente lida e, conseqüentemente, reimpressa. No entanto, o evidente sucesso editorial do livro não permite concluir que ele tenha ganhado incontestável aprovação do público nem tampouco pode levar-nos a pensar que suas interpretações foram sempre consensuais. Prova disso reside nos dissensos do período pós-publicação os quais se estenderam e alargaram até a era vitoriana, no século XIX, a partir de quando a obra mais importante de Jonathan Swift adquiriu novas leituras, especialmente no mundo anglo-norte-americano, até que, por fim, ingressasse no panteão dos grandes textos da moderna literatura de língua inglesa. Apresentar algumas das leituras e interpretações de peso do período vitoriano, considerando as nuances da crítica e da historiografia que trataram de Viagens de Gulliver, bem como introduzir os argumentos de alguns autores que, do fim do século XIX até a primeira metade do XX, revisitaram tanto essa obra como certos comentários acerca dela são, pois, os objetivos primordiais deste trabalho.
Since Gullivers Travels by Jonathan Swift, was printed in London, in 1726, it has been largely read and, consequently, reprinted. However, the evident editorial success of the book does not let to conclude that it had gained incontestable public approval, neither lead to think that interpretations about it were always consensual. A proof for this lays on disagreements from the post-publication period which had spread and enlarged until the Victorian age, in the 19th century; since then the most important book of Jonathan Swift has acquired new readings, especially in the Anglo-North-American world, and after all it got into the pantheon of the great texts of the English modern literature. Presenting some important readings and interpretations from the Victorian age, considering the nuances of the criticism and historiography that dealt with Gullivers Travels, as well as introducing arguments of some authors whom, from the end of the 19th century to the begin of the 20th century, revisited both the book and some commentaries concerning to it, are the prime objectives of this work.

Douglas Adams and Jonathan Swift are satirists who lived and worked 250 years apart. Swift's eighteenth-century text, Gulliver's Travels, tells the story of an Englishman's adventures during numerous sea voyages that bring him into contact with fantastical peoples and places. Adams's twentieth-century text, The Hitchhiker's Guide to the Galaxy, relates a hapless Englishman's trials and tribulations during an intergalactic voyage which takes him and his companions to bizarre destinations. This study considers key similarities and differences between the texts. Resonances between Gulliver's celestial navigation in the eighteenth century and Arthur Dent's navigation among those very heavenly bodies in the twentieth century are explored. The novels are examined for evidence of satire, the travel genre, proto science fiction and mock science fiction and for generic similarities between the works. Through a process of elimination, Gulliver's and Arthur Dent's respective journeys are abstracted, summarised and represented graphically. Communication theory and linguistic trends during the Enlightenment and the twentieth century, as well as the science and technology of each era are also briefly reviewed. This study finds that, through the exploitation of the journey as literary device which allows Gulliver and Arthur Dent to view England and Earth from different places and from different times, both Swift and Adams are able to comment on and satirise humankind. The illustrations of the journeys highlight the differences between the two novels in terms of structure and adherence to markers of time and place. Lemuel Gulliver's journeys are shown to be radial voyages with England as the core location of departures and arrivals, whereas Arthur's appear to be random and follow neither the expected and known rules of travel, nor the laws of time and space. The study furthermore considers the nature of the locations visited and finds resemblances and differences between the authors' and readers' known worlds, and the fictitious worlds described. This naturally leads to a consideration of the degree of alienation experienced by the protagonists and, indeed, humanity. Finally, the texts are examined for communication problems faced by the protagonists. The conclusion of this study suggests that in Gulliver's Travels and The Hitchhiker's Guide to the Galaxy both Adams and Swift show their awareness that language is not neutral, and that it possesses the power to entertain, inform, deceive and destroy. Both texts function metonymically to highlight the perilous complexity of the human condition and show that humanity's journey through space/time in the twentieth century remains as treacherous as one by sea during the Enlightenment.
Dissertation (MA)--University of Pretoria, 2017.
English
MA
Unrestricted

When the meritless scrabble for the bauble of deity, they ironically set their human lives at the “pin’s fee” to which Shakespeare’s Hamlet refers. This thesis focuses on these undeserving individuals in premillennial and postmillennial fiction, who seek immortality at the expense of both their humanities, and their natural mortalities. I will analyse an array of popular modern characters, paying particular attention to the precursors of immortal personages. I will inaugurate these analyses with an examination of fan favourite series

This dissertation investigates the balance of power theory of international relations in the works of Jonathan Swift and his mentor Sir William Temple. Both Temple and Swift are known to have championed balance-of-power foreign policy, yet no sustained study of the subject exists. To begin, I argue that Temple used balance as a metaphor for division or separation. His policy of preserving the “Balance of Christendom” translates to sowing division among European states, and for the same reason he rejects balance of power at home. Proceeding to Swift, while commentators have long known that he advocated the classical theory of constitutional balance, they have neglected his engagement with international balance. Swift assimilates Temple’s positions into a universal theory based on classical authors; he sees balance of power as an element in the broader quarrel of ancients and moderns. The ancient view posits an independent agent who operates within the constraints of a system; the modern, by contrast, either exaggerates agency to the point of divine-right absolutism or minimizes it to the extent that only an impersonal, clockwork-like system remains. In both cases, the moderns pursue material power at each other’s expense, neglecting the intangible benefits of due separation. This theory has important ramifications for Swift’s international writings. For years scholars have emphasized Swift’s conspiracy theorizing in the Conduct of the Allies, but I argue that he discredits the Whig war cry of “Balance of Europe,” which sought military power (the balance of forces) as an end in itself, and reasserts balance as a policy of slicing Europe into as many separate kingdoms as possible. Ultimately, however, Swift’s most lasting contribution appears in Gulliver’s Travels. Here he depicts maritime power as the quintessential means by which moderns pursue absolute power, and intimates a political “Balance of Earth” as a satirical correction. This study, the first to focus on the international dimension of Swift’s political theory, offers a corrective to literary studies that favor domestic politics and yields insights into the evolution of balance-of-power theory and the intersection of culture and foreign policy at the dawn of the British empire.
text

本論文以Gulliver’s Travels晚清時期的中譯本《海外軒渠錄》（1906）為研究對象，探討譯者對原文諷刺手法的翻譯策略。Gulliver’s Travels 是西方諷刺（satire）文學經典之作，主要通過「敘事角色」（persona）以及「想像遊記」（imaginary voyage）的手法取得諷刺效果。晚清時期中西文學傳統殊異，想要在中文語境中再現原文的諷刺特點，並非易事。本論文通過具體的文本對比和分析發現，由於中國文學傳統以及晚清翻譯規範的影響，譯者在翻譯過程中改寫原文，因此《海外軒渠錄》未能體現Gulliver’s Travels的諷刺手法，而譯文也從一個側面展示出中西文學相互碰撞、對話的過程。本研究希望藉此個案，從文學表現以及文學交流的角度再論晚清小說翻譯。
This thesis examines one late Qing Chinese translation of Gulliver’s Travels in 1906, namely Haiwai Xuanqulu 海外軒渠錄. The study focuses on how the literary devices of satire employed in the original text were rendered into Chinese by the late Qing translators. These devices include a narrative "persona" and the "imaginary voyage" structure. It is a challenging task for the translator to fully render these literary techniques into Chinese in late Qing period when the Western and Chinese literatures were remarkably different. Through detailed text comparison and analysis, we find that, influenced by Chinese literature tradition and late Qing translation practice, the translators made changes in translation in a way that the original satirical effect was not retained in the translated work. The translation also reflects in some degree the clash and dialogue between Western and Chinese literatures. This thesis aims to explore late Qing fiction translation from the perspective of literary transmission.
Detailed summary in vernacular field only.
季凌婕.
Thesis (M.Phil.) Chinese University of Hong Kong, 2014.
Includes bibliographical references (leaves 84-93).
Abstracts also in Chinese.
Ji Lingjie.

This study revises a dominant narrative of the eighteenth-century, in which a secular modernity emerges in opposition to religious belief. It argues that a major challenge for writers such as Jonathan Swift and Daniel Defoe, and for English subjects generally, was to grasp the object world--including the modern technological object--in terms of its spiritual potential. I identify disputes around the liturgy and common prayer as a source of a folk psychology concerning mental habits conditioned by everyday interactions with devotional and cultural objects. Swift and Defoe therefore confront even paradigmatically modern forms (from trade items to scientific techniques) as a spiritual ecology, a network of new possibilities for practical piety and familiar forms of mental-spiritual illness. Texts like A Tale of a tub (1704) and Robinson Crusoe (1719) renew Reformation ideals for the laity by evaluating technologies for governing a nation of souls. Swift and Defoe's Protestantism thus appears as an active guide to understanding emotions and new experience rather than a static body of doctrine. Current historiography neglects the early modern sense that sectarian objects and rituals not only discipline religious subjects, but also provoke ambivalence and anxiety: Swift's Tale diagnoses Catholic knavery and Puritan hypocrisy as neurotic attempts to extract pleasure from immiserating styles of material praxis. Crusoe, addressed to more radical believers in spaces of trade, sees competent spiritual, scientific and commercial practice on the same plane, as techniques for overcoming fetishistic desires. Swift's orthodoxy of enforced moderation and Defoe's oddly worldly piety represent likeminded formulae for psychic reform, and not--as often alleged--conflicts between sincere belief and political or commercial interests. Gulliver's travels (1726) and A Journal of the plague year (1722) also link mind and governance through different visions of Protestant polity. Swift sees alienation from the national church--figured by a Crusoe or Gulliver--as refusal of common sense and problem solving. Defoe points to religious schism, exemplified by dissenters' exclusion from state church statistics, as a moral and medical failure: the city risks creating selfish citizens who also may overlook data needed to combat the plague.
text

碩士
靜宜大學
英國語文學系
87
This present thesis is a comparative study of Jonathan Swift''s Gulliver''s Travels (1726) and Li Ju-chen''s Flowers in the Mirror (1820). Both works, though written respectively by English and Chinese writer, are similar in their form s of travel narrative, fantasy, and allegory. Based on Wolfgang Iser''s Reader''s Response Theory, this thesis concentrates on how both Jonathan Swift and Li Ju-chen manipulate the travel narrative with fantasy and allegory. Their deliberate calculation on their implied readers has thus been closely examined and in some respects treated tentatively. Applying Iser''s theory primarily, I assemble some critics'' researches to exhibit the interrelationship concerning the form of travel narrative, fantasy, and allegory in both works comparatively with the aim of understanding how these particular textual forms of the two literary works are related and affect the implied reader. What I have done in this thesis is to proffer a profile of similar reading potentiality in the forms of travel narrative, fantasy, and allegory. This present thesis consists of five chapters. In the introduction I give an overview of Iser''s Reader''s Response Theory. Iser considers the literary text as a potential structure that is concretized by the reader in relation to his or her extra-literary norms, values, and experience. What is presented in Chapter Two is the postulation that both Swift''s and Li Ju-chen''s adoption of travel narrative serves their works with double functions: one is travel as a metaphor of thought; the other, the establishment of possible worlds in fictionality. In Chapter Three I approach the genre of fantasy by mustering some Western and Chinese critics'' research on the aesthetic function of fantasy. On the whole, they accentuate that fantasy contains the aesthetic effect of wonder that can entice readers to exercise their imagination. To capture readers'' interest, both Swift and Li Ju-chen tincture their travel narrative with legend or fairy-tale. I apply Max Luthi''s theory to point out the characteristic embodiment of folk-literature in both Swift''s and Li Ju-chen''s travel narratives. Chapter Four deals with the form of allegory. Both Swift and Li Ju-chen utilize the literary tactic of fantasy to create indeterminate fictional worlds that set readers in an active performance of meaning-formulation. From this angle, Gulliver''s Travels and Flowers in the Mirror can be termed as allegories. Accordingly, I point out three possible implications and interpretations of allegory. In the conclusion I recapitulate that the forms of travel narrative, fantasy, and allegory are gifted with a distinctive similarity. They can not only generate readers'' interest in reading but also elicit readers'' response to the matters encompassed within the literary texts. In fact, these three forms are intimately connected. It is the very framework of travel narrative that furthers and enhances the forms of fantasy and allegory. The excellent merit that both works have in common is a wide spectrum of indeterminacy that liberates readers'' potential reading. The imaginative greatness of both works is the elaboration of the possibility that there may be numerous directions to approach the marrow of their contents. Seen in this light, both Swift''s and Li Ju-chen''s artistic stratagems in designing their literary works as travel narratives of fantasy and allegory correspond to Iser''s theory that each literary work should be a form of communication.

Working at the intersection of narrative studies and political theory, this thesis performs an original critical intervention in Gulliver’s Travels studies to establish the work as an intertextual response to the hegemonic articulations of European travel writing produced between the 15th and 18th centuries under the discourse of Discovery. My argument proceeds through two movements. First, an archeology of studies on Gulliver’s Travels that identifies key developments and points of significance in analyses of the satire’s intertextual relationship with travel writing. Second, a discursive analysis of the role of Discovery generally, and travel writing specifically, in constructing European hegemony within a newly global context. Together these movements allow me to locate Gulliver’s Travels firmly within the discourse of Discovery and to specify the politics of the text and the poetics of its operations. For this analysis I adopt a conceptualization of hegemony elaborated by Ernesto Laclau and Chantal Mouffe in Hegemony and Socialist Strategy (1985), which defines discourse as a structured totality of elements of signification, wherein the meaning and identify of each element is constituted by articulatory practices competing to fix the differences and equivalences between it and others within the discourse. An hegemonic discourse is one that successfully limits the possibility of novel articulations according to a particular governing logic. In the Age of Discovery, this governing logic, I argue, is a socio-spatial logic that constructed the “European” subject through its difference from the “Non-European,” the “civilized” subject through its difference from the “savage,” and the “free land” of the “savage” peoples through its difference from the occupied lands of the “civilized.” To conduct the concomitant critical analysis of Gulliver’s Travels, I draw upon Jacques Rancière’s conception of the “distribution of the sensible,” which refers both to the partitions determined in sensory experience that anticipate the distributions of parts and wholes, the orders of visibility and invisibility, and the relationships of address or comportment beneath every community; and to the specific practices that partake of these distributions to establish the “common sense” about the objects that make up the common world, the ways in which it is organized, and the capacities of the people within it. This enables me to establish travel writing as an articulatory practice that utilized a narrative modality to “reveal” the globe in a Eurocentric image dependent upon the logic of Discovery: a discursively constructed paradigm that I identify as what others have labeled “travel realism,” which organized the globe into a single field of discursivity predicated upon the “civilizational” and “rational” superiority of Europeans over their non-European Others. Gulliver’s Travels, I conclude, intervenes in this distribution of the sensible by utilizing the satirical form as a recomposing logic to upend the paradigm of travel realism and break away from the “sense” that it makes of the bodies, beings, and lands it re-presents.
Graduate

碩士
國立彰化師範大學
英語學系
104
Abstract This study aims to explore teenagers’ reading reflection in Jonathan Swift’s Gulliver's Travels and to apply children’s literature to English teaching for EFL students in a junior high school classroom setting in central Taiwan. The study consists of six chapters. Chapter One includes five sections, which are motivation and background, purpose and significance of the study, major research questions, literature review, and organization of the study. The literature review section explores the benefits of children’s literature and the use of it in EFL classroom, and investigates content-based instruction and its application to language teaching. The three models proposed by Carter and Long (1991) are also employed in this study. The criteria of choosing appropriate children’s literature and the suitability of Gulliver's Travels as teaching material is also analyzed. In Chapter Two, the biography of Jonathan Swift and a brief illustration of Gulliver's Travels are first presented. In the brief examination of Gulliver's Travels section, the first voyage to Lilliput, the second voyage to Brobdingnag, the third voyage to Laputa and other Islands, and the fourth voyage to the land of the Houyhnhnms are illustrated. Finally, the last section of this chapter discusses the elements of satire in Gulliver's Travels. Chapter Three examines the feature and value of various literary passages and language elements in Gulliver's Travels. Consideration of their application to teaching is also presented. In Chapter Four, the details of the main study are presented, including the participants, the instruments, the data collection procedures, and the teaching procedures. In Chapter Five, comparative analysis of the responses in students’ pre-instructional and post-instructional questionnaires is included. Then, the results of the pre-test and the post-test for the comprehension of the reading texts are also presented. Finally, Chapter Six concludes the findings of this teaching experiment. In this final section, major findings of the study, recommendations and pedagogical implications, limitations of the study, and suggestions for further studies are discussed. Key words: children's literature, satire, Gulliver's Travels