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Macphail, David John Duncan. "The anecdote in modern Russian fiction". Thesis, University of Cambridge, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.613943.
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Strazds, Robert. "Contemporary Russian Soviet women's fiction, 1939-1989". Thesis, McGill University, 1991. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=60088.
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A number of critics have observed that there is no tradition of women's writing in Russian. The writings of Lydia Chukovskaya, I. Grekova and Tatiana Tolstaya--the principle subjects of the present work--partially contradict this perception, and defy the restrictions imposed by ideological authoritarianism and of gender.All three writers describe aspects of the Soviet, and human, condition, in unique ways. Lydia Chukovskaya's fiction portrays women, paralyzed by the scope of the Stalinist terror, who attempt to survive with dignity and accept their individual responsibility. I. Grekova writes about single women who maintain their autonomy through a balance between their professional and domestic lives. Tatiana Tolstaya's characters inhabit an atmosphere of lyrical alienation from which there is no exit.
This study examines in detail the work of these writers in the context of other Soviet men and women writers, as well as in the light of Western, feminist thought.
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Mooney, Susan. "Drawing bridges : publicprivate worlds in Russian women's fiction". Thesis, McGill University, 1991. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=60561.
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This thesis questions how Russian women's identity is attached to the textual use of public/private spaces in contemporary literature by Russian women writers by drawing from feminist theories. I. Grekova and N. Baranskaia portray female protagonists in their everyday lives, public and private worlds overlapping. While these heroines create stable support systems with other women, male figures enter as interruptive forces in women's lives. Hospital settings in several works by Russian women allow comparisons between women's fictional hospital experiences and those of Muscovite women interviewed. In L. Petrushevskaia's stories, women protagonists' identities are linked to the uncertain quality of locale and the tenuous relationships which transpire in it. Russian women's identity expressed in fiction may change as the self-perceptions of a younger generation of Russian women writers evolve toward a new, gendered concept of self.
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Schönle, Andreas. "Authenticity and fiction in the Russian literary journey, 1790-1840 /". Cambridge (Mass.) ; London : Harvard university press, 2000. http://catalogue.bnf.fr/ark:/12148/cb37194878g.
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Conliffe, Mark. "Isolation and Russian short fiction, 1877--1890, Garshin, Chekhov and Korolenko". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0004/NQ41128.pdf.
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Marquette, Scarlet Jacquelyn. "Ubi Cogito, Ibi Sum: Paranoid Epistemology in Russian Fiction 1833-1907". Thesis, Harvard University, 2013. http://dissertations.umi.com/gsas.harvard:11046.
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This dissertation addresses two questions fundamental to Russian nineteenth-century intellectual history: 1) Why does literature about paranoid psychosis figure so centrally in the nineteenth-century canon? and 2) How did the absence of an epistemological tradition of reflexive self-consciousness influence the development of Russian ideas of subjectivity? I propose that the presence of paranoia in Russian fiction extends beyond the medical or psychoanalytic aspects of character traits or themes. I argue that literary representations of paranoia perform fundamental philosophical gestures and function as "epistemological speech acts." Russian narratives of paranoia (e.g., Pushkin, Gogol, Dostoevsky, Chekhov, Garshin, Sologub) constitute a means of exploring the operations of a self-reflexive consciousness, familiar in the West through the Cartesian Cogito. In other words, the theme of paranoia in nineteenth-century Russian fiction actively responds to the regnant philosophical discourse and functions as a praxis for the exploration of philosophical questions. However, this is done in an alternative discourse to the propositional language generally favored in philosophical texts; as a result, the philosophical function of the fictions of paranoia has gone unrecognized, and the genre has been "exiled" from philosophical discourse. I argue that Russian texts of paranoid psychosis should be reconceived as venues for the play of the transcendental ego outside social or communal axes. Paranoia emerges as the Jakobsonian “dominant” within these texts, in that it is paranoia that engages with other narrative components and transforms them. Further, as prose fiction, these texts had the discursive and social capacity to resonate and divagate in ways impossible to philosophical texts. Ultimately, these narratives of paranoia are meta-epistemologies that interrogate their own discursive function and status. They raise critical questions not only about the ways in which we represent truth but about the ontological status of truth itself.Slavic Languages and Literatures
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Potvin, Allison Leigh. "Bodies in Transition:Physical Transformation in Postmodern Russian Fiction and Visual Culture". The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1316111770.
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Hanke, Birgit. "Discourse analysis of topic in first-person English, German and Russian fiction". Thesis, University of Exeter, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.421642.
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Kulikova, Yulia A. 1985. "Contribution of the Brothers Strugatsky to the Genre of Russian Science Fiction". Thesis, University of Oregon, 2011. http://hdl.handle.net/1794/11525.
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viii, 62 p.Arkady and Boris Strugatsky are the most prolific Soviet science fiction writers, who focused, above all, on the social themes and with satire discussed the political and social agendas in the Soviet society. This thesis explores the contribution of the Brothers Strugatsky to the genre of Russian science fiction and looks into the main themes of their most famous novels. At the beginning, I present a short overview of the history of Russian science fiction. Further on, I explore the Brothers Strugatsky's role in the development of science fiction in the Soviet Union and single out the two phases of their literary career: utopian and anti-utopian. Furthermore, I examine the Strugatskys' most prominent novels and their main themes: human nature and Soviet bureaucracy. Finally, I analyze to what extent the Strugatskys' novels fit into the Soviet reality and how they shape the genre of science fiction in Russia.
Committee in charge: Susanna Lim, Chair; Yelaina Kripkov, Member; Katya Hokanson, Member
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Keys, R. J. "The reluctant modernist : Andrei Belyi and the development of Russian fiction, 1902-1914". Thesis, University of Cambridge, 1987. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.234976.
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Kuntz, William George. "A translation of Victor Kolupaev's "The bandit over the world" with a critical essay". Instructions for remote access. Click here to access this electronic resource. Access available to Kutztown University faculty, staff, and students only, 1985. http://www.kutztown.edu/library/services/remote_access.asp.
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Thesis (M.A.)--Kutztown University, 1985.Source: Masters Abstracts International, Volume: 45-06, page: 2853. Typescript. Translation of: Tolsti︠a︡k nad mirom. Includes bibliographical references (leaves [133]-137).
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Elbaum, Henry. "Rhetoric and fiction : interaction of verbal genres in the Soviet literature of the twenties and thirties". Thesis, McGill University, 1988. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=75698.
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Soviet literature of the twenties and thirties is examined in the present study in its relationship to other verbal genres, primarily, the speeches of Party leaders, newspaper rhetoric and political posters. The first four chapters of the dissertation focus on such topics as the reception of Marxist-Leninist discourse by peasants and workers as well as its representation in fiction; the refraction of official discursive formulas in characters' speech and the dialogization of Party rhetoric; the integration of political documents into fiction and their structural function. Particular attention is paid to the way the contamination of Party rhetoric by substandard language and its contextual defamiliarization lead, depending on the overall authorial intention, either to a parodic subversion of official cliches or to the internalization of didactic discourse and the enhancement of its communicative effectiveness.The theme of industrialization is examined in the last two chapters of the thesis in its dialectic interaction with various Neo-Rousseauist conceptions, which either reflect the authors' own ambivalence about socialist construction, or constitute a rhetorical device used in order to reinforce dialogically industrialist ideology.
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May, James L. "A Body Outside the Kremlin". FIU Digital Commons, 2015. http://digitalcommons.fiu.edu/etd/1938.
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A BODY OUTSIDE THE KREMLIN is a historical mystery novel set in the Northern Camps of Special Significance, a Soviet Russian penal institution based in the Solovetsky Archipelago during the 1920s. The protagonist, working first with the camp authorities, then in spite of their disapproval, solves the murder of a fellow prisoner. In the process he improves his position within the camp, while also becoming hardened to the brutal necessities of camp life. Prior to the establishment of the penal camp, the Solovetsky Archipelago was the site of an important Russian Orthodox monastery, and the mystery proves to involve valuables, particularly icons, seized from the monks by the Soviet secret police. Thus the novel treats themes not only of statist repression, but also religious epiphany and the problems of true perception in a world of symbols.
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Fouts, Jordan. "After the end of the line: apocalypse, post- and proto- in Russian science fiction since Perestroika". Thesis, McGill University, 2007. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=18304.
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This thesis examines concepts of history and culture in six texts published between 1986 and 2006, as they relate to the loss of Russia’s future, according to Mikhail Epstein, with the collapse of the Soviet Union. The works, paired by decade in three chapters, are Vladimir Voinovich’s Moscow 2042 (1987) and Andrei Bitov’s “Pushkin’s Photograph” (1989); Andrei Lazarchuk and Mikhail Uspenskii’s Look into the Eyes of Monsters (1998) and Tat’iana Tolstaia’s Slynx (2000); and Sergei Luk’ianenko’s “Girl with the Chinese Lighters” (2002) and Aleksei Kalugin’s “Time Backwards!” (2005). Though the authors are typically associated with different genres, all works make use of the cognitive estrangement characteristic of science fiction to forge a parable of current conditions, and thereby gain new insight into questions of history and culture. Given the nature and mood of the fall of Communism, apocalypse (or utopia, another end to history) is the dominant myth informing these visions, a further heuristic tool of science fiction. Through the conventions of the genre, notably the novum (Darko Suvin’s term for a new element shaping the imagined world) and its counterpart in Epstein’s kenotype (an expression of new social phenomena), the works typify their respective periods of perestroika, the post-Soviet 1990s and the early twenty-first century, as well as imagine social alternatives that move toward Epstein’s concept of a proto- era, a future for Russia after the future. What emerges from a unified study of these texts is the value their authors find in the tools of science fiction for renewing imagination and coming to terms with the unknown. To recognize the enduring potential of the future, its incompleteness and unknowability, is to challenge the very idea of the end of time – be it apocalyptic, utopian or postmodern.Cette thèse examine les concepts de l’histoire et de la culture en six textes publiés entre 1986 et 2006, en relation avec la perte du futur Russe, selon Mikhail Epstein, suite à l’écroulement de l’Union Soviétique. En trois chapitres, les écrits sont classés par décennies comme suit : Moscow 2042 de Vladimir Voinnovich (1987) et Pushkin’s Photograph d’Andrei Bitov (1989); Look into the Eyes of Monsters d’Andrei Lazarchuck et Mikhail Uspenskii (1998)et Slynx par Tat’iana Tolstaia (2000); Girl with the Chinese Lighters par Sergei Luk’ianenko (2002) et Time Backwards! d’Aleksei Kalugin (2005). Malgré le fait que les auteurs sont habituellement associés à différents genres, l’ensemble de ces textes se servent de la caractéristique d’aliénation cognitive que la science fiction apporte afin de forger une parabole des conditions courantes, et ainsi acquérir un nouvel aperçu dans l’histoire et la culture. Étant donné la nature et l’athmosphère de la tombée du Communisme, l’apocalypse (ou l’utopie, autre fin à l’histoire) est le mythe dominant qui informe ces visions, un outil d’apprentissage supplémentaire de la science fiction. A travers la convention du genre, notamment le novum (terme utilisé par Darko Suvin pour décrire un nouvel élément formant le monde imaginaire) et son contrepartie kenotype d’Epstein (une expression d’un nouveau phénomène social), les écrits exemplifient leurs périodes respectives de perestroïka, les années ’90 post-Soviet et le début du vingt-et-unième siècle, ainsi qu’imaginer des alternatives sociales qui se rapprochent du concept de proto-era d’Epstein, un futur pour la Russie après le futur. Ce qui émerge d’une étude unifié de ces textes est la valeur que les auteurs trouvent aux outils de la science fiction pour renouveler l’imagination et venir à terme avec l’inconnu. De reconnaître le potentiel résistant du futur, l’incomplet et l’incon
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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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Dreyer, Nicolas D. "'Post-Soviet neo-modernism' : an approach to 'postmodernism' and humour in the post-Soviet Russian fiction of Vladimir Sorokin, Vladimir Tuchkov and Aleksandr Khurgin". Thesis, University of St Andrews, 2011. http://hdl.handle.net/10023/1917.
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The present work analyses the fiction of the post-Soviet Russian writers, Vladimir Sorokin, Vladimir Tuchkov and Aleksandr Khurgin against the background of the notion of post-Soviet Russian postmodernism. In doing so, it investigates the usefulness and accuracy of this very notion, proposing that of ‘post-Soviet neo-modernism’ instead. Common critical approaches to post-Soviet Russian literature as being postmodern are questioned through an examination of the concept of postmodernism in its interrelated historical, social, and philosophical dimensions, and of its utility and adequacy in the Russian cultural context. In addition, it is proposed that the humorous and grotesque nature of certain post-Soviet works can be viewed as a creatively critical engagement with both the past, i.e. Soviet ideology, and the present, the socially tumultuous post-Soviet years. Russian modernism, while sharing typologically and literary-historically a number of key characteristics with Western modernism, was particularly motivated by a turning to the cultural repository of Russia’s past, and a metaphysical yearning for universal meaning transcending the perceived fragmentation of the tangible modern world. Continuing the older Russian tradition of resisting rationalism, and impressed by the sense of realist aesthetics failing the writer in the task of representing a world that eluded rational comprehension, modernists tended to subordinate artistic concerns to their esoteric convictions. Without appreciation of this spiritual dimension, semantic intention in Russian modernist fiction may escape a reader used to the conventions of realist fiction. It is suggested that contemporary Russian fiction as embodied in certain works by Sorokin, Tuchkov and Khurgin, while stylistically exhibiting a number of features commonly regarded as postmodern, such as parody, pastiche, playfulness, carnivalisation, the grotesque, intertextuality and self-consciousness, seems to resume modernism’s tendency to seek meaning and value for human existence in the transcendent realm, as well as in the cultural, in particular literary, treasures of the past. The closeness of such segments of post-Soviet fiction and modernism in this regard is, it is argued, ultimately contrary to the spirit of postmodernism and its relativistic and particularistic worldview. Hence the suggested conceptualisation of post-Soviet Russian fiction as ‘neo-modernist’.
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Chitnis, Rajendra A. "Liberation and the authority of the writer in the Russian, Czech and Slovac fiction of the changes". Thesis, University College London (University of London), 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.404976.
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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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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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Almeida, Giuliana Teixeira de. "Pelo prisma biográfico: Joseph Frank e Dostoiévski". Universidade de São Paulo, 2013. http://www.teses.usp.br/teses/disponiveis/8/8155/tde-25062013-095450/.
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Muitas biografias foram escritas sobre Fiódor Dostoiévski, nome central da literatura russa do século XIX. Dentre os títulos dedicados à vida do escritor russo destaca-se Dostoiévski de Joseph Frank, um grande esforço de investigação elaborado ao longo de quase três décadas. A obra escrita pelo scholar norte-americano consiste em uma síntese da história cultural da Rússia no século XIX, contexto no qual Dostoiévski viveu, além de um esforço de interpretação da ficção do romancista. Essa pesquisa visa analisar a biografia de autoria de Joseph Frank, assim como efetuar uma comparação entre essa obra e outras biografias importantes escritas sobre o escritor russo. Paralelamente, pretende-se investigar as questões teóricas e metodológicas concernentes ao gênero biográfico. Tendo em vista a grande repercussão da obra nas publicações norteamericanas, essa pesquisa também examinará de modo panorâmico a recepção da biografia de Frank nos Estados Unidos e os percursos da eslavística norte-americana nas últimas décadas.Many biographies have been written about Fyodor Dostoevsky, a prominent 19th century Russian literature novelist. Among all these titles, Joseph Frank\'s Dostoevsky stands out as a great synthesis of the Russian writer\'s life and era. Written along three decades, Frank\'s work recreates the Russian cultural history in the second half of the 19th century and proposes an interpretation for Dostoevsky\'s literary works. After this biography, Frank has become one of the most important North American\'s experts in Russian literature and Dostoevsky. This research aims to analyze this monumental biography, to compare this work with other biographies written about the thrilling life of Dostoevsky and to investigate the theoretical and methodological problems of the biography genre. Finally, considering the repercussion of Dostoevsky for the intellectual community of United States of America, we will also analyze the reception and the critiques of Frank\'s biography and the situation of the last decades of Slavic studies in that country.
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Knight, Rebecca Louise. "Remembering the socialist past : narratives of East German and Soviet childhood in German and Russian fiction and autobiography since 1990/1". Thesis, University of Exeter, 2012. http://hdl.handle.net/10036/4305.
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This study compares German memory of life in the German Democratic Republic with Russian memory of life in the Soviet Union, as represented and created within fictional and autobiographical narratives of childhood, published since the collapse of each regime. The chosen texts are, to varying degrees, fictionalized and/or autobiographical. A comparison between German and Russian narratives is particularly interesting because the socialist past is remembered very differently in each country’s public discourse and culture. An examination of narratives about childhood allows for a complex relationship between the post-socialist present and the socialist past to emerge. I study the texts and their reception, in conjunction with an analysis of the dominant ways of remembering the socialist past circulating within German and Russian society and culture. This allows the analysis to go beyond a straightforward comparison between the representations of the socialist past in the two groups of texts, to also explore how those representations are interpreted and received. It also demonstrates how the surrounding memory cultures appear to be producing quite different approaches to representing memories of broadly similar socialist childhood experiences. Chapter 1 explores the role of literary texts in revealing and shaping both individual and collective memory with a review of relevant research in the field of memory studies. Chapter 2 draws on existing scholarship on post-socialist memory in German and Russian society and culture in order to identify dominant trends in the way the socialist past has been remembered and represented in the two countries since 1990/1. The analysis in Chapters 3 and 4 reveals a more detailed picture of the complexities and ambiguities inherent in looking back at childhood under socialist rule through the example of the chosen texts, and in the ways they are received by critics and by readers (in reviews posted online). I demonstrate that, in line with the surrounding memory cultures, questions of how the socialist past should be remembered are a more central concern in the German texts and their reception than in the Russian texts and reception. I show, however, that the nature of the Soviet past is often portrayed indirectly in the Russian texts and I explore how critics and readers respond to these portrayals.
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Meyer, Luciano Augusto. "Esquizofrenia pós-soviética: sonhos, vazio e identidade em A metralhadora de Argila". Universidade de São Paulo, 2018. http://www.teses.usp.br/teses/disponiveis/8/8155/tde-07122018-120841/.
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Notadamente um dos escritores russos mais bem-sucedidos na decada de 1990, Victor Pelevin se caracteriza por uma obra pouco convencional no que concerne a construção de personagens e mundos em que elas habitam. A transicão poltica e cultural ocorrida após a queda do governo soviético, em 1991, e um dos fatores que influenciam as obras de grande parte dos autores pós-modernos na Rússia; entretanto, o sucesso de Pelevin se deve também as peculiaridades de sua escrita que, em vez de apenas promover críticas a sociedade que o precedeu, também inclui reflexões filosóficas e metafisicas por vezes consideradas pretensiosas demais pela critica que abordam essa transição. Em A metralhadora de argila, romance de 1996, o autor remonta as batalhas da Guerra Civil Russa, em 1919, colocando-as como um mundo paralelo a uma instituição psiquiátrica em 1991. O interesse, então, e estudar o processo de recriação que Pelevin faz da realidade pré-soviética e como ele a compara ao periodo pos-sovietico, apontando aspectos no romance que identifiquem a nocao de identidade e a mudanca a que este conceito esta sujeito apos as transformacoes sociais nesses periodos da historia recente da Russia.One of the most renowned Russian writers of the 1990s, Viktor Pelevi distinguishes himself for the construction of characters and worlds in which they inhabit. The political and cultural transition after the end of the Soviet government, in 1991, is one of the factors that have an effect on most of the literary works from Post-Modern authors in Russia; although, Pelevin\'s success as well is due to singularities in his writing, which instead of only criticise the Soviet society before him, also includes philosophical and metaphysical thoughts sometimes viewed as too pretentious by the critics that discuss the transition. In The clay machine-gun, a 1996 novel, Pelevin remembers the battles of the Russian Civil War, in 1919, putting them as a parallel world within a madhouse in 1991. So, the interest in this study is to understand Pelevin\'s recreation of the Pre-Soviet reality and how he compares it to the Post- Soviet period, highlighting elements on the novel that trace the notion of identity and the adjustment it takes after the social transformation in these both recente Russian times.
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Orr, Sara Ceilidh. "The Scrivener De-Scribed: Logos and Originals in Nineteenth-Century Copyist Fiction". The Ohio State University, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=osu1406254390.
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Hambrecht, Sandra Lynn. "A translation of the story "The wish machine" by Arkadiĭ and Boris Strugat︠s︡kiĭ with an introduction to their works". Instructions for remote access. Click here to access this electronic resource. Access available to Kutztown University faculty, staff, and students only, 1985. http://www.kutztown.edu/library/services/remote_access.asp.
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Thesis (M.A.)--Kutztown University of Pennsylvania, 1985.Typescript. Abstract precedes thesis as 2 preliminary leaves. Source: Masters Abstracts International, Volume: 45-06, page: 2853. Includes bibliographical references (leaves [80]-84).
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Whittle, Maria Karen. "Subverting Socialist Realism: Vasily Grossman's Marginal Heroes". Scholarship @ Claremont, 2012. http://scholarship.claremont.edu/pomona_theses/70.
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Soviet writer Vasilii Grossman has been renowned in the West as a dissident author of Life and Fate, which multiple sources, including The New York Times have called "arguably the greatest Russian novel of the 20th century." Grossman, however, was not a dissident, but an official state writer attempting to publish for a Soviet audience. Grossman's work was criticized by Soviets as being "too Jewish", while Jewish scholars have called it "not Jewish enough." And, despite his modern critical acclaim, little scholarship on Grossman exists. In my thesis, I explore these paradoxes. I argue that Grossman attempts to reinterpret traditional state ideas of Sovietness into a more inclusive, democratic version by creating heroes from traditionally marginalized groups. To do this, he reinterprets and inverts traditional tropes of the Socialist Realist genre. Genric limitations on his worldview, however, prevent this vision from being completely realized in the course of his work. I trace Grossman's work from his early short fiction to his Khruschev era novels and show how this trope develops during his career as a Soviet writer and citizen.
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Bonino, Vittorio. "I racconti in lingua russa di Vladimir Nabokov (1921-1942): il gioco tra reale e soprannaturale nella forma breve". Doctoral thesis, Università degli studi di Trento, 2022. http://hdl.handle.net/11572/336720.
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Title: Vladimir Nabokov’s Russian short stories (1921-1942): The game between real and supernatural in short fiction. (Italian title: I racconti in lingua russa di Vladimir Nabokov (1921-1942): il gioco tra reale e soprannaturale nella forma breve). In this Ph.D. research project, I examined several short stories written by Vladimir Nabokov (1899-1977). I focused my attention on the relationship between the real and the supernatural and examined how such a relationship evolved over the years. My research aims to highlight how Nabokov introduced innovations in the European literary tradition with his supernatural short fiction. The core of Nabokov’s first short stories is a binary opposition between something that can be described as real (or realistic), and something that belongs to the realm of the fantastic. The dynamic tension between the real and the supernatural allows Nabokov to renew the European and Russian tradition of “novellas” and supernatural tales. Gradually, Nabokov phased out the fantastic elements and focused on the inner life of the characters that he unveiled through a series of epiphanic moments. The evolution of Nabokov’s short fiction reflects the crisis of the artistic representation experienced by the European intellectuals at the beginning of the 20th century. Nabokov experimented with different kinds of narratives forms to examine the condition of the Russian immigrants and how they relied on imagination and memory to deal with the pain of exile. In this regard, he underscores that only the act of remembering can give new life to the lost past thus conferring dignity to the troublesome present life. The first chapter starts with an overview of numerous studies on short fiction to determine what a “short story” actually is. I then examine the definition of “real” and “supernatural” as well as the most significant scholars’ interpretations of Nabokov’s short stories. Subsequently, I investigate the social, cultural, and historical background of Nabokov’s stories. Finally, I present a chronological list of the stories examined in the thesis. In the second chapter, I carry out the analysis of the short stories I selected for my research. Most of the stories are characterized by the presence of fantastic and supernatural elements. I divided the stories into five different sections, each dedicated to a specific type of supernatural. In this chapter, I examine the different interpretations that have been offered by Nabokov scholars and I provide a new understanding of the evolution of Nabokov’s narrative. In the third chapter, I analyze the relationship among the different short stories to draw a hermeneutic map of the transformations of the narrative core and the themes of the stories. In the conclusion, I outline the main insights of my research.
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Ranchpar, Innesa. "Readers in Pursuit of Popular Justice: Unraveling Conflicting Frameworks in Lolita". Chapman University Digital Commons, 2016. http://digitalcommons.chapman.edu/english_theses/2.
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This thesis examines the competing frameworks in Vladimir Nabokov’s Lolita—the fictional Foreword written by John Ray, Jr., Ph.D. and the manuscript written by Humbert Humbert—in order to understand to what extent the construction manipulates the rhetorical appeal. While previous scholarship isolates the two narrators or focuses on their unreliability, my examination concentrates on the interplay of the frameworks and how their conflicting objectives can be problematic for readers. By drawing upon various theories by Michel Foucault from Power/Knowledge and Louis Althusser’s “On Ideology,” I look into how John Ray, Jr., Ph.D. and Humbert Humbert use authoritative voices to directly address readers with a specific duty, as “parents, social workers, educators” and “ladies of the gentleman,” and I question to what extent this can force readers to unwillingly forfeit their authority in order to adopt an alternative disciplinary gaze in pursuit of a premeditated idea of truth and justice. Using the concept of truth and justice, I explore how psychological discourse and the court are made up of ideologies that operate like the Panopticon, and I question where readers fit despite the strong influence exerted on to them by this structure.
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Fuentes, Susana Carneiro. "Nabokov e Laferrière, memórias do Pays Rêvé: tradução e alteridade na fronteira entre autobiografia e ficção". Universidade do Estado do Rio de Janeiro, 2007. http://www.bdtd.uerj.br/tde_busca/arquivo.php?codArquivo=4326.
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Coordenação de Aperfeiçoamento de Pessoal de Nível SuperiorA escolha de contrapor neste estudo os autores Dany Laferrière e Vladimir Nabokov a partir do exílio e da memória, respectivamente em Pays sans chapeau, romance de 1997, e Speak, memory, autobiografia que data de 1947, é feita com o intuito de contribuir para as discussões em Literatura Comparada e participar das novas tendências nos estudos canadenses, levantando, diante das respectivas obras destes autores, questões de tradução entre seus velhos e novos mundos, fronteiras, línguas e a narração sobre eles. Contrapor escritos de autores tão diferentes em suas especificidades, mas que se encontram por conta de uma perspectiva dos estudos culturais, parece-me fazer parte deste processo de quebrar hegemonias e relativizar as hierarquias, conforme seguimos os efeitos das narrativas destes autores, quando o país sonhado força sua presença: à medida em que eliminam-se distâncias e remarcam-se fronteiras, no ato de ler e narrar a realidade. O presente estudo consistiu de um romance e um ensaio, assim como um Prelúdio, apresentado em forma entre a teoria e a ficção
Focusing on memory and exile within Dany Laferièrres novel Pays sans chapeau (1997) and Vladimir Nabokovs autobiography Speak, memory (1947), the aim of this study is to observe the relation of each of these authors with his respective old and new worlds, borders, languages and the narration of them, contributing to the discussion within Comparative Literature and to the new trends in the Canadian studies. Through the concepts of carnivalization and of the act of reading, we follow the rupture of hierarchies in the narratives, to see how memory reinvents reality in new, simple effects. Between fiction and authobiography, between text and reader, the strength of renewed images. The dream country forces its presence, as far as distances are eliminated in the act of reading and narrating reality. The present study consists of a novel and an essay, and a part in-between called Prelude, a form crossing from theory into fiction
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Pfaff-Shalmiyev, Sophia. "] To Mother". PDXScholar, 2015. http://pdxscholar.library.pdx.edu/open_access_etds/2535.
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Four weeks before the collapse of the Berlin Wall in 1989 an eleven-year-old flees the Soviet Union with her young father. As political refugee determined to eventually settle in the United States they hastily abandon the girl's estranged alcoholic mother, future stepmother, their friends and relatives, their collection of books and all but a handful of family photographs. She eventually attempts to seek out and recover the people, ideas and objects lost on that voyage to America by going back to a much changed Russia and stitching together the scattered and forgotten pieces in between her old and new homes through dream-like snapshots.
Two decades after her emigration the author examines the concept of bad luck in one's travels, the significance of the number four, ambivalent attachments, learning to mother from a place of abandonment, the familial legacy of escape and the pursuit of wholeness within inconsolable loss. The un-tellability of the story is considered through the lens of Sappho, Bernadette Mayer, Yoko Ono, Roland Barthes, Doris Lessing, Nico and many other surrogate mothers and fathers brought together as a chorus in a multi-vocal, lyric approach.
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Newman, Britton W. Perelmuter Pérez Rosa. "The presence and function of Russia in the fiction of José Manuel Prieto". Chapel Hill, N.C. : University of North Carolina at Chapel Hill, 2008. http://dc.lib.unc.edu/u?/etd,1810.
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Thesis (M.A.)--University of North Carolina at Chapel Hill, 2008.Title from electronic title page (viewed Dec. 11, 2008). "... in partial fulfillment of the requirements for the degree of Master of Arts in the Department of Romance Languages Spanish." Discipline: Romance Languages; Department/School: Romance Languages.
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Derrick, Sandra Kelly. "Motherland: Collected Stories". PDXScholar, 2011. https://pdxscholar.library.pdx.edu/open_access_etds/1216.
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Collected Stories revolves around characters in Pennsylvania, California, and Oregon. Though the stories are not linked, the theme of displacement and abandonment are explored throughout my work. Characters are displaced, such as Vietnam veterans and Russian international students living in America. Some protagonists are displaced simply by the actions or circumstances of their parents. Such parents choose not to act as parental figures or have passed away, leaving the children to figure out their roles in their families. The children decide, essentially, how to redefine themselves.
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De, Marchi Fiorenza <1990>. "Russians from Outer Space: American Science Fiction Novels and Films of the 1950s and the Cold War". Master's Degree Thesis, Università Ca' Foscari Venezia, 2016. http://hdl.handle.net/10579/7872.
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L'impatto della Guerra Fredda sulla cultura di massa americana ed in particolare sul genere di fantascienza, è l'argomento centrale di questa tesi. La seconda guerra mondiale e le sue conseguenze, la bomba atomica e la “paura rossa” nel mondo occidentale, fanno da sfondo in svariati film dell'epoca. In che modo la letteratura ed il cinema di fantascienza furono influenzati da questi fatti? Iniziando con una sezione introduttiva sui momenti più rilevanti nella storia del genere, l'attenzione viene focalizzata su film americani di fantascienza degli anni '50 e su alcuni dei romanzi dai quali vennero tratti, in cui la minaccia sovietica appare sotto forma di diverse metafore. In particolare, le invasioni o incursioni aliene/sovietiche (aggressive, subdole, altruistiche) sono allegorie che rappresentano le paure dell'epoca: dalla minaccia di un terzo conflitto mondiale, alla progressiva sostituzione di cittadini americani da parte dei sovietici allo scopo di diffondere l'ideologia comunista nel mondo e neutralizzare il nemico capitalista. Inoltre il tema dell' “invasore”, che implica la paura dell'altro, del diverso, collega il tutto alla situazione storico-sociale attuale.
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Feuillebois, Victoire. "Nuits d'encre : cycles de fictions nocturnes à l'époque romantique (Allemagne, Russie, France)". Thesis, Poitiers, 2012. http://www.theses.fr/2012POIT5013.
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La thèse isole un corpus particulièrement large dans l'Europe romantique, constitué de fictions à récit-cadre oral nocturne organisées en « veillées », « nuits » ou « soirées ». Ce constat bibliographique fait apparaître un paradoxe : la littérature de l'époque romantique rêve-t-elle encore de pratiques orales alors que s'inaugurent au même moment le fonctionnement moderne de l'ordre des livres et sa régulation par des techniques commerciales ? Comment conjuguer l'idée du sacre de l'écrivain et la nostalgie apparente pour le récit de vive voix ? Le cycle de fictions nocturnes semble d'abord une survivance ou une nostalgie des formes plurimillénaires de narration orale (Le Pantchatrantra, Les Mille et une nuits) : les auteurs ressusciteraient la technique du récit encadré pour mieux profiter de la vitalité associée à l'échange direct ainsi simulé dans ces textes. Pourtant, l'étude de ce corpus montre que la relecture romantique n'a rien d'un archaïsme. D'abord, le cycle nocturne est en réalité une forme intermédiaire entre la tradition littéraire et les modifications contemporaines du champ : parfaitement adaptées à la publication journalistique, les fictions nocturnes rétablissent néanmoins une forme d'aura auctoriale en instaurant une ambivalence orale qui suggère une présence directe du conteur. Les « nuits » permettent donc de tirer parti de la mercantilisation croissante du monde des lettres, tout en continuant à bénéficier du prestige des mages romantiques et autres poètes de la nuitThis dissertation isolates in European romantic literature a particularly broad corpus of fictions with an oral frame organized in "watches", "nights" or "evenings". This bibliographic presence underlines a paradox: why does romantic literature still dream of oral practices whereas at the same time are inaugurated the modern textualisation of literature and its regulation by commercial techniques? How to combine the idea of the sacre of the writer and the nostalgia for direct speech ? The cycle of night fictions seems initially a survival or a sign of nostalgia of the antique forms of oral narration (Panchatrantra, Thousand and One Nights) : the authors appear to resurrect the technique of the frame narrative to benefit from the vitality associated with the direct exchange simulated in these texts. However, the study of this corpus shows that this romantic intertextual reading has nothing to do with a taste for archaism. Initially, the nocturnal cycle is actually an intermediate form between the literary tradition and the contemporary modifications of the literary context : it is perfectly adapted to publication in the press, but nevertheless makes it possible to restore a form of auctorial aura auctoriale by establishing an oral ambivalence which suggests a direct presence of the storyteller. The "nights" thus allow the author to adapt to the increasing mercantilisation of the literary world, while continuing to profit from the prestige associated to the romantic magi and other « poets of the night »
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Bysell, Lina Emilia. "En revolutionerande översättning : En översättningsteoretisk uppsats om att översätta en skildring av det ryska inbördeskriget". Thesis, Stockholms universitet, Tolk- och översättarinstitutet, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-130581.
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Denna kandidatuppsats består av en längre översättning av en skönlitterär text från ryska till svenska och en kommentar till denna översättning som behandlar den översättningsproblematik som åtföljt just det här arbetet. Källtexten utgörs av första kapitlet i Aleksej Tolstojs Chmuroe utro (Grå gryning), tredje delen av hans trilogi Choždenie po mukam (Lidandets väg). I mitt översättningsarbete följer jag Eugene Nidas princip om dynamisk ekvivalens och i min kommentar fokuserar jag på att förklara hur jag arbetat med min översättning utifrån Nidas teorier och hur jag löst de översättningsproblem som uppstått under arbetets gång i enlighet med principen om dynamisk ekvivalens. I arbetet tar jag även upp den speciella problematik det inneburit att trilogins två förra delar redan finns på svenska i översättning av en annan översättare och redogör för hur jag valt att förhålla mig till denna tidigare översättning.This essay covers the translation of a fictional prose text from Russian to Swedish, the source text being the first chapter of Aleksey Tolstoy’s Chmuroe utro (Bleak Morning), the third part of his trilogy Choždenie po mukam (The Ordeal). A commentary of this translation is provided, where the linguistic abstractions encountered throughout the process are documented. My methodology attempts to emulate that of Eugene Nida and his principle of “Dynamic Equivalence”. This procedure is addressed in the commentary, as I explain how utilisation of Nida's theories can assist in overcoming the numerous peculiarities inherent to translation. I also deal with the issue regarding the first two books of the trilogy, which have already been translated into Swedish by another translator. In my work, I explain how and why I have chosen to relate to the earlier translation.
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Krauss, Charlotte. "La Russie et les Russes dans la fiction française du XIXe siècle (1812-1917) : d'une image de l'autre à un univers imaginaire /". Amsterdam : Rodopi, 2007. http://catalogue.bnf.fr/ark:/12148/cb41064338b.
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Tremblay, Audrey. "Les croisées du « grand reportage » : analyse comparée de « récits de Russie » du début et de la fin du XXe siècle". Thesis, Université d'Ottawa / University of Ottawa, 2018. http://hdl.handle.net/10393/37922.
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Si le champ de la non-fiction, et en particulier le « literary journalism », bénéficie aux États-Unis d’une longue tradition de recherche, sa prise en compte au sein de la production médiatique francophone est beaucoup plus récente. De ce fait, les procédés par lesquels ces œuvres factuelles assurent leur légitimité journalistique sont encore incomplètement connus en tant que tels, et moins encore dans leur évolution diachronique au cours du XXe siècle.
Notre recherche propose de contribuer à cet approfondissement collectif en observant de façon contrastive l’ethos discursif des écrivains-journalistes, de même que la mise en image du réel qu’offrent leurs « récits de Russie » publiés à deux époques différentes, celle de l’entre-deux-guerres et la nôtre.
Considérant l’évolution générale du journalisme, l’hypothèse est que les textes qui nous sont contemporains témoignent d’inflexions vers des formes moins emphatiques et plus objectivantes, bien qu’ils soient tout autant investis par les ambitions spécifiques du grand reportage. À cet égard, c’est la question de la « valeur discursive » qui se pose particulièrement dans le cas du grand reportage, ce que nous avons notamment circonscrit au moyen de la notion d’ « efficacité de la parole ».
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Ouvarova, Svetlana. "Metaistorija Bulata Okudžavy : Obraz dokumenta v romane Putešestvie diletantov". Doctoral thesis, Stockholms universitet, Slaviska institutionen, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-8420.
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This study examines Okudzhava’s depiction of the process of documentalization of the past as a defining feature of the novel Puteshestvie diletantov, giving reason to consider it a form of metahistory, or an artistic statement on the subject of historical knowledge. The image of the document plays a central role in the novel Puteshestvie diletantov. Through it, Okudzhava depicts the process of knowing and (re)creating the past, as well as the process of its deformation, supplementation and modification. In the form of a document, the past finds existence in time and space, finds its author and addressee, and becomes submerged in a constantly changing context. Okudzhava does not contest the truth of the past, but rather problematizes it, immersing the reader in its real element – the narrative one, permeated by the creative will of the individual. Within this element, two juxtaposed narrative streams stand out clearly: the fictional and the documentary, each shaping the picture of the past in different ways. By thematicizing the issue of documents as evidence, Okudzhava at the same time thematicizes the influence of narrativity on the process of our recreation of past events, as well as on the course of these same events. The act of compiling a document and the act of narration appear in the novel as the driving force of the action and are treated by the author of Puteshestvie diletantov as a fully fledged manifestation of human will in History. In this way, the metafictionality of the novel (its thematicization and problematization of various narrative forms) becomes the key to its metahistoricality (the thematicization and problematization of knowledge of the past, the composition of History), inasmuch as History itself is represented here in the form of a narrative stream.
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Brookes, Alexander. "Non-Euclidean Geometry and Russion Literature| A Study of Fictional Truth and Ontology in Fyodor Dostoevsky's Brothers Karamazov, Vladimir Nabokov's The Gift, and Daniil Kharms's Incidents". Thesis, Yale University, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=3578319.
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This dissertation is an investigation of a theoretical problem—the determination of truth and being in a work of literary fiction—in the context of a momentous event in the history of mathematics—the discovery of a consistent non-Euclidean geometry. Beginning with the first interpretations of the philosophical significance of non-Euclidean geometry to enter the Russian cultural sphere in the 1870s, I analyze how the works by three Russian authors—Fyodor Dostoevsky, Vladimir Nabokov, and Daniil Kharms—integrate the principles of mathematical truth into their construction of a fictional ontology and methods of fictional truth evaluation. Each author, I argue, combines their own aesthetic program with the changes in the philosophy of mathematics underwent in their respective eras and historical contexts. The diversity of these contexts provides the variables, against which this theoretical problem is analyzed.
The first chapter deals with Dostoevsky's interpretation of non-Euclidean geometry and its philosophical significance expressed in Ivan Karamazov's rebellion against God in Brothers Karamazov. I argue that Dostoevsky deploys the Euclidean/non-Euclidean binary to juxtapose two methods of fictional truth evaluation—a traditional model, obsolete in light of the principles of non-Euclidean geometry, and another model, which Dostoevsky embraces in Brothers Karamazov, based on the paradoxical and yet true axioms of the new geometry. I phrase the distinction in the terms of possibility and necessity: the new model of fictional truth evaluation is for propositions which are true in all possible worlds except the actual. In Chapter Two, I draw upon previous analysis of Nabokov's The Gift and the mention of Lobachevsky's geometry in the internal biography of Chernyshevsky, to argue that the narrative structure of The Gift returns to the Euclidean/non-Euclidean binary as introduced by Dostoevsky, but re-interprets the otherworldly according to Nabokov's own aesthetic praxis and the interpretation of non-Euclidean geometry by late-nineteen and early twentieth century geometers and physicists. Nabokov applies concepts of non-Euclidean geometry and space to the actual world. This analysis provides a framework for interpreting the space and time of The Gift according to structures suggested within the novel itself. The third chapter investigates Kharms's interpretation of the significance and meaning of geometry in light of the impact that non-Euclidean geometry had on mathematical propositions as a means of describing possible states of affairs. I place Kharms's fictional objects, such as the red-headed man of "Blue Notebook no. 10," and implications to truth evaluation in "Sonnet" and "Symphony no. 2," in the context of anti-Kantian theories of truth and logic, which arose in the period around the turn of twentieth century.
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Bykova, Dognon Oksana. "La mafia russe et le crime organisé dans le cinéma : (1988-2010) : représentation, communication et esthétique". Thesis, Bourgogne Franche-Comté, 2018. http://www.theses.fr/2018UBFCH034.
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Aujourd'hui, bien que la mafia russe soit officiellement démantelée, elle continue à influencer et à transformer l’identité de son «fidèle» spectateur par la voie cinématographique. Dans ce cas comme dans sans doute beaucoup d’autres, comme le rappelle à juste titre Valérie Pozner, « le cinéma doit être replacé au sein d’un vaste réseau de pratiques spectaculaires et de stratégies éducatives, politiques et informatives hétérogènes ».1Cette thèse revient en premier lieu sur les participants et les engagements de cette coopération entre la mafia et le cinéma. Avant de retracer les principaux traits de ce mariage ciné-mafia-politique, nous allons aborder les formes nouvelles qui apparaissent dans ce nouveau style de cinéma criminel très populaire et répandu dans la société russe. Pour cela faire, dans un premier temps, la recherche donnera certaines détaillées nécessaires pour illustrer les principaux acteurs et principaux événements de la véritable guerre sanglante des groupement criminelles pendant la Grande Révolution Criminelle Russe de 1988-1994. Dans un deuxième temps, nous analyserons les mécanismes de propagande, véhiculés par le cinéma du genre mafieux et criminel russe dont une partie appartient à l’héritage soviétique. Ces mécanismes de propagande, explicites ou masqués, mais surtout ayant un rôle de promotion pour la toute-puissance Russie, accompagnent cette brutalité d’un style de vie que les occidentaux étudient, afin de le comprendre, depuis des siècles. Un Etat « à part » ainsi que son cinéma, que l'on peut aimer ou détester, mais face auquel on ne peut rester indiffèrent !Ce travail de doctorat s'appuiera sur trois hypothèses :Hypothèse 1 : L'arrivée de la Mafia russe dans les circuits de financement du cinéma est aussi une médiation, une communication entre la vie de l'Organisation et le grand public. Elle s'exprime notamment par la mise en place de ce que nous pourrions appeler une « esthétique mafieuse ».Hypothèse 2 : Les attributs de cette esthétique mafieuse profitent des attributs de l'esthétique à laquelle elle succède : l’esthétique soviétique, le socialisme. La question de la conscientisation de ces transformations est une question cruciale.Hypothèse 3 : Cette esthétique mafieuse, cinématographique opère une communication publique et, donc, une évolution des représentations sociales des spectateurs. Nous allons faire l'évaluation de ces valeurs par le publicToday, although the Russian mafia and organized crime community is officially defeated, it continues to influence, transform the identity of his « faithful » viewers through by the way of cinema. It's necessary to understand the exchanges between the cinema said « criminal fiction » and its influence on the public reality. On the one hand the Russian mafia identity of cinema was built across the international market and international audiovisual film.The originality of Russian fictional crime genre, in particular, that it was in some cases produced, directed and performed by former criminals, who also faced historical changes, and were influenced by Hollywood mafia movies lived a period of transformation in « cinema professionals », as also the professionals in the field of other arts such as literature, publication, music, television. Such was the case of Vitaly Demochka 1, the former criminal, who became director, producer, actor and writer. The particularity of his case, that he directed and performed his own « life story » on the screen, as well the members of his former criminal team became the fictional heroes of his film « Spets ».In parallel, our work is focused on the study of “communicating objects”, such as a music, behavior, language, dress code, tattoos. Which have become representative as the 'weapon' of mafia propaganda, projected in the cinema and widely recycled in reality, and vice versa. It operates not only the mythification of public communication but therefore, the evolution of the social representations and even transformation of the spectators
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Guttke, Matthias. "Wem gehört die Krim?: Putins Rechtfertigung der Krim-Annexion". De Gruyter, 2015. https://tud.qucosa.de/id/qucosa%3A38608.
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Given the doubtfulness of the legal justification of Crimea’s declaration of independence on March 11 2014, which was followed by a referendum on March 16 that culminated in the peninsula’s treaty with Moscow to join the Russian Federation, Mr Putin used his speech on March 18 to put historical arguments forward in an effort to legitimise the Russian course of action in front of his own population. The speech counters the international community’s legal assessment, which classified Crimea’s accession to Russia as an annexation, with a historical legitimisation full of symbolism and mysticism that blatantly reinterprets Russian history and delegitimises the territorial integrity of Ukraine. This article analyses Putin’s attempt to justify Russia’s annexation of Crimea and tries to infer the mindset and aims that lie behind his historic-political argumentation.
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Baraban, Elena V. "Russia in the prism of popular culture : Russian and American detective fiction and thrillers of the 1990s". Thesis, 2003. http://hdl.handle.net/2429/15156.
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The subject matter of my study is representations of Russia in Anglo-American
and Russian spy novels, mysteries, and action thrillers of the 1990s. Especially suitable
for representing the world split between good and evil, these genres played a prominent
role in constructing the image of the other during the Cold War. Crime fiction then is an
important source for grasping the changes in representing Russia after the Cold War. My
hypothesis is that despite the changes in the political roles of Russia and the United
States, the end of the Cold War and the demise of the Soviet Union continued to have a
significant impact on popular fiction about Russia in the 1990s. A comparative
perspective on depictions of Russia in the 1990s is particularly suitable in regard to
American and Russian popular cultures because during the Cold War, Soviet and
American identities were formed in view of the other. A comparative approach to the
study of Russian popular fiction is additionally justified by the role that the idea of the
West had played in Russian cultural history starting from the early eighteenth century.
Reflection on depictions of Russia in crime fiction by writers coming from the
two formerly antagonistic cultures poses the problem of representation in its relationship
to time, history, politics, popular culture, and genre. The methods used in this
dissertation derive from the field of cultural studies, history, and structuralist poetics. A
combination of structuralist readings and social theory allows me to uncover the ways in
which popular detective genres changed in response to the sentiments of nostalgia and
anxiety about repressed or lost identities, the sentiments that were typical of the 1990s.
My study of Anglo-American and Russian spy novels, mysteries, and action thrillers
contributes to our understanding of the ways American and Russian cultures invent and
reinvent themselves after a significant historical rupture, how they mobilize the past for
making sense of the present. Drawing on readings of literature and culture by such
scholars as Mikhail Bakhtin, Tzvetan Todorov, Siegfried Kracauer, Andreas Huyssen,
Fredric Jameson, and Svetlana Boym, I show that differences in Anglo-American and
Russian representations of Russia are a result of cultural asymmetries and cultural
chronotopes in the United States and in Russia. I argue that Russian and American crime
fiction of the 1990s re-writes Russia in the light of cultural memory, nostalgia, and
historical sensibilities after the end of the Cold War and the fall of the Soviet Union.
Memories of the Cold War and coming to terms with the end of the Cold War played a
defining role in depicting Russia by Anglo-American detective authors of the 1990s; this
role is clear from the genre changes in Anglo-American thrillers about Russia. Similarly,
reconsideration of Russian history became an essential characteristic in the development
of the new Russian detektiv.
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Saxton, Benjamin. "Grotesque Subjects: Dostoevsky and Modern Southern Fiction, 1930-1960". Thesis, 2012. http://hdl.handle.net/1911/64618.
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As a reassessment of the southern grotesque, this dissertation places Flannery O’Connor, Carson McCullers, and William Faulkner in context and conversation with the fiction of Fyodor Dostoevsky. While many southern artists and intellectuals have testified to his importance as a creative model and personal inspiration, Dostoevsky’s relationship to southern writers has rarely been the focus of sustained analysis. Drawing upon Mikhail Bakhtin’s deeply positive understanding of grotesque realism, I see the grotesque as an empowering aesthetic strategy that, for O’Connor, McCullers, and Faulkner, captured their characters’ unfinished struggles to achieve renewal despite alienation and pain. My project suggests that the preponderance of a specific type of character in their fiction—a physically or mentally deformed outsider—accounts for both the distinctiveness of the southern grotesque and its affinity with Dostoevsky’s artistic approach. His grotesque characters, consequently, can fruitfully illuminate the misfits, mystics, and madmen who stand at the heart—and the margins—of modern southern fiction. By locating one source of the southern grotesque in Dostoevsky’s fiction, I assume that the southern literary imagination is not directed incestuously inward toward its southern past but also outward beyond the nation or even the hemisphere. This study thus offers one of the first evaluations of Dostoevsky’s impact on southern writers as a group.
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Poulin, Francis Peter. "The creation of a Russian moral law in philosophy and fiction the cases of Dostoevskij, Solov'ev, and Tolstoj /". 1995. http://catalog.hathitrust.org/api/volumes/oclc/34175991.html.
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Thesis (Ph. D.)--University of Wisconsin--Madison, 1995.Typescript. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 259-273).
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Guo, Yingbin (Ilgar). "Karolina Pavlova and the development of prose fiction by Russian women writers in the first half of the nineteenth century". 1990. http://hdl.handle.net/1993/17007.
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Biegluk-Leś, Weronika. "Gry językowe w rosyjskiej prozie postmodernistycznej (między poetyką a filozofią języka)". Phd thesis, 2014. http://hdl.handle.net/11320/1082.
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Wydział Filologiczny. Instytut Filologii Wschodniosłowiańskiej.Celem rozprawy jest określenie statusu gier językowych w rosyjskiej prozie postmodernistycznej, pokazanie ich różnorodności, sposobów uobecniania się oraz funkcjonalizacji w utworach rosyjskich postmodernistów, począwszy od przełomu lat 70. i 80. XX wieku, a kończąc na tekstach powstałych na początku XXI wieku. Wywód zmierza do uzasadnienia tezy o kluczowej roli gier językowych dla poetyki omawianych tekstów, nie tylko w warstwie stylistycznej czy kompozycyjnej. Gry językowe w znaczący sposób współdecydują bowiem o istocie takich aspektów dzieła jak: podmiot, fikcja oraz mimesis, przekraczając ich tradycyjne pojmowanie, skupiając jak w soczewce najważniejsze elementy postmodernistycznego paradygmatu. Analiza i interpretacja poszczególnych tekstów jest z jednej strony ukierunkowana na ukazanie specyfiki postmodernistycznego ujęcia gry, z drugiej - jest próbą pokazania swoistości funkcjonowania i realizacji strategii gry u poszczególnych prozaików, z uwzględnieniem sposobów przekraczania przez rosyjskich twórców jej ograniczeń. Powyższe zagadnienia omawiane są na przykładzie wybranych utworów Saszy Sokołowa, Walerii Narbikowej i Wiktora Pielewina.
The study shows diversity and functionality of language games in Russian postmodern fiction. The analysis aims at proving the crucial role of language games in terms of style, composition and epistemology of novels by Sasha Sokolov, Valeria Narbikova and Victor Pelevin. Language games help – in a meaningful way – to surpass traditional understanding of such essential aspects of fiction as subject and mimesis. They function as a focus of postmodern paradigm. The analysis has revealed the specificity of postmodern approach to language games, and confirmed the hypothesis, that Russian writers – while using ontological, epistemological and stylistic attitudes – were also focused on transcending limitations of postmodernism, e.g. in attempts to restore mimesis, satire or tragism within the fictional and metafictional games.
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Vysoký, Josef. "Stylisticky snížené lexikum současné ruské prózy a problematika jeho překladu do češtiny". Master's thesis, 2018. http://www.nusl.cz/ntk/nusl-384288.
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The main aim of the thesis is to discuss a task of translation of low lexicon (esp. vulgarism) from Russian into Czech. Low lexion discussed in the thesis is based on texts of contemporary russian prose written by V. Kozlov. At first we compare both national languages especially their sociolects and specific layer of vulgarism. This layer is then analyzed in Russian and in Czech, which allow us to understand common and different fields in it. There is no direct equivalent in Czech to russian mat (a layer of highly expressive lexicon in Russian). According to functional equvalence we can show the way, how to substitute this lack of expressive lexicon in translation to Czech.
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Buchman, Ilan Leon. "Narcissistic elements in Lermontov's work". Thesis, 2015. http://hdl.handle.net/10539/16470.
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Kramer, Karen Etresia Helena. "The imagery of nature in the prose works of K. Paustovsky". Thesis, 2012. http://hdl.handle.net/10500/8472.
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1 online resource (181 leaves)This study relies on ecocriticism as the discipline benefitting the analysis of the imagery of nature in Konstantin Paustovsky’s prose. The objective of this approach is to demonstrate that Paustovsky’s prose goes beyond of what was expected from a Soviet writer by the socialist realist dogma. This thesis attempts to prove that an ecocritical approach validates his prose as being universal in its message and thus relevant to contemporary readers. Scholars of ecocriticism ask the following questions when analysing a nature-orientated prose: what values are expressed in nature-orientated literature, does the portrayal of nature reflects the cultural values of a nation as well as the way in which a person’s interaction with his natural environment enhances or hampers his spiritual development. The timeframe, within which Paustovsky wrote his prose, should be taken into account, because it coincides with the Lenin and Stalin regimes, when any criticism of the government including its nature conservation policies was impossible. The analysis of attitudes of the Russian people towards nature in Paustovksy’prose demonstrates that it evolved from the acceptance of the official stand to the one of criticism. This research resulted in the following conclusions: Firstly Paustovsky’s view with regard to ecological problems and his solutions to these problems are on par with those of modern ecologists. The writer, for example, proposes a holistic way to undertake nature conservation, such as replacing ruined forests by the same type of trees, not interfering in the cycles of nature and stresses the importance of scientific information on how to care of the natural environment. Secondly, it is through his presentation of nature that the author familiarises the reader with the essence of the Russian culture, which is totally intertwined with the manifestations of Russian nature, such as folklore, superstitions, cultural traditions and values attached to certain animals and trees Thirdly, it has been established that the ‘external’ natural landscape of a person namely his environment, undoubtedly influences his ‘internal landscape’, his psyche. This implies that the natural environment of a person will have an influence on his psychological make-up. It is assumed that this study, in particular the use of ecocriticism as a tool to analyse literature where nature plays a role, will shed new light on the role of nature in Russian prose. This is especially the case with regard to the way in which ecological issues such as nature conservation are treated.
Classics & World Languages
D. Litt. et Phil. (Russian)
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Kilfoy, Dennis. "When and Where?: Time and Space in Boris Akunin's Azazel' and Turetskii gambit". Thesis, 2007. http://hdl.handle.net/10012/3185.
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Boris Akunin’s historical detective novels have sold more than eight million copies in Russia, and have been translated into nearly a dozen languages. Boris Akunin is the pen name of literary critic and translator Grigory Chkhartishvili. Born in 1956 in the republic of Georgia, he published his first detective stories in 1998. His first series of novels, beginning with Azazel’ and followed by Turetskii gambit, feature a dashing young police inspector, Erast Fandorin. Fandorin’s adventures take place in the Russian Empire of the late nineteenth century, and he regularly finds himself at the center of key historic events. The first book takes place over one summer, May to September 1876, as the intrepid Fandorin, on his first case, unveils an international organization of conspirators—Azazel’—bent on changing the course of world events. The second takes place two years later from July 1877 to March 1878 during Russia’s war with the Ottoman Empire. The young detective again clashes with Azazel’, as he unravels a Turkish agent’s intricate plan to weaken and destroy the Russian state. Both adventures have proven wildly popular and entertaining, while maintaining a certain literary value.
The exploration of time and space in Russian literature was once a popular subject of discourse, but since the 1970s it has been somewhat ignored, rarely applied to contemporary works, and even less to works of popular culture. Akunin’s treatment of time and space, however, especially given the historical setting of his works, is unique. Azazel’, for example, maintains a lightning pace with a tight chronology and a rapidly changing series of locales. Turetskii gambit presents a more laconic pace, and, though set in the vast Caucasus region, seems more claustrophobic as it methodically works towards its conclusion. Both works employ a seemingly impersonal narrator, who, nonetheless, speaks in a distinctly 19th century tone, and both works cast their adventures within the framework of actual historical events and locations.
This thesis analyzes core theories in literary time and space, applying them then to Akunin’s historical detective literature.
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Anderson, Matthew Neil 1983. "Predatory portraiture : Goethe's Faust and the literary vampire in Gogol's [P]opmpem and Wilde's The picture of Dorian Gray". Thesis, 2010. http://hdl.handle.net/2152/ETD-UT-2010-12-2171.
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Despite the fact that there seems to be no direct link between the works of Nikolai Gogol and those of Oscar Wilde, Gogol’s novella, Портрет (The Portrait) and Wilde’s novel, The Picture of Dorian Gray, share many elements in common, most notably the device of the predatory portrait. This report explores the parallels that exist between these two texts and argues that they mutually derive from elements found in Goethe’s Faust and the trope of the literary vampire.text