Dissertations / Theses on the topic 'Hunger Games (Series : Collins, Suzanne)'

Suzanne Collin’s trilogy The Hunger Games has become an international bestseller, and tells the story about Katniss Everdeen, a young citizen of District 12 in Panem. The object of this essay is to demonstrate that nurturing, being a warrior and pursuing beauty are the most idealized behaviors in The Hunger Games trilogy. By analyzing these behaviors from a gender perspective, based on the standpoint of Western society, I demonstrate how nurturing and pursuing beauty are feminine behaviors, and being a warrior is a masculine behavior. Furthermore, I outline how the characters’ behavior reflects their upbringings or the circumstances they are in. I conclude by considering what the popularity of Collins’s series indicates about contemporary perceptions of these behaviors, that are traditionally deemed as feminine or masculine in Western society. The result of the analysis indicates that the characters are being rewarded for both feminine and masculine behaviors. However, the characters showing a combination of both feminine and masculine traits gain more than the characters that possess either feminine or masculine qualities only. The contemporary views on femininity and masculinity are changing in Western society, and The Hunger Games trilogy gives us an indication about today’s view on the gendered behaviors in this essay.

The present essay is the evaluation of women’s conditions and gender equality in the novel, the Hunger Games by Suzanne Collins. Different conditions of women such as the political, physical, marital and financial are analyzed in Panem society before and after the revolution. It is also discussed, which aspects of women’s lives are improved and which aspects are left unchanged after the rebellion of the novel. How far may revolution and the political system be influential upon the development of women and the decrease in male domination in Panem, as an example of real communities? In the final process of analysis, the lack of meritocracy in Panem society is discussed as the result of gender discriminations or the essence of policy. There are also comparisons between Panem and Greece and their heroes. The result of this comparison is, discovering a fluctuation in values, morals and political thoughts from ancient times up to an unknown future. Katniss as the heroine and the ideal female of society is primarily analyzed in each part, and then the other female characters are explored, depending on their roles and importance in the different parts.

The development of the novel cannot be separated from discussions about literary history, gender relations, performance, and the power literature has to instruct its audience. Women and young people have always comprised a substantial part of the novel’s readership, and this makes them powerful. The history of the novel is the history of dangerous literature; it is the history of works that have enchanted readers with “the power of example,” as Samuel Johnson wrote in the eighteenth century, that can lead them to change their behavior. This thesis explores how women in young adult literature—in the eighteenth century through Frances Burney’s Evelina (1778) and today through Suzanne Collins’ The Hunger Games (2008)—use performance and vision to reveal and resist the social systems that try to define them. Evelina and Katniss, the heroines of these novels, provide their readers with examples of behaving in ways different than the normative model. Their stories, and the young women who read their stories, threaten the established social order of their worlds. The creative addition to this thesis provides readers with another young heroine who uses her powers, in a fantastical world, to reveal and resist the structures in her life.

I denna uppsats undersöks hur systerrelationen mellan protagonisten Katniss Everdeen och hennes lillasyster Prim porträtteras i Suzanne Collins The Hunger Games-trilogi, bestående av The Hunger Games (2008), Catching Fire (2009) och Mockingjay (2010). Syftet med uppsatsen är att utforska vilken funktion denna porträttering får för intrigen i sin helhet samt att se vilka föreställningar om manligt och kvinnligt som blir synliga i relationen systrarna emellan. Som teoretisk grund används Sarah Annes Browns och Roberta Seelinger Trites skrifter om litterära systerskap. Undersökningen visar att Katniss relation till Prim är starkare än andra syskonrelationer inom trilogin och att detta bland annat beror på att Katniss ser det som sin största uppgift att ta hand om och skydda sin syster. Detta starka band är också avgörande för intrigen - Katniss beslut att ta Prims plats i Hungerspelen möjliggör resten av händelseförloppet. Det blir även tydligt att Katniss gärna ser på Prim som den behövande systern, men att båda egentligen är beroende av varandra. Systermotivet blir också synligt i Katniss relation till Rue från Distrikt 11. I relationen till systern Prim antar Katniss ofta manliga attribut och Prim beskrivs med typiska kvinnliga egenskaper, men det finns även gånger då dessa genusföreställningar rubbas.

This thesis aims to highlight, analyse and problematize how sexualities and relationships are constructed as normative and deviant in the Hunger Games trilogy through the character Katniss Everdeen. With this analysis, the thesis aims to further elucidate the pluralism of meaning within literature as a contribution to the field of feminist cultural studies. Queer theory and queer temporality studies have been used to identify and discuss concepts such as the heterosexual matrix, monogamy and mononormativity, polyamory and other marginalized sexualities. A thematic queer reading serves as a methodological approach to the material to enable searching for queer themes in the series. The thesis shows how heterosexuality and monogamy are constructed and portrayed as normative and compulsory, where all other expressions of sexuality are presented as deviant and thereby can be view as different expressions of queer temporality.

This essay aims to examines Suzanne Collins’s The Hunger Games Trilogy is a series of dystopian novel that resolves around social class and economic and politic oppression. The main focus of this essay is to examine class and ideology in The Hunger Games Trilogy. In order to examine class and ideology Marxist theories have been applied on The Hunger Games Trilogy to see how ideology and class structures unfolds in the novels. Although, The Huger Games Trilogy is not Marxist in itself it is possible to find traces of Marxist theories on class and ideology.

The primary aim of this master’s thesis has been to examine how the dystopian, young adult novel, The Hunger Games (2008) by Suzanne Collins could entail depictions of violations against the articles of the Universal Declaration of Human Rights (1948). The analysis has been conducted based on a theme-based close reading of the novel using the Universal Declaration of Human Rights as a contextualization device. In addition, the literary analysis has been divided into three sections, namely global, group and the individual perspectives of how incidents in the novel hypothetically violate the Universal Declaration of Human rights. The division was made in order to delineate the social perspective of how literature can amplify the understanding of human rights and societal issues. Furthermore, the secondary aim of this master’s thesis has been to discuss how upper secondary students, when using a critical literacy lens in the English as a Foreign Language classroom, may establish an awareness about other people’s living conditions and fundamental rights that are present in their immediate social vicinity and in this novel.

This thesis aimed to analyze how men and masculinity were portrayed in The Hunger Games. I intended to investigate the most salient masculine characters. I also wanted to analyse the one-on-one interactions between men as well as their group interactions. I sought to investigate if one could see any power relations between the male characters and if they were traditionally masculine or not in this interaction, and also if this book could be used for discussions in the work with the core values of the Swedish national curriculum. The questions used in the thesis were: ”How are the men portrayed, and how do they act, compared against a traditional masculinity norm?”, ”What happens in the homosocial interaction between the men?”, and ”How do the men treat Katniss, seen from a masculinity perspective?” The theories used in the analysis were found within the field of masculinity studies. Hegemonic masculinity theory was the first one, and the second theory was the theoretical framework of traditional masculinity ideologies by Mahalik et al., specifically the measurement tool of CMNI – Conformity to Masculinity Norm Inventory. The method used to collect the data for the analysis was Close Reading. In the analysis I compared the men to a set of masculinity norms. The measurement tool was the norm inventory of CMNI. The results of the analysis found that at all the men in the study lived in accordance with at least some of the traditional masculinity norms. Out of the four men analysed, three of them had a gender equal relationship with the female lead character. Some men in the book were shown to act based on a patriarchal power structure. It was found that the men who acted in accordance with this structure were conforming more to the traditional masculity norms in their interaction with other men than in their interaction with women.

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Les études consacrées à la culture de fans connaissent de nos jours un développement de plus en plus important et, bien que la notion de ce que signifie être un “fan” se trouve présente dans nos societés depuis longtemps, la plupart des fois elle a une connotation fortement négative. Cepedant, la théorie de la culture participative (JENKINS, 2009, 2010) affirme que les fans (“fandom”) ont assumé un rôle actif, influençant les choix des entreprises dans la production et la distribution de produits. Parmi les productions réalisées par des fans, l’une des principales est la fan-traduction. Dans la fan-traduction, un groupe de volontaires se réunit pour traduire et rendre accessible gratuitement, à d’autres fans, diverses oeuvres qui n’ont pas encore bénéficié d’une traduction officielle. Compte tenu du grand nombre de livres traduits en amateurs par des fans, le but de cette étude est de comprendre et d’analyser comment la fan-traduction est-elle prise en charge au sein de la culture participative. Le corpus de la recherche est formé par la fan-traduction (groupe Shadow Secrets, 2009) et la traduction officielle (Alexandre D‟Elia/Editora Rocco, 2010) du roman dystopique Jogos vorazes (The Hunger Games, Editora Scholastic, 2008) de l’écrivaine nord-américaine Suzanne Collins. Du point de vue méthodologique, nous avons eu recours à l'analyse interprétative-descriptive dans le but de saisir les stratégies possiblement utilisées par les fan-traducteurs et par les traducteurs officiels dans leurs respectives traductions. Nous avons également procédé à une analyse comparative des deux traductions, afin d'observer les principales différences entre les textes. Le cadre théorique de l'analyse renvoie aux études menées par Lawrence Venuti (2002, 2004b) sur les stratégies de “domestication” et “foreignization”, et l'invisibilité du traducteur; aux tendances déformantes dans la traduction proposées par Antoine Berman (2013), et aux notions de bilinguisme et compétence en traduction développées par Wolfgang Lörscher (2012). Les résultats montrent que la fan-traduction ne suit pas un modèle particulier de stratégie traductive, mais choisit de suivre une voie plus libre par rapport à la traduction officielle en se rapprochant de la structure du texte d’origine, et cela au risque de compromettre le sens du texte cible. Les résultats ont également montré qu’il manque au traducteur-fan une certaine compétence en traduction spécifique, présente chez les professionnels. Cette compétence en traduction est attribuée aux personnes bilingues – profil qui prédomine chez les fans – et est perpétuée par la croyance que cet individu bilingue possède naturellement la compétence requise pour traduire. Nous sommes arrivée à la conclusion que les fans-traducteurs possèdent moins de compétence que les traducteurs officiels pour transférer les différents sens, qu’ils soient culturels ou linguistiques, du texte original vers le texte de la langue cible, suscitant parfois la confusion chez le lecteur.
Os estudos referentes à cultura dos fãs vêm crescendo cada vez mais e, embora a noção do que significa ser um “fã” se encontre presente em nossa sociedade há bastante tempo, na maioria das vezes tem uma conotação altamente negativa. A própria indústria do entretenimento costumava desprezar os fãs, considerando-os como pessoas cuja opinião não representava a de outros consumidores. A teoria da cultura participativa (JENKINS, 2009, 2010), porém, afirma que os fãs (fandom) assumiram um papel ativo, influenciando as escolhas das empresas na produção e distribuição de produtos. Dentro das produções realizadas pelos fãs, uma das principais é a fã-tradução. Na fã-tradução, um grupo de voluntários se forma para traduzir e disponibilizar para outros fãs, gratuitamente, obras variadas que ainda não contam com uma tradução oficial. Dessa forma, a obra se torna acessível a leitores que não dominam uma língua estrangeira, ao mesmo tempo em que ocorre certa publicidade do produto, abrindo oportunidades para que receba uma tradução oficial. Pensando no grande número de livros traduzidos de forma amadora pelos fãs, o objetivo deste trabalho é compreender e analisar como funciona a fã-tradução dentro da cultura participativa. A pesquisa possui como corpus a fã-tradução (grupo Shadow Secrets) e a tradução oficial (Editora Rocco/Alexandre D’Elia) do romance distópico Jogos vorazes (The Hunger Games), da estadunidense Suzanne Collins. Do ponto de vista teórico-metodológico, utilizamos a análise interpretativa-descritiva visando a desvelar as possíveis estratégias utilizadas pelos fãs-tradutores no decorrer da tradução, bem como pelo tradutor oficial na tradução oficial. Procedemos ainda com uma análise comparativa entre as duas traduções, no intuito de observar as diferenças mais proeminentes entre elas. O referencial teórico para a análise se encontra nos estudos realizados por Lawrence Venuti (2002, 2004b) sobre as estratégias de domesticação e estrangeirização, e sobre a invisibilidade do tradutor; nas tendências deformadoras na tradução propostas por Antoine Berman (2013) e nas noções de bilinguismo e competência tradutória desenvolvidas por Wolfgang Lörscher (2012). Os resultados mostram que a fã-tradução não segue um modelo de estratégia tradutória em particular, mas escolhe seguir um caminho mais livre se comparada à tradução oficial, optando por se aproximar da estrutura do texto de origem, muitas vezes comprometendo o significado do texto alvo. Foi possível constatar que aos fãs-tradutores falta determinada competência tradutória, presente nos profissionais da área. Essa competência tradutória é esperada dos indivíduos bilíngues, perfil geral dos fãs-tradutores, sendo perpetuada pela crença de que tal indivíduo possui naturalmente a capacidade para traduzir (LÖRSCHER, 2012). Concluímos que os fãs-tradutores possuem menos habilidade que os tradutores oficiais para transferir os diversos sentidos do texto original, sejam eles culturais ou linguísticos, para o texto da língua alvo, chegando, algumas vezes, a induzir confusão nos leitores.

Syftet med undersökningen är att studera hur grammatiska konstruktioner av Katniss, Gale, Prim, Cinna, Rue, Peeta, och Haymitch i Suzanne Collins ungdomsroman Hungerspelen (2012) kan bidra till karaktärernas görande av manligt eller kvinnligt genus. Frågeställningen som ska besvaras är på vilket sätt framställs Katniss och de sex andra utvalda karaktärerna grammatiskt utifrån den systemisk-funktionella grammatikens transitivitetssystem processer och deltagare? Och på vilket sätt kan framställningen tolkas ur ett genusperspektiv? Genom att analysera sex utvalda delar ur boken med systemisk-funktionell grammatiks transitivitetssystem och se till processer och deltagare gjordes en grammatisk analys. Analysen tolkades sedan utifrån ett genusperspektiv gällande vilka föreställningar det finns kring manligt och kvinnligt beteende. Resultaten visar att de grammatiska konstruktionerna av Katniss och Peeta kan tolkas som görande av både manligt och kvinnligt genus, Gales och Haymitchs konstruktioner som görande av manligt genus och Cinnas, Rues och Prims grammatiska realiserande som görande av kvinnligt genus. Tillsammans visar resultaten på att karaktärernas grammatiska konstruktioner bidrar till görandet av manligt eller kvinnligt genus som inte behöver avspegla deras ”naturliga kön”.
The aim of this thesis is to study how grammatical constructions of the characters Katniss, Gale, Prim, Cinna, Rue, Peeta and Haytmich, from Suzanne Collins The Hunger Games (2012), contribute to their doing of gender. The thesis set to explore this using two research questions: How is Katniss and the six other characters presented grammatically and accordingly to systemic functional grammars transitivity system’s processes and participants? And, how can the grammatical analysis be interpreted from a gender perspective? By analysing six selected excerpts from the book with systemic functional grammars transitivity system’s processes and participants a grammatical analysis was done. The grammatical analysis was then interpreted from a gender perspective regarding the conceptions of what is considered as a doing of male or female gender behaviour. The result show that the grammatical constructions of Katniss and Peeta can be understood as a doing of both male and female gender. Futhermore, Gale’s and Haymitch’s constructions can be understood as a doing of male gender and Cinna’s, Rue’s and Prim’s constructions as a doing of female gender. Together these results show that the grammatical constructions in The Hunger Games (2012) affect the characters’ doing of gender and that their doing of gender does not have to reflect their sex.

I den här uppsatsen har jag gjort en tematisk läsning av de dystopiska ungdomstrilogierna Hungerspelstrilogin, Divergenttrilogin och Legendtrilogin, vilket jag har gjort med fokus på temat kosmetika och utsmyckning. Syftet var att undersöka de genusmönster som existerar kring kosmetikan och utsmyckningen, liksom dess förhållande till klass och ålder. Jag kommer i uppsatsen fram till att kosmetika och utsmyckning bärs frivilligt av överklass och onda karaktärer och att det tvingas på de flickor, och i viss mån även de pojkar, som är böckernas huvudpersoner. Böckerna tycks bekräfta åsikten att kosmetikan är något förkastligt och påtvingat av patriarkatet. Tvånget kommer dock i böckerna inte enbart ifrån patriarkatet utan också från överklassen. Uppdelningen mellan vad som är okej för flickor och pojkar att bära ser i stort sett likadan ut som i dagens samhälle, trots framtidsskildringens möjligheter att måla upp något nytt. De som frivilligt bär kosmetika och utsmyckning är oftast farliga, såsom onda ledare eller förtryckande överklass. Det feminina nedvärderas i böckerna mer än det könsneutrala (även om kritik kring det neutrala också förekommer) och det kvinnliga nedvärderas starkare än det flickiga. Även om flickorna finner att dekorationen kan vara användbar har den litet eller inget värde då den inte fyller en annan funktion än skönhet. Resultatet blir destruktivt då flickor och kvinnor vänds mot varandra och sig själva. Dessutom blir ramen för vad som är okej snävare då de både ska vara vackra, men inte bry sig om det. Det bekräftar också de genusmönster och förväntningar som säger att flickan ska vara passiv och vacker.

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Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP)
Estudamos a série de livros “Jogos vorazes” (2010-2011) com o objetivo de demonstrar como se dá a permanência e a representação do modelo heroico da Antiguidade Clássica na Contemporaneidade por meio da análise da caracterização da personagem feminina Katniss Everdeen. Para tanto, enfocamos a personagem criada por Collins e as características que a definem como heroína, comparando-a ao modelo heroico clássico descrito por tantos autores da Grécia e Roma, como, por exemplo, Homero, Hesíodo, Vergílio, etc., e considerando também as reflexões sobre o herói tecidas por Campbell em O herói de mil faces (1997), dentre outros títulos e autores que embasam nossos estudos. Percebemos que há, na série, uma mudança na representação de arquétipos literários, a saber, herói clássico versus donzela clássica, visto que Katniss Everdeen assume o papel de herói e Peeta Mellark, tributo masculino, assume o papel de donzela, pois, em grande parte do enredo, é salvo por ela. Dessa forma, buscamos verificar o que desvia a trama em estudo dos moldes então estabelecidos pelos Clássicos, ou seja, como Collins redefine os padrões da Literatura Clássica greco-romana, nos quais o homem era guerreiro e a mulher era dona de casa. Para isso, iniciamos nossas considerações a partir de Jung (2002), porque autores como Randazzo (1996), Vogler (2006) e Meletínski (1998), dentre outros, partem das postulações do psicanalista suíço para discutirem a respeito de arquétipos encontrados na publicidade, literatura e cinema. No percurso do estudo da heroína, realizamos uma breve comparação entre Katniss, outrora escravazida pela Capital (em uma espécie de escravidão velada), que se torna heroína e símbolo de toda uma revolução, e o herói masculino de outra obra, Espártaco, escravo e gladiador da Trácia, que foi líder de uma revolução conhecida por Guerra dos Escravos, conforme se pode comprovar no romance Espártaco, de Howard Fast (1981), publicado originalmente em inglês em 1951, e no filme baseado nesta obra literária, de Stanley Kubrick (1960), com a finalidade principal de comprovar a mudança no tratamento dos arquétipos e averiguar a presença de elementos ligados à cultura romana na série escrita por Collins. Enfim, buscamos verificar de que modo o modelo de Herói Clássico, seja na figura dos heróis mitológicos, seja na personagem histórica de Espártaco, é representado na caracterização da protagonista feminina de “Jogos vorazes” e quais significados tais representações acrescentam à interpretação da série.
The present study aims at analyzing the series titled “The Hunger Games” to demonstrate, by observing the characterization of the female character Katniss Everdeen, how the representation of the heroic model from Classical Antiquity persists in Contemporary Literature. In order to do so, we have focused on the character created by Collins and the features that define her as a heroine, comparing her to the classical heroic model described by several authors in Greece and Rome, such as Homer, Hesiod, Vergil, etc., as well as to specifications about the hero character presented in “The Hero with a Thousand Faces” (1997), by Joseph Campbell, along with additional information on the topic provided by other authors. We have observed a change, in Collins’ novels, regarding the representation of literary archetypes, namely the classical Hero versus the classical Maiden, as Katniss Everdeen takes the role of the Hero and Peeta Mellark, the male tribute, plays the role of the Maiden, for throughout a large part of the plot he is saved by her. Therefore, we seeked to verify what deviates the plot in study from the patterns once established by Classical tradition, or, in other words, to observe how Collins redefines the standards of the Greco-Roman Classical Literature, in which the man was a warrior and the woman was a housewife. Our study is based on Jung (2002) because authors such as Randazzo (1996), Vogler (2006) and Meletínski (1998), among others, consider the postulates of the Swiss psychoanalyst to discuss archetypes found in advertising, literature and cinema. In the course of the study of the heroine, for the purpose of proving the change in the treatment of archetypes and ascertaining the presence of elements related to the Roman culture in the series written by Collins, we made a brief comparison between Katniss, once slaved by the Capitol (in a kind of veiled slavery), who becomes a heroine and a symbol of an entire revolution, and the male hero of another artwork, Spartacus, a slave and gladiator from Thrace who was the leader of a revolution known as the “War of the Slaves,” as it can be seen in Howard Fast’s (1981) novel Spartacus, originally published in English in 1951, and in the film based on this literary work, directed by Stanley Kubrick (1960). Finally, our study demonstrates that the Classical Hero model, whether taken from mythological heroes or from the historical character of Spartacus, plays an important role in the characterization of the female protagonist of “The Hunger Games,” adding different meanings to the interpretation of the series.
Proc. 2015/23592-6

碩士
國立交通大學
外國語文學系外國文學與語言學碩士班
100
This thesis discusses the impact of globalization as an allegory in Suzanne Collins’ The Hunger Games trilogy. Along with tropes of poverty and famine, I will discuss how The Hunger Games trilogy expands its scope by creating a post-modern country and exaggerating the unequal governance, wealth inequality and surveillance in our world. This thesis will be divided into three chapters. The first is an exploration on Western imperialism in discussing global poverty and famine concerning my arguments that the world of Panem is the microcosm of the circumstances in our world in the wake of globalization. Moreover, I will employ Foucault’s theory of heterotopia to discuss the phantasmatic existence of District Thirteen, and investigate how the heterotopia co-presents and reverses reality and utopia in the nation of Panem. Secondly, I will explicate Baudrillard’s theory of simulacrum and the Panopticon theory noted by Foucault in discussing the postmodern cultural phenomenon in The Hunger Games trilogy by means of surveillance through cameras and televisuality. Thirdly, this thesis will investigate the performativity in different aspects: gender performativity, drag and cross-dressing, which I expound Butler’s notion of drag as the double-edged weapon, which either reifies the drag performer or opens up the potential site for subversion as well as the mechanism in mobilizing collective identities. Finally, this thesis concludes with Collins’ acknowledgement and support of people from the bottom. All in all, we readers may draw inspiration from descriptions of the novels to get better notice on regional development disparities in the wake of globalization.

碩士
國立臺南大學
國語文學系中國文學碩士在職專班
105
The popularity of translated young adult novels has been rising lately. Several of the works have made many female writers become an overnight sensation. From J.K. Rowling’s “Harry Potter”, Stephenie Meyer’s “Twilight” to Suzanne Collins’ “The Hunger Games Trilogy”, their works have become worldwide bestsellers and made surprising records of selling. In addition, they were made into movies and made a sensation. Suzanne Collins’ “The Hunger Games Trilogy” are fairly special; not only do the contents consist of heroic adventures and romance, but also the plots of killing and battles are astonishing. The series and her first young adult novel series “The Underland Chronicles” have different reader age level, but both theme concepts are the same. The thesis is based on “The Underland Chronicles” and “The Hunger Games Trilogy”, the objects of study, and researches into the text from the literary perspective. The thesis is divided into five chapters; from discussing exterior margins, it researches into the writer’s background and motives to write and makes sure of contents type. It then reads the contents, analyzes the plot, and sums up the theme conveyed by the writer. The following two chapters discuss the arrangement of plots, scenes and characters, the techniques of narration and the style of language to analyze the writer’s characteristics of writing techniques and compare the contents and creation form. The last chapter concludes the writer’s creation concepts, educational meaning of the text and creation techniques. The study finds that the writer created the works based on fantasy literature and science fiction to express her opinions on current wars, environment and the press, which shows her warning and humanistic care. The contents are full of educational meaning, and her extraordinary writing skills also increase the literary value of the text.

碩士
東海大學
外國語文學系
107
In the last decades, there has been a steady rise in the popularity of the dystopian sub-genre in young adult literature, such as M.T. Anderson’s Feed (2002), Patrick Ness’s Chaos Walking trilogy (2008-2010), The Hunger Games series (2008-2010) by Suzanne Collins, Veronica Roth’s Divergent series (2011-2013), and James Dashner’s The Maze Runner series (2009-2016). Dystopias often start with the illusion of a perfect society, a so-called utopia, but as the story progresses, the characters in the stories and also the readers both realize that this supposedly ideal world is far from perfect. Dystopian literature, therefore, in its reversal of the utopian model, shows the dark side of the utopian dream. In some contemporary young adult dystopian fiction, moreover, there is also a vogue for strong heroines, as is seen in The Hunger Games trilogy (2008-2010), and the Divergent series (2011-2013). This thesis examines the feminist strand in dystopian young adult literature and focuses mainly on Katniss Everdeen, the female protagonist, in The Hunger Games trilogy. Katniss is a strong, sensitive, and intelligent figure and assumes a complex and multi-dimensional role as warrior, rebel, heroine, and wonder girl who fights against the repressive post-apocalyptic America in which she lives. When viewed in light of the tradition of the “tomboy,” a specific term in children’s literature for “a girl who behaves like a spirited or boisterous boy,” Katniss, indeed, shares some of the masculine features of the tomboy (Abate “Tomboy” 220). At the same time, however, she still seeks to assert a strong female identity and represents innovative modern conceptions of girlhood and girl power. A close analysis of Katniss’ gender performances demonstrates how she perseveres against all odds and achieves adulthood in a dystopian world, thus giving young female readers fresh perspectives on what it means to be a young adult in contemporary society.

The focus of this thesis is how fanfiction, an underground subculture of web literature written about popular books, films, television shows, and comics, treats the original works it derives from. In this study I will examine the ways in which fans reshape the original stories of the works they write about, and the ways in which they do not, and speculate the reasons they have chosen to do so. This project examines fanfiction surrounding three young adult novels: Twilight, The Hunger Games, and Harry Potter. I examine each of these works and their respective fanfiction in order to highlight important themes in each work and problems inherent in each story to account for the changes fanfiction writers make in their literature. I have chosen one overarching theme in the fanfiction in each fandom and will explore why fanfiction authors have overwhelmingly chosen to change the source material to suit that theme.

In this thesis I explore through literary texts new perspectives on the biopolitical devices and discourses that permeate contemporary western societies. To this end, I examine their representations in Jerusalem, A Man: Klaus Klump, and Joseph Walser’s Machine, by Gonçalo M. Tavares, in “Fernando Morales, This Is Your Death!”, The Walkers, and Nexhuman, by Francesco Verso, in Intrusion and The Execution Channel, by Ken MacLeod, and in The Hunger Games trilogy, by Suzanne Collins. I start from the idea that by the beginning of the 21st century, bios and polis, life and politics have become almost completely juxtaposed, and that although the body is submitted to a constant and ubiquitous control, its materiality also constitutes a site of resistance. I go on to assess through a comparative analysis the connections and the differences between the selected novels of these four writers, with the intention of understanding how their dystopian aesthetics and essayistic dimension may potentiate a discussion on current social-political and economic problems that otherwise would have gone unnoticed. I likewise consider in what ways the fictional worlds of the characters in these works can provide us valuable insights regarding the devices and discourses through which political and economic powers govern human life. Ultimately, I try to shed some light on cultural phenomena, such as an increasing medicalization of society, the spectacularization of everyday, or the disposability of human life, which are becoming increasingly common in contemporary western societies and have profoundly changed the relationships between people and institutions at a global level. In this way the present thesis hopes to make a small, yet significant, contribution to our understanding of a politics that now encompasses virtually every sphere of human life.
Nesta tese, procuro explorar através de textos literários novas perspectivas sobre os dispositivos e discursos biopolíticos que permeiam as sociedades ocidentais contemporâneas. Para tal, examino as suas representações em Jerusalém, Um Homem: Klaus Klump, e A Máquina de Joseph Walser, de Gonçalo M. Tavares, em “La morte in diretta di Fernando Morales”, I Camminatori, e Livido, de Francesco Verso, em Intrusion e The Execution Channel, de Ken MacLeod, e na trilogia The Hunger Games, de Suzanne Collins. Parto da ideia de que, no início do século XXI, bios e polis, vida e política se justapõem quase completamente, e que embora o corpo seja submetido a um controle constante e ubíquo, a sua materialidade também constitui um espaço de resistência. Por via de um estudo comparatista, procuro analisar as ligações e os contrastes entre os romances escolhidos destes quatro escritores, com o intuito de compreender como a estética distópica e a dimensão ensaística destes podem potencializar uma discussão sobre alguns problemas sociopolíticos e económicos actuais que, de outro modo, passariam despercebidos. Indago igualmente de que forma os mundos ficcionais das personagens destas obras nos podem fornecer valiosas intuições sobre dispositivos e discursos através dos quais os poderes políticos e económicos governam a vida humana. Em última análise, tento lançar alguma luz sobre fenómenos culturais, como a crescente medicalização da sociedade, a espetacularização do quotidiano ou a descartabilidade da vida humana, que se estão tornando cada vez mais comuns nas sociedades ocidentais contemporâneas e mudaram profundamente as relações entre as pessoas e instituições a nível global. Espero, assim, que esta tese possa dar uma pequena, mas significativa, contribuição para a nossa compreensão de uma política que hoje abrange praticamente todas as esferas da vida humana.