Dissertationen zum Thema „Russian prose and literature“
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1
Ben-Amos, Anat. „Imagination and literature in the Russian prose of Vladimir Nabokov“. Thesis, University of Essex, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.284584.
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Soma, Eduardo. „Ulisses em tempos de estagnação: tradução e estudo de Moskvá - Petuchki, de Venedíkt Eroféiev“. Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/8/8155/tde-09122016-135054/.
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O presente trabalho apresenta o romance MoskváPetuchki, de Venedíkt Eroféiev, e propõe o seu estudo com base na investigação da sua composição temática. Através da tradução do texto integral e de considerações analíticas, a obra é confrontada ao contexto histórico e literário soviético. Desse modo, e por meio da utilização de recursos interpretativos apresentados por Mikhail Bakhtin, Boris Groys, Evgeny Dobrenko, Ann Komaromi e Aleksei Yurchak, entre outros, o romance é considerado enquanto uma parte fundamental da literatura dissidente soviética do período do Degelo e uma resposta à cultura hegemônica do período.The present work introduces Venedikt Erofeyev`s novel, Moskva Petushki, and proposes a study by means of an investigation of its thematic composition. Based on its complete translation and analysis, the work is confronted with its soviet context, both historical and literary. Thus, and using concepts presented by Mikhail Bakhtin, Boris Groys, Evgeny Dobrenko, Ann Komaromi, Aleksei Yurchak, and others, the novel is thought of as a fundamental part of soviet dissident literature of the Thaw era, and as an answer to the hegemonic culture of the period.
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Glazkova, Anna. „Detail within the artistic method in the prose of Chekhov and Nabokov /“. free to MU campus, to others for purchase, 2004. http://wwwlib.umi.com/cr/mo/fullcit?p1422925.
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Almeida, Paula Costa Vaz de. „A caminho do Absoluto: a poética e a vida literária de Marina Tsvetáieva através de sua prosa“. Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/8/8155/tde-01062015-182251/.
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Este trabalho propõe um estudo da poética e da vida literária de Marina Tsvetáieva com base em uma seleção de suas obras em prosa consideradas representativas de seu pensamento artístico, bem como de seus principais procedimentos compositivos. Para tanto, foi empreendida uma análise de forma e conteúdo dessas obras, integrada ao contexto histórico e literário em que foram produzidas, à luz dos recursos teóricos e interpretativos oferecidos por Tzvetan Todorov, Véronique Lossky, Joseph Brodsky e Walter Benjamin, entre outros.This work proposes a study of Marina Tsvetaevas poetry and literary life based in a selection of her prose works considered representatives of her artistic thought as well as her main compositional principles. Therefore, it was done an analytic study of these works integrating them into historic and literary context that they were produced, in light of the theoretical and interpretative resources of Tzvetan Todorov, Véronique Lossky, Joseph Brodsky and Walter Benjamin, among others.
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Jackson, Sarah Kate. „A memorable time : the prose of Vladimir Makanin, 1987-1995“. Thesis, University of Sheffield, 2001. http://etheses.whiterose.ac.uk/14828/.
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Spanning over three decades, the prose of Vladimir Makanin bears witness to the extraordinary changes SovietlRussian society and literature have undergone, and to which he, as a writer, has been continually exposed. The focus of the thesis is Makanin's abiding concern with the condition of man; man as individual and man as a collective term. The position of man in time (contemporaneity), out of time (the eternal memory of man), and through time (the past, present and future). Despite this apparent central concern, the author's prose is constantly changing, and what seemed previously to be absolutes are subverted. In this unstable environment the author continually expresses the reality in which he perceives man to be, until the concepts of 'reality' and the nature of 'man' are themselves destabilised. Chapter 1 provides an introductory overview of Makanin' s literary career and critical reception. The five core chapters examine different presentations of man's condition. Chapter 2 discusses the tension of the individual amongst the collective, with particular emphasis on the spatial representation of this dilemma. The third chapter is an examination of the incorporation of parables, myths and legends, revealing attempts to depict a 'higher reality' and also the author's means of overcoming socialist realism's censorship constraints. In Chapter 4, the author's concept of 'genetic memory' is considered as a temporal and spatial construct for examining man's individuality and condition in contemporary society. This chapter additionally highlights the author's move from his early social realist depictions revealed in the first two chapters, to his later interest in Russian postmodern theories found in the following two chapters. In Chapters 5 and 6 Makanin's ideas on narrative, history, and man's postmodern condition are analysed. The final text to be discussed, Kavkazskii plennyi, is examined as an innovation in Makanin's philosophy and postmodem prose.
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Kovalev, Manuela. „The function of Russian obscene language in late Soviet and post-Soviet prose“. Thesis, University of Manchester, 2014. https://www.research.manchester.ac.uk/portal/en/theses/the-function-of-russian-obscene-language-in-late-soviet-and-postsoviet-prose(fc0db109-e18d-4156-9b8c-53e7abad6318).html.
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This thesis is the first book-length study to explore the function of Russian obscene language (mat) in late Soviet and post-Soviet prose published between the late 1970s and the late 1990s. This period was characterised by radical socio-ideological transformations that also found expression in major shifts of established literary and linguistic norms. The latter were particularly strongly reflected in the fact that obscene language, which was banned from official Soviet discourse, gradually found its way into literary texts, thereby changing the notion of literary language and literature. The thesis breaks new ground by employing obscene language as a prism through which to demonstrate how its emergence in literature reflected and contributed to the shifts of established literary norms and boundaries. A second aim of the thesis is to trace the diachronic development of Russian literary mat. Primary sources include novels by authors pioneering the use of mat in fiction in the late 1970s, as well as texts by writers associated with ‘alternative prose’ and postmodernism. Applying a methodological framework that is based on an approach combining Bakhtinian dialogism with cultural narratology, the study demonstrates what the use of mat means and accomplishes in a given literary context. The methodological framework offers a systematic approach that does justice to the dynamic relationship between text and context, allowing for an analysis of the role of obscene language on all narrative levels while also taking the socio-historical context into account. The thesis offers not only new ways of interpreting the novels selected, it also provides new insight into the role of verbal obscenity in the process of ‘norm negotiation’ that has shaped and transformed Russian literary culture since the late 1970s. By accentuating the dialogic nature of obscene language, this study reveals that mat is a defining element of Russian (literary) culture, with implications for all facets of Russian identity.
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Ready, Oliver. „From Aleshkovsky to Galkovsky : the praise of folly in Russian prose since the 1960s“. Thesis, University of Oxford, 2007. http://ora.ox.ac.uk/objects/uuid:874dcddf-7aed-4ff7-ab29-827ff3ac26ce.
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This thesis illustrates and analyses the appeal of folly to writers of, principally, the late- Soviet era (1960s-1980s). This appeal expressed itself not only in numerous portrayals of evidently foolish characters, but also in the widespread use of first-person narrative in which various masks of folly are worn by narrators to assert their detachment from societal norms and from the scholarly and 'objective' discourse which Soviet culture sought to promote. These tendencies towards folly and subjectivity are examined in their various historical, religious and philosophical implications. Parallels are sought both in the Russian literarycultural heritage, which has accorded exceptional importance to various models of folly, and in West-European literary traditions, especially that established by Erasmus. It is argued that, while the Russian paradigm of holy foolery (yurodstvo) has undoubtedly retained its importance as a literary theme and code, loose analogies with yurodstvo may lead to misleading or simplistic interpretations. In the Introduction I outline further my aims and methodology, while also providing an account of the cultural and literary background to the topic, before and after 1917. In Chapter One I discuss fiction by Vladimir Voinovich, Vasily Shukshin and Venedikt Erofeev, in order to indicate aspects of the general shape of my topic in the given period: how the 'praise of folly' developed and gained in complexity at the end of the 1960s. The bulk of the thesis (Chapters Two to Five) is devoted to more detailed casestudies of the work of three significant, but critically neglected, writers: Yuz Aleshkovsky, Yury Mamleev and the philosopher, Dmitry Galkovsky. The varied 'fool narratives' of each of these writers manifests, in contrasting ways, a profound and paradoxical engagement with the mind, wisdom and learning. If Aleshkovskian folly develops in a sharply drawn historical context (Stalinism and its aftermath) and bears a markedly Christian flavour, Mamleev seeks to exclude Soviet and Christian thematics entirely, seeking deliverance from thought and reason. Dmitry Galkovsky, meanwhile, assesses the entire history of the Russian intelligentsia's love affair with folly from his own radically subjective and unreliable perspective in his 'philosophical novel' Beskonechnyi tupik. The Epilogue is devoted to Viktor Erofeev's highly cynical interpretation of Russia's 'praise of folly', before concluding with examples of the renewal of its traditions in post- Soviet prose.
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Abdulmassih, Fabio Brazolin. „Aulas de literatura russa - F.M. Dostoiévski por N. Nabókov: por que tirar Doistoiévski do pedestal?“ Universidade de São Paulo, 2010. http://www.teses.usp.br/teses/disponiveis/8/8155/tde-29092010-112244/.
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Este trabalho é composto pela tradução anotada do texto original em inglês Fyodor Dostoevski (1821 1881), que faz parte das aulas de literatura russa que o autor russo Vladímir Nabókov ministrou em universidades americanas de 1941 a 1959, bem como por uma introdução biobibliográfica e crítica sobre o autor, de um modo geral, e de um ensaio crítico sobre suas opiniões a respeito das principais obras de Fiódor Dostoiévski, em particular. Para tanto, serão comentadas as principais opiniões críticas de Nabókov sobre os romances Crime e Castigo, Memórias do Subsolo, O Idiota, Os Demônios e os Irmãos Karámazov de Dostoiévski à luz das concepções de Mikhail Bakhtin, Leonid Grossman, Joseph Frank, entre outros.This research is composed of the annotated translation of the original text in English Fyodor Dostoevski (1821 - 1881), which is part of the lectures on Russian literature that the Russian author Vladimir Nabokov gave in American universities from 1941 to 1959, as well as by a biobibliographical and critical introduction about the author, in a general way, and a critical essay about his opinions concerning the major works of Fyodor Dostoevski, in particular. To accomplish this task, Nabokovs opinions about the novels Crime and Punishment, Memories from the Underground, The Possessed, The Idiot and The Brothers Karamazov have been studied in the light of Mikhail Bakhtin, Leonid Grossman, Joseph Frank, among others.
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Farjado, Jéssica de Souza. „O rei Lear da estepe, de Ivan Turguêniev: uma tragédia russa“. Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/8/8155/tde-03052016-110236/.
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Este trabalho é composto pela tradução da novela O rei Lear da estepe, de Ivan Turguêniev, publicada em 1870, seguida de um breve comentário sobre a influência do dramaturgo inglês William Shakespeare na literatura russa. Em seguida há um estudo sobre o skaz literário presente na novela e da estilização, um recurso estilístico teorizado por Mikhail Bakhtin e Yuri Tyniánov. Assim como a paródia, a estilização é também a recriação de uma obra consagrada, mas, ao contrário daquela, não possui efeito cômico e sim concordância de sentido com o texto no qual foi inspirada. Por fim, há um apontamento sobre a existência de elementos do folclore russo no texto e comentários sobre a tradução baseados em cotejos com versões francesa, inglesa e portuguesa.This research consist of a translation of Ivan Turgenevs novel The King Lear of the steppes, published in 1870, followed by a brief commentary on the influence of the English playwrighter William Shakespeare in Russian literature. Then there is a study of the literary skaz present in the novel and styling, a stylistic feature theorized by Mikhail Bakhtin and Yury Tynyanov. Like the parody, the styling is also a recreation of a consecrated work, but rather that it does not have comic effect, but agree with the text direction in which it was inspired. Finally, there is a note about the existence of elements of Russian folklore in the text and comments on the translation based on comparison with French, English and Portuguese versions.
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Fasey, Rosemary J. „Writers in the service of revolution : Russia's ideological and literary impact on Spanish poetry and prose, 1925-36“. Thesis, University of St Andrews, 2003. http://hdl.handle.net/10023/14655.
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This thesis is a comparative literary study which is conducted by placing the reception of Russian literature in Spain during the period 1918-36 within the context of the interplay of literature and the social and political situations in which it is written. It first places the boom in the publication of Russian literature in the late 1920s and 1930s within the context of the history of the reception of Russian literature in Spain, providing a comprehensive survey of that history. Next, it describes the impact of the Russian Revolution and the formative years of the Soviet Socialist state on the political situation in pre-Civil War Spain, including the ideological links between the political situations of both countries. In pre-Civil War Spain, the revolutionary atmosphere changed the mood, subject matter and style of literature, and certain writers, recognizing their civic duty, began to produce literature that had a socially critical and didactic role. During that period, given the political context and the development of politically committed literature, Spanish intellectuals and artists of a Marxist persuasion derived incentive from their Russian counterparts. Russian literature has traditionally been the forum for social criticism, and has had a profoundly revolutionary dimension. Pre-revolutionary writers such as Dostoevsky and Andreev have been perceived by outsiders as revolutionary writers, and, in that capacity, have enjoyed great popularity abroad, including Spain. In the Soviet era, Mayakovsky was often considered to be the "Poet of the Revolution", and Gorky was the chief spokesman in the promotion of socialist ideals in literature in the twenty years following the Revolution. In Spanish pre-Civil War fiction, both the social novel and poetry were instrumental in conveying overtly Marxist messages. The thesis concludes with a comprehensive study about certain Spanish writers and their works, in the domains of poetry and the novel, specifically seeking evidence of the impact of the literature and ideology which was emanating from Russia in the first third of the twentieth century.
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Bohnet, Christine. „Der metafiktionale Roman Untersuchungen zur Prosa Konstantin Vaginovs /“. München : O. Sagner, 1998. http://books.google.com/books?id=6FRgAAAAMAAJ.
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Rousselet, Jean-François. „Victor Petrovitch Astafiev, un écrivain ruraliste ?“ Thesis, Strasbourg, 2017. http://www.theses.fr/2017STRAC030.
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Cette thèse présente la première monographie française sur le grand écrivain russe et sibérien Victor Astafiev. Peu traduite en français, son œuvre importante (15 volumes) est généralement considérée par la critique comme s’inscrivant dans la veine de la prose rurale qui se développa en Russie à partir des années 70. Cependant, la biographie de l’écrivain et la multiplicité des thèmes qu’il aborde (société, guerre, musique, sons et nature) impose une remise en question de cette interprétation. L’auteur de la thèse s’attache à analyser finement les textes mis en contexte, à étudier l’évolution et la spécificité linguistique de leur écriture pour situer Astafiev dans la tradition de la grande littérature russe et faire apparaitre la profondeur et l’actualité de ses écrits. Le volume II livre une série de traductions inédites, annotées et commentées, ainsi que les versions reconstituées de chansons dont les textes révèlent un trésor de la culture populaire de l’époqueThis thesis presents the first French monograph on the great Russian and Siberian writer, Viktor Petrovich Astafiev. His important work (15 volumes), little-translated into French, is generally praised by critics as taking place within the same framework of the Village Prose, which started growing in Russia from the seventies onwards. However, the biography of the writer and the multiple themes which he takes up (society, war, music, sounds and nature) call into question this interpretation. The thesis author attempts to carry out a shrewd analysis of the texts placed within their context and to study the linguistic development as well as the specificity of Astafiev writings in order to situate him in the tradition of the great Russian literature and to highlight the depth and the topicality of his work. The second volume delivers a whole series of unpublished translations, duly annotated and commented as well as restored versions of songs, the texts of which reveal a treasure of the popular culture in the context of that time
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Bullock, Philip Ross. „The feminine in the prose of Andrey Platonov“. Thesis, University of Oxford, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.302593.
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Baikovitch, Gilda Odette Felicienne. „Fedor Abramov and the poetics of Russian village prose“. Thesis, University of Bath, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.301526.
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Caldwell, David. „German documentary prose of the 1970s /“. The Ohio State University, 1986. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487266691095606.
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Dearman, Vera. „The reality of time, history and life in the prose of Ivan Bunin“. Thesis, University of Sheffield, 1999. http://etheses.whiterose.ac.uk/14915/.
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The thesis focuses on two major aspects. Firstly, it offers a discussion of the evolution of the notion of 'historicity' in the thought of various Russian thinkers and cultural historians with particular reference to the ideas of Berdiaev, Bakhtin and Likhachev. It also addresses the problem of the contribution made to the twentieth-century humanities by the 'Slavonic Renaissance' of the early part of the twentieth century. Secondly, the work examines various views on the issue of historical time and its perception and representation in artistic work, focusing primarily on the specificity of artistic time in the prose of Ivan Bunin. The discussion of this issue is based on four of Bunin's substantial works (The Shadow of the Bird, The Life of Arsen 'ev The Emancipation of Tolstoi and Dark Avenues), examining the problem of historical time from semantic and formal points of view. The analysis of the novel The Life of Arsen 'ev emerges as central to the whole discussion since it approaches the problem of the notion of 'path through life' and its significance both for an understanding of Bunin's work and in relation to the discursive practice of the 1920s and early 1930s in Russia. Moreover, for Bunin this category proves to be both a feature of artistic thinking and of generic significance, extending the boundaries of understanding and portrayal of historical time in its various aspects.
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藍詠蘭 und Wing-lan Lam. „Humour in Lao She's prose“. Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2008. http://hub.hku.hk/bib/B40676572.
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Tosi, Alessandra. „The forgotten years : Russian prose in the age of Alexander I, 1801-1825“. Thesis, University of Cambridge, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.624709.
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Palazzo, Lynda Carol. „The prose works of Christina Rossetti“. Thesis, Durham University, 1992. http://etheses.dur.ac.uk/1499/.
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Swartz, Howard M. „The Soviet-Afghan War in Russian literature“. Thesis, University of Oxford, 1992. https://ora.ox.ac.uk/objects/uuid:1b5cf666-d10b-4df2-9a71-967cb98d5b46.
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This thesis is an historical and literary investigation of the treatment of the 1979- 89 Soviet-Afghan War in contemporary Russian literature. The texts chosen for study include official and unofficial literature, written within the former USSR as well as abroad, and cover publicistic writing, poetry, and prose fiction. These works are described and analyzed with a two-fold purpose: to explore creative trends found in the literature of this subject, and to evaluate the extent to which the genre of Afghan War literature in Russian has changed over the past decade. In order to provide a context for this literature, the introduction describes the method of socialist realism as it applies to military themes, and the legacy of World War Two novels in Russian. The first chapter provides a brief history of Russian-Afghan relations, and an account of the ten-year intervention. The second chapter documents the dissolution of official censorship during the 1980s, revealing dissent over the Soviet military role in Afghanistan. Chapter Three discusses the evolution of the genre of publicistic writing, and documents its unprecedented frankness through revelations made in Soviet journalistic investigations. Chapter Four provides an overview of song and poetry about the conflict, beginning with magnitizdat produced by amateur songwriters, and later including works by professional poets. Chapter Five discusses novels and short stories about the war. A range of fictional works is traced, from propagandistic portrayals, both pro-and anti-Soviet, to non-ideological, personal interpretations which incorporate lyricism, satire, and fantasy. Chapter Six focuses on the works of Aleksandr Prokhanov, a writer who initially used his fiction to support the war effort, and whose oeuvre charts the disintegration of Party consensus on interpretation and depiction of the events in Afghanistan. The final three chapters treat the works of Oleg Ermakov, whose lyricism and stylistic experimentation mark a new direction for recent Russian war fiction. The analysis shows Afghan War literature to signal a radical break with recent official Soviet military writing as shaped by socialist realism. This break is evident in the frankness and subjectivity of publicistic writing, and the anti-war sentiment found in a significant minority of published songs and poems. In particular, Oleg Ermakov's prose continues the past legacy of unofficial, dissident war fiction.
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Skomp, Elizabeth Ann. „Women and violence in postwar Russian literature“. Thesis, University College London (University of London), 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.406677.
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Brooke, Angela. „Imagining England in Russian literature, 1855-1917“. Thesis, University of Surrey, 2008. http://epubs.surrey.ac.uk/844622/.
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During the era of Russia's modernisation and industrialisation which spans from the death of Nicholas I to the Revolution of 1917, Russian thinkers saw Britain as a rival and a society to emulate. The concern with Britain found its way to the pages of Russia's literary prose fiction in the form of English characters and images of England's society. The dissertation gives an analytical study of the English in Russian literature, examining how they become the textual other in the quest to identify Russia's national self between 1855 and 1917. The dissertation argues that the promulgation of stereotypes of Englishness in Russia's prose literature relies upon images that had been established by the travel narrative in the initial stages of Russia's quest to define its national identity. Early attempts to define Russia's selfhood through travellers' perceptions of England between 1790 and the 1840s fostered an essentialised image of Englishness which the later writers cemented. The theoretical investigation of identity creates a foundation upon which our assessment has been formed. It involves the exploration of Russian national identity as it is implied through the images of England and the English: Evoking the critical framework of Said and the theories of Orientalism and Occidentalism, this dissertation studies the Russian literary productions of England and the English, of religion in England, of 'Englishness' as a form of social respectability, and also of the British Empire and the exportation of English values abroad.
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Sykes, Timothy Martin James. „Textual fragmentation as a response to time in Russian modernist prose after the Revolution“. Thesis, University College London (University of London), 2006. http://discovery.ucl.ac.uk/1446130/.
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The starting point of this thesis is the hitherto under-explored relationship between Russian apocalypticism and formal fragmentation in Russian literary modernism, both prominent in an early twentiem-century climate of heightened religiosity and aestheticism. The project borrows Joseph Frank's theory of 'spatial form', which demonstrates how a text's temporal coordinate is suppressed by disruption of order, and postulates that this technique stems from the modern mood of existential crisis, attracted to the otherworldly and timeless. This analysis encounters more concrete resonances when applied to the eschatological perceptions of time and aspirations for religious experience via art in contemporary Russia. The project focuses on post-Revolutionary prose, taking Babel"s Konarmiia, Platonov's Chevengur and Zoshchenko's Pered voskhodom solntsa as case studies. Given that the Revolution was widely depicted as an apocalyptic end, the subsequent 'post-apocalyptic' condition raises narratological and philosophical problems for texts, such as these, that engage with inherited, transformative models. Although the eschatological paradigm continues to play a crucial part in understanding the Revolution, it is inevitably affected by the passage of the purported End from future into past, as well as by the need to incorporate an atheistic twist into a myth deeply rooted in Orthodox Christian traditions. Such redefinitions of the apocalyptic paradigm can also be manifested in textual fragmentation. In this context the project draws on Frank Kermode's description of how increased non-linearity in narrative structures reflects a rise in the complexity of experience and scepticism toward the biblically-derived narrative, with an absolute beginning and end. Kermode thus offers an alternative to Frank's theory. Together, the two provide a framework for exploring the extents to which the collision of Russian messianism with the Revolution is experienced by modernist writers as a transcendent moment of timelessness, or a stimulus to deconstruct the paradigm.
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Fisher, Joel Edward Austin. „A re-evaluation of Hardy's prose fiction“. Thesis, University of Cambridge, 1991. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.317739.
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Binstock, L. R. „A study of music in Victorian prose“. Thesis, University of Oxford, 1985. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.371597.
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Winnard, Andrew Charles. „Memory and selfhood in Christa Wolf's prose“. Thesis, University of Liverpool, 1987. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.386124.
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Boxall, Peter. „Negative geography : fictional space in Beckett's prose“. Thesis, University of Sussex, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.360553.
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Hodgson, Katharine Merwinna. „Russian Soviet war poetry 1941-45“. Thesis, University of Cambridge, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.239076.
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Shieh, Wen-Shan. „Literature in masks : Katherine Mansfield, Eileen Chang and the possibilities of creative writing“. Thesis, University of Sussex, 2013. http://sro.sussex.ac.uk/id/eprint/45906/.
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The thesis proposes that the figurative and extensive use of the ‘mask'—persona, masquerade, disguise, impersonation—provides a crucial literary device for the development and liberation of the expressive potential of Katherine Mansfield and Eileen Chang (1920-1995). Chapter 1, ‘Introduction', elucidates the relationship between mask and language with respect to the writings of Mansfield and Chang by revising John Keats's idea of ‘the chameleon poet', Robert Browning's conception of dramatic monologue, Oscar Wilde's insights into truth and masks, and Ezra Pound's adoptions of ‘personae' in his poetry. The affinities between Mansfield and Chang will be explored by looking at their critical writing as well as criticism on them, revealing their shared awareness of the masks of a person in daily life as well as in fiction and drama. Chapter 2, ‘Katherine Mansfield's Art of Changing Masks', explores how Mansfield's characters switch between three types of masks—speech and the non-verbal, gender, animality—to respond to changes in their situations. Particularly important for this exploration are Joan Rivi re's ‘Womanliness as Masquerade', Michael Goldman's theory of masks in acting, and Gilles Deleuze and Félix Guattari's concept of ‘becoming-animal'. Chapter 3, ‘Prosopopoeia: Katherine Mansfield's “special prose” ', considers Mansfield's attempt ‘to bring the dead to life again' in what she calls ‘special prose' as a ‘prosopopoeia', or in Cynthia Chase' phrase, ‘giving a face to a name'. In this chapter I will also trace how Mansfield's work was first translated into Chinese in 1923 by the Chinese poet, Zhimo Xu (1897-1931), which made her one of the most widely-read foreign writers in the Chinese-speaking world. More importantly, I suggest that Xu's use of quotations from Keats and other nineteenth-century poets in portraying Mansfield in his memoir calls our attention to her decisive and still insufficiently examined relationship to poetry. Chapter 4, ‘ “Hiding behind a foreign language”: Eileen Chang's Self-Translation and Masquerade', examines Chang's penchant for translating her fiction and essays from Chinese into English or vice versa. Taking a cue from Pound's view of translations as ‘elaborate masks' and Deleuze's idea of the writer being a ‘foreigner' in their own language, I examine some of the ways in which that the mask of a foreigner / foreign language enables Chang, a bilingual fiction writer and essayist, to gain the emotional and spatial distance from which to reflect on Chinese culture and her personal life. Being inspired by Mansfield and Chang's courage to get away from the notion of writing as self-expression and Dionysus' gift of crossing boundaries through the assistance of the mask, the creative component of the thesis, Chapter 5, consists of 4 short stories. I conclude the thesis with a poem entitled ‘Gifts (for Katherine Mansfield)' and a quick fiction called ‘The Functions of Theory', considering theory and literary terms as a variety of make-up that I apply to the face of my thesis. While critical chapters contain embedded fiction, the creative component demonstrates and tests how the interior space behind the mask allows me to liberate my creative energy. In these stories, I attempt to cross the boundaries between male and female, Chinese and non-Chinese, human and animal, creative and critical writing.
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Saunders, M. W. M. „Ford Maddox Ford and the reading of prose“. Thesis, University of Cambridge, 1986. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.373696.
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Carnaby, Rachel. „Kitsch in the prose works of Theodor Storm“. Thesis, University of Sheffield, 1985. http://etheses.whiterose.ac.uk/1803/.
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The twofold purpose of this study is to clarify, on the one hand, the question of literary evaluation in general and of kitsch in particular, and, on the other, to analyse the prose works of Theodor Storm in the light of the theories of literary evaluation thus established. It therefore follows that the investigation falls into two main sections. The first is in essence theoretical. It consists of seven chapters, in which are examined the terminology, etymology and history of literary evaluation; the many different approaches to tackling and understanding the problem of kitsch (pedagogic, socio—economic, political, religious, moral, philosophical etc.); kitsch in its relationship to art; kitsch in literature and elsewhere (kitsch of both style and philosophy); kitsch and the consumer, especially the female consumer; kitsch's causes and functions under a variety of political and social regimes and, lastly, the possible dangers of kitsch and the remedies suggested to help counteract it. The second section commences with a survey of prominent trends in Storm research old and new, followed by an exploration of Storm's awareness of and relationship to his reading public and to his publishers, and the effect on his work of the demands of family finances. Three chapters are devoted specifically to Storm's wide—ranging techniques for appealing to his reading public, and four to one of the most important aspects of his work in relation to kitsch, the women figures and love and marriage in the 'Novellen'. Three more are given over to problems in his works, with particular emphasis on the function of social critic now widely claimed for him. Two chapters deal with Storm's literary aims, both in respect of artistic achievement and popular acclaim, how far he was successful in achieving them, and what shortcomings threatened to diminish the literary value of his works. Finally, there is a chapter on Storm's reception under various regimes and how prevailing ideological factions adapted the works for their own use, whilst Storm's reception in the immediate post—war era and in the present day is the subject of the conclusion.
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Luibl, Chad. „Flame and Shadow: Selected Prose by Chad Luibl“. VCU Scholars Compass, 2014. http://scholarscompass.vcu.edu/etd/628.
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The following is a collection of works of fiction set in Kazakhstan during World War II, modern-day Budapest, with one short story taking place in Richmond, Virginia. No characters in this collecting of fiction is meant to depict any real, live person, though some of the settings are real. These works were written between February, 2012, and April, 2014.
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Fisher, Jeffrey Charles. „The prose fiction of César Vallejo and Vicente Huidobro /“. The Ohio State University, 1991. http://rave.ohiolink.edu/etdc/view?acc_num=osu14876885075027.
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Kaldis, Nicholas A. „The prose poem and aesthetic insight : Lu Xun's Yecao /“. The Ohio State University, 1998. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487951595503158.
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McGowan, Pauline Dympna. „Women in Irish prose - early and modern“. Thesis, Queen's University Belfast, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.337022.
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Hine, Alyn Desmond. „Russian literature in the works of Mikhail Naimy“. Thesis, SOAS, University of London, 2011. http://eprints.soas.ac.uk/14698/.
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Butler, Jennifer. „Ambiguity in nineteenth-century russian literature and opera“. Online version, 2004. http://bibpurl.oclc.org/web/30681.
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O'Doherty, Paul. „The portrayal of Jews in GDR prose fiction“. Thesis, University of Nottingham, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.294494.
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Peaker, Carol L. „Reading revolution : Russian émigrés and the reception of Russian literature in England, c. 1890-1905“. Thesis, University of Oxford, 2007. http://ora.ox.ac.uk/objects/uuid:c21af242-f696-4a7c-8f8e-5f9df9ea111c.
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This thesis explores the involvement of Russian emigres in disseminating and informing the reception of Russian literature in England. It examines their use of translations and literary commentary as vehicles for propaganda, and considers the impact of their unique approach to literature on both Anglo-Russian relations and English letters. Part One describes the arrival of Russian émigrés in England and their mixed reception: as victims of a brutal regime, mysterious sages, exotic outcasts, Slavic barbarians, or at worst, as dangerous 'incendiarists' to be feared and reviled. It reflects on the welcome and assistance offered them by socialists, feminists, literati and Nonconformists, as well as the dangers they faced from Russian government agents and their English confreres. It then introduces, in turn, each of the five Russian exiles featured in this thesis, providing biographical details, outlining their work in Britain as propagandists and political agitators, and mapping out their political and literary affiliations. Part Two opens with an analysis of the motives - financial, political, cultural, and personal - which compelled Russian exiles to promulgate Russian literature in England. A chapter is then devoted to each of the five émigrés, chronicling their work disseminating the Russian canon, and outlining the circumstances surrounding their translations, lectures, books, journal articles, and publishing activities. Interspersed within these five narratives are discourses on each propagandist's aesthetic vision. Part Three is a case study of the émigré impact on Turgenev's English reputation. It starts by tracing the author's early reception, showing how he was initially regarded in England as a European novelist whose artistry took precedence over his politics, and whose exquisite writing revealed universal truths through its careful selection and presentation of minute details. It then shows how émigré commentary altered perceptions of the author, transforming him from a disinterested artist dealing only in universal themes into a radical critic of various epochs of Russian national life, whose novels revealed important inner truths about the state of Russian society and politics. The conclusion examines what may be termed the 'collateral' effects of émigré commentary on Russian literature and their involvement in translation projects in England. Firstly, it looks at the political impact of their criticism: how the émigré presentation of Russian literature affected Anglo-Russian relations and attitudes towards the first Russian revolution in 1905. It then considers how émigrés helped or hindered reputations of writers according to their own politically and aesthetically motivated preferences. Finally, it looks at the possible ramifications of émigré literary theory on English approaches to literature and criticism, and suggests further avenues of inquiry.
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Liston, Andrew Adams. „The ecological voice in recent German-Swiss prose“. Thesis, University of St Andrews, 2005. http://hdl.handle.net/10023/11287.
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This thesis seeks to investigate the ecological theme in German-Swiss prose of the last thirty years. The role of nature has understandably always been significant in Swiss literature. In a nation that has eked out its living, in such an impressive and violent landscape, there is of necessity a highly developed awareness of the environment. Furthermore, the close relationship between mankind and the environment is inherently ambiguous, with each acting alternately as curse and blessing to the other. The bond between people and geography is made all the more vital in the Alps, where existence is under the constant threat of avalanches and landslides. In light of this heightened environmental sensibility, it is unsurprising that, with the growing profile of ecological debate in general, Swiss writers should demonstrate an acute cognisance of the significance of ecological problems. The notion of an ecological voice takes the discussion further. The question is posed whether these works merely represent a reflection of societal concern for the environment, or whether literary responses may constitute solutions. This investigation therefore contributes both to literary criticism on Swiss writing and to the understanding of the role of conceptualisation in finding solutions to ecological problems. To explore and analyse these ideas, this thesis considers a representatively broad spectrum of differing responses to ecological crisis. It is not intended to be an exhaustive list of recent Swiss ‘Öko-Literatur', but instead to be an investigation of the variety of narrative strategies employed in this period of growing ecological awareness.
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Charteris, Charlotte May. „The queer cultures of 1930s prose“. Thesis, University of Cambridge, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.610805.
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Spieker, Sven. „Figures of memory and forgetting in Andrei Bitov's prose“. Thesis, University of Oxford, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.335709.
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Herbert, W. N. „Continuity in the poetry and prose of Hugh MacDiarmid“. Thesis, University of Oxford, 1990. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.314959.
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Cameron, Audrey. „Reacreatin' Scotland : the poetry and prose of Hugh MacDiarmid“. Thesis, University of Aberdeen, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.483981.
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This thesis explores the major stages of MacDiarmid's work, examining MacDiarmid's relationship with Scotland through his prose, poetry, and political activities. The introduction looks at the history of critical responses to MacDiarmid's work and explores the ways in which MacDiarmid's work has found itself at the centre of Scottish literary studies while it sits at the margins of the wider literary canon. It suggests that it is necessary to look again at the ways in which MacDiarmid engaged with the idea of Scotland throughout his career. Chapters Two, Three, and Four focus on the early period of his work (to Drunk Man). Chapter Two traces the development of his commitment to Scots and suggests that Drunk Man uncovers many of the contradictions which underlie 'A Theory of Scots Letter'. Chapter Three looks more specifically at the ways in which MacDiarmid images Scotland through his early work, focusing on the contrast between his commitment to an ideal Scotland and rejection of contemporary reality. Chapter Four explores the relationship between politics and literature in his early work and points to the ways in which the tensions of his later work are rooted in this early period. Chapters Five, Six and Seven move onto his middle period (from Cenrastus to Stony Limits). Chapter Five examines the ways in which the linguistic approach of this key phase comes out of his early work and looks forward to his final experimentations. Chapter Six explores his reinvention of an ideal Scotland in the Gaelic idea. Chapter Seven reads the political poems of the early thirties as an attempt to resolve the tensions between politics and poetry. The thesis concludes with a survey of his final poems and reveals the ways in which they combine his linguistic, cultural, and political aims in a vision of impossible desire.
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Stewart, Paul. „Difference and disjunction in the prose of Samuel Beckett“. Thesis, University of Bristol, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.326364.
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Brown, Bartley J. „Clausulae in context : uses of prose meter in Cicero's speeches /“. The Ohio State University, 1998. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487952208109267.
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Kadyrbekova, Zaure. „Ecosystemic worldview in Russian fairy tales“. Thesis, McGill University, 2014. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=121571.
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The majority of interpretations of literary animals focus on the animals' metaphoric or symbolic significance, overlooking the actual animal, which often completely disappears behind its metaphoric or mythological representation. Such traditional interpretations of animals expose the dominant anthropocentric focus of the humanities in general, and literary studies in particular. Yet, even as textual representations a lot of literary animals still exhibit some basic species-specific characteristics. By analyzing selected Russian fairytales through the animal studies perspective I will show that in a lot of Russian fairytales animals exercise their agency, retain their animal specificity and are involved in complex companionate relationships with humans. Such portrayal of animals in Russian fairytales warrants identifying traditional Russian worldview as ecosystemic – in which humans are positioned on an equal plane with other living beings. Given the insufficient number of interpretive works on Russian fairytales, and the lack of work on fairytale animals, the present application of animal studies to Russian folktales can be one of the first steps to filling this niche.Les analyses des animaux dans la littérature se concentrent pour la plupart sur la signification de l'animal métaphorique ou symbolique et negligent par là même l'animal réel qui disparaît souvent derrière sa représentation métaphorique ou mythologique. Ces interprétations traditionnelles révèlent l'anthropocentrisme qui domine dans les sciences humaines en général, et les études littéraires en particulier. Pourtant, les animaux dans la littérature retiennent encore des caractéristiques spécifiques à leur espèce. En analysant certains contes de fées russes du point de vue des études animales, je vais montrer que les animaux gardent leur capacité d'être agent, qu'ils conservent leur spécificité animale et qu'ils sont impliqués dans des relations complexes comme compagnons des humains. Cette représentation des animaux dans les contes de fées russes montre que la vision traditionnelle du monde russe est écosystémique – c'est-à-dire que les humains sont sur un même plan d'égalité que les autres êtres vivants. Compte tenu du nombre insuffisant d'analyses sur les contes de fées russes, et du manque d'analyses sur les animaux dans les contes de fées en général, la présente étude représente une étape importante pour combler cette lacune.
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Stagh, Marina. „The limits of freedom of speech prose literature and prose writers in Egypt under Nasser and Sadat /“. Doctoral thesis, Stockholm : Almqvist & Wiksell International, 1993. http://catalog.hathitrust.org/api/volumes/oclc/30130617.html.
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Thesis (Ph. D.)--Stockholm University, 1993."Bibliography of writers arrested, detained or imprisoned in the period 1952-1981"--P. 321-360. Includes bibliographical references (p. [363]-374) and indexes.
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Whitehead, Claire Eugenie. „Theory and practice of the fantastic in French and Russian prose fiction of the Nineteenth Century“. Thesis, University of Bristol, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.393098.
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Gribble, Lyubomira Parpulova. „Russian verse parody 1815-1870 : literary and social functions /“. The Ohio State University, 1990. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487678444258622.
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