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1
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.
2
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’.
3
Goggin, Joyce. "The big deal, card games in 20th-century fiction". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0006/NQ35594.pdf.
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4
Allen, Claire. "Beyond postmodernism : London fiction at the millenium". Thesis, University of Northampton, 2010. http://nectar.northampton.ac.uk/8845/.
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5
Milstead, Mary. "Quiet Little Animals". PDXScholar, 2014. https://pdxscholar.library.pdx.edu/open_access_etds/1620.
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Quiet Little Animals is a novel set in early-1940s Spain. The story begins with a young couple, Carmen and Ernesto, who are expecting their first child. Carmen gives birth to their daughter Isadora in a Catholic hospital, but when she wakes up after the birth, she's told that the baby has died. However, the truth is that the baby was kidnapped by the nun Sor Eugenia, who decided that she would provide the baby with a better life by sending her away to be adopted by a more "proper" family - and a young religious woman named Ava finally gets the baby she's been trying for years to have, her little Maria.
The story follows the four main point-of-view characters - Carmen, Ernesto, Sor Eugenia and Ava - as their lives move past that moment when Isadora/Maria was taken from one family and given to another. In addition to the four main points of view, there are also a number of chapters that are told in the form of fairy tales. The use of multiple points of view to tell one story allows each of the characters to have a known stake in the outcome of the narrative, and is a major stylistic interest of the piece. The central themes of the book are motherhood, grief, birth and death. It also asks questions about the creation of family, fate, and the aftermath of civil war.
6
Rampton, Vanessa. "Conceptions of freedom in Russian liberal theory, 1900 to 1914". Thesis, University of Cambridge, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.607937.
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7
Harris, Katharine. "The neo-historical aesthetic : mediations of historical narrative in post-postmodern fiction". Thesis, University of Sussex, 2018. http://sro.sussex.ac.uk/id/eprint/76623/.
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8
Sabatini, Sandra. "Making babies, representations of the infant in 20th century Canadian fiction". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2001. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/NQ60564.pdf.
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9
Greenidge, Ruqqiya Lydia. "After the end : post-apocalyptic fiction in the long 20th century". Thesis, Aberystwyth University, 2018. http://hdl.handle.net/2160/b6574289-a5f3-41c3-b666-04e8e51f5250.
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This thesis seeks to discuss and analyse the taxonomy of post-apocalyptic fiction in the 20th and 21st century, while at the same time detail why the subgenre is distinctive and attractive for writers. The thesis delves into both the cultural and historical backgrounds of both the novels discussed and the authors, to give each taxonomic category a factual base and context. The overall end result of this thesis is an evolutionary survey of the post-apocalyptic subgenre of both form and content.
10
Gardam, Sarah Christine. "THE PATHOS OF TEMPORALITY IN MID-20TH CENTURY ASIAN AMERICAN FICTION". Diss., Temple University Libraries, 2018. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/487648.
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EnglishPh.D.
Lack of understanding regarding the role that temporality-pathos plays in Asian American literature leads scholars to misread many textual passages as deviations from the implied authors’ political critiques. This dissertation invites scholars to recognize temporality-focused passages in Younghill Kang’s East Goes West, Carlos Bulosan’s America is in the Heart, and John Okada’s No-No Boy, as part of a pathos formula developed by avant-garde Asian American writers to resist systemic alienations experienced by Asian Americans by diagnosing and treating America’s empathy gap. I find that each of pathae examined – the pathos of finitude, the pathos of idealism, and the pathos of confusion – appears in each of the major primary texts discussed, and that these pathae not only invite similitude-based empathy from a wide readership, but also prompt, via multiple methods, the expansion of empathy. First, the authors use these pathae diagnostically: the pathos of finitude makes visible American imperialism’s destruction of prior ways of life; the pathos of idealism exposes the falsity of the futures promised by liberalism; and the pathos of confusion counters the destructive nationalisms that fractured the era. Second, the authors use these temporality pathae to identify the instrumentalist reasoning underlying these capitalist ideologies and to show how they stunt American empathy. Third, the authors deploy formal and thematic complexities that cultivate empathy-generating faculties of mind and cultivate alternative forms of reasoning.
Temple University--Theses
11
Kay, Barbara J. Goodsell. "Conflictual representations : North American representations of war in the 20th century /". Thesis, [Hong Kong] : University of Hong Kong, 1994. http://sunzi.lib.hku.hk/hkuto/record.jsp?B13762096.
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Wang, Labao. "Australian short fiction in the 1980s : continuity and change". Thesis, The University of Sydney, 1999. https://hdl.handle.net/2123/27583.
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This thesis offers a critical survey and a comprehensive bibliography of the
Australian short story in the 1980s. Conceived partly as an continuation of Stephen
Torre’s study of Australian short fiction of the 1940-1980 period, it starts where
Torre’s thesis stopped, focusing on Australian short story writing published in the
ten years between 1981 and 1990. Torre has summed up the 1940-1980 period as
‘a time of development and innovation’ in the history of Australian short fiction. In
comparison, the 1980s is probably best described as a decade of unprecedented
expansion and diversification. During that time, Australian short fiction broke away
from its earlier domination by monolithic traditions and became a much more
eclectic and pluralistic form. Contributing to this eclecticism and plurality were five
different streams of story writing created by five separate groups of writers. Due to
constraints of space, the critical text of the thesis examines only four of them.
13
Dini, R. J. A. "The redemption of rubbish : representations of waste in selected 20th-century fiction". Thesis, University College London (University of London), 2015. http://discovery.ucl.ac.uk/1471337/.
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This thesis examines the literary representation of manufactured waste and remaindered humans – humans cast out of the job market, or who actively resist being put to use – at specific moments in the evolution of 20th-century capitalism, with particular attention to the role these different forms of waste play in its critique. My project’s scope is historical insofar as it views each of the literary instantiations of superfluous humans and manufactured waste under review as reflective of a broader shift in capitalism’s progression, and its effects on culture at large. However, the concern is not to trace a history of literary movements, or a history of labour and consumption – rather, it is to examine what the depiction of waste in each of these texts tells us about the stage of capitalism in which it was written, to explore the very different ways in which waste is deployed to critique specific aspects of capitalist ideology, and to think about the role that the novel form plays in those critiques. The texts themselves have thus been chosen as unique depictions of waste and interrogations of capitalist ascriptions of value, rather than for their exemplification of a particular aesthetic credo or movement. Beginning with the mixed-media experimentations of three European artists closely associated with the historical avant-garde (Giorgio de Chirico, André Breton, Mina Loy), and ending with the dystopia of nuclear fallout and toxic landfills in Don DeLillo's novels at the century’s close, the project traces waste’s deployment in the critique of crucial moments in the transformation of capital, from the commodification of art at the beginning of the 20th century to the post-Fordist era of flexible accumulation. In between these two periods, I examine the depiction of homeless vagrants and scavengers in Samuel Beckett’s mid- to late-prose (1950-1967), in which I read these characters as resisting Fordist rationalisation and parodying the life of consumer-workers. The concluding chapter reflects back upon the 20th-century novels discussed in the previous chapters, before looking forward to the 21st century through the exploration of Thomas Pynchon’s Bleeding Edge (2013), Jonathan Miles’ Want Not (2013) and Tom McCarthy’s Satin Island (2015), in which waste is discussed in relation to the environmental crisis, the global financial crisis, and the birth of the Internet. The study deploys a range of theoretical lenses including - but not limited to - Marxist historical materialism, waste theory, thing theory and object-oriented ontology, and new materialism, to consider these questions. Throughout, I consider how novelists have sought, through representations of waste, to liven us to the danger of being ‘subsumed,’ to paraphrase Don DeLillo, by our excretions – to make us think about the extent to which capitalism governs how we ascribe value to people and things.
14
Pyanzina, Elizaveta Anatolyevna 1981. "Representation of the Peoples of the Caucasus in 20th Century Russian Literature and Cinematography". Thesis, University of Oregon, 2011. http://hdl.handle.net/1794/11489.
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ix, 67 p.For centuries, Russian writers have stressed the important role the Caucasus played in the Russian Empire. In the last few decades, much attention has been directed at the Caucasians in literary works and movies as a result of the two Chechen wars. This thesis addresses the evolution of the Caucasian theme in Russian literature beginning from the 18th century with a focus on the contemporary representation of the peoples of Caucasus, mainly Chechens, in three works: a Soviet-era movie by Leonid Gaidai,
Committee in charge: Dr. Susanna Soojung Lim, Chairperson; Dr. Katya Hokanson, Member
15
Hardiman, Louise Ann. "The firebird's flight : Russian arts and crafts in Britain, 1870-1917". Thesis, University of Cambridge, 2015. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.709085.
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16
Thompson, Rowan Douglas. "Art and authority : aspects of Russian art since 1917". Thesis, Rhodes University, 1991. http://hdl.handle.net/10962/d1007298.
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From Introduction: The Artist was denied any role in Plato's Republic because of his ability to impair reason by imitating reality through his works. Aristotle, however, welcomed the artist because of his ability to express ideas about society through artistic form. Ernst Fischer agrees with the latter view, "Art enables man to comprehend reality, and not only helps him to bear it but increases his determination to make it more human and more worthy of mankind. Art is itself a social reality, society needs the artist ... and it has a right to demand of him that he should be conscious of his social function" (Fischer: 1963:46). Fischer adds to Aristotle's view by stating that society has a right to demand a social function from the artist. This issue has been the subject of controversial debate throughout the history of art. In a society based on class, the classes try to recruit art to serve their particular purposes. Art is seen by some as a powerful weapon - a means by which people can be swayed towards certain ideals. At the time of the Counter Reformation Italian artists were given strict instructions by the Jesuits on how to persuade and educate the people with their paintings. Napoleon urged his men of letters, painters and architects to refer to the classical ideals of ancient Greece and Rome to shape the emergent French Republic. The French philosopher, Dennis Diderot, stressed the futility of art unless it expressed great prinCiples or lessons for the spectator. Ideals of justice, courage and patriotism were embodied in the Neo-Classical movement. The didactic paintings of Jacques Louis David portray the above ideals. History records several attempts by those in power to coerce artists into conforming to their idea of society, indicating that authoritative manipulation of the arts is not purely a twentieth century phenomenon. This thesis intends to examine aspects of Russian art since 1917. Because Soviet art was dominated by policies which enabled authorities to determine its content, its history raises ideological issues which are relevant to the study of art. The theories of Suprematism, Constructivism and Socialist Realism will be discussed and conclusions will be drawn as to whether these theories succeeded as art movements which were ostensibly designed for the improvement of mankind. Present attitudes toward the visual arts in Russia will also be examined. However, in order to examine the above it is necessary to place the development of art into historical perspective.
17
Smith, Olga. "Between reality and fiction : the art of French photography since the 1970s". Thesis, University of Cambridge, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.610275.
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VIRBAN, Floarea. "The new discursive formation of literature under communist rule : from the silver age to socialist realism". Doctoral thesis, European University Institute, 2007. http://hdl.handle.net/1814/6998.
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Defence date: 15 June 2007Examining Board: Prof. Dr. Edward Arfon Rees (EUI) ; Prof. Dr. Martin Van Gelderen (EUI) ; Prof. Dr. Gian Piero Piretto (Milan University) ; Prof. Dr. Vera Tolz (Manchester University)
PDF of thesis uploaded from the Library digital archive of EUI PhD theses
The primary aim of this thesis is to question how, and the extent to which, the implementation of Communist rule in Russia influenced the new discursive formation of literature. The latter refers to the complex process of continuous transformation of the literary discourse due to the interaction of a heterogeneous set of factors (such as theories, works, institutions, practices, policies, agents, instruments and many others). This transformation concerns not only those trends, theories, policies, or practices, which emerged from within the Marxist-Bolshevik framework and culminated with the appearance of Socialist Realism, but also those which developed outside of this framework and, thus, ‘ignored’, challenged or opposed it. Moreover, it considers those shifts which occurred because of the tension created between these two challenging paradigms, as well as due to a continuous striving for mutual accommodation. In chronological terms, the analysis broadly deals with the years between the 1890s and the 1930s, while focusing more specifically on the 1920s- 1930s. This study attempts to go beyond the ‘orthodox’ analysis of the literary discourse, by transcending literary studies. Such a strategy has a dual purpose. On the one hand it intends to present a deeper understanding of the literary phenomenon, by seeing it in connection with a cultural and intellectual tradition, as well as part of a defined historical reality. On the other hand, it aims to contribute to the study of this tradition and of the historical context of the literary discourse being analysed. Broadly, this analysis aims to show the way in which the political power of the Communist ideology was challenged by the strength of the literary world.
19
Kempf, Anette Ingeborg. "The written representation of dialect, with case studies from 20th century Glasgow fiction". Thesis, University of Edinburgh, 1998. http://hdl.handle.net/1842/28345.
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This thesis deals with and analyses the fictional representation of Glaswegian dialect, and brings to bear on that central issue techniques and concepts from linguistics and from the structure and history of English. It also pays attention more tangentially to ideological and cultural connotations of matters of dialect. A prominent feature of the dissertation is a characterisation - at all relevant linguistic levels - of the linguistic features of Glaswegian speech, and of the fictional representation of written Glaswegian (with accompanying close analyses of representative extracts). The detailed contents of the thesis deal with the following topics: the relation between language varieties and their components, the different ideological evaluations of the standard variety, the discourse dimension of spoken and written language, the diachronic development of Standard English and Lowland Scots, a synchronic structural description of Glaswegian (including its representation in writing in relation to standard and Scots spelling), and a theoretical model for the analysis of written fictional Glaswegian. The source material used for exemplification and analyses is drawn from a range of 20th century Glasgow novels and from some short stories. This is an appendix of word lists. The thesis is also accompanied with materials incorporated in a loose leaf folder inside the back cover. These materials constitute a collection (for ease of references) of all passages analysed throughout the thesis.
20
Hans, Birgit. "Surrounded: The fiction of D'Arcy McNickle". Diss., The University of Arizona, 1988. http://hdl.handle.net/10150/184452.
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This study of D'Arcy McNickle (1904-1977) focuses primarily on his literary work: his two novels, The Surrounded (1936) and Wind from an Enemy Sky (1978), the manuscript versions of the two novels, and his short fiction. McNickle regarded fiction as a vehicle to explore his own identity as an American Indian. Of mixed French-Cree-American ancestry McNickle grew up on the Flathead Reservation in western Montana. Cut off from the Reservation and its traditions by a rather unhappy childhood, he struggled throughout his life to reestablish the severed bonds to his roots. In addition to this personal involvement in his fiction, McNickle also considered fiction a proper medium for writing tribal history, one that could include such diverse materials as oral tradition, literature, history, anthropology, etc. The first three chapters of the dissertation provide some background information on the Flathead tribal history, as well as the problems and prejudices McNickle encountered while growing up as a "breed," which led to a rejection of his American Indian heritage. This section ends with a consideration of his pivotal years in New York City when he started to rethink his earlier experiences and took the first step on his journey back to his tribal roots. The middle section, chapter four, gives a brief summary of McNickle's activities during the years he was involved with federal Indian policy. Even though McNickle did not work on any new fiction during those years, he continued his journey in a more detached way through non-fiction and biography. The last two chapters of the dissertation, the final stage of his journey, analyzes McNickle's disassociation from the abstract policies of the Bureau of Indian Affairs and how he turned to fiction once more in order to complete the painful but successful journey back to his tribal roots.
21
阮佩儀 e Pui-yee Yuen. "A study of the Art of Mu Shiying's fiction". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1999. http://hub.hku.hk/bib/B31222134.
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Murphy, Carl. "One in heart : the marriage metaphor in nineteenth-century English-Canadian fiction". Thesis, McGill University, 1992. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=39340.
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The marriage of English and French in nineteenth-century English-Canadian fiction is a trope reflecting anglophone nationalism and the anglophone desire for identity in a united nation.The marriage metaphor can be understood within the conservative, idealistic context of nineteenth-century Anglo-Canadian intellectual history.
This study examines marriage imagery in a number of novels--most of them historical romances--published between 1824 and 1899.
23
Strecker, Geralyn. "Reading prostitution in American fiction, 1893-1917". Virtual Press, 2001. http://liblink.bsu.edu/uhtbin/catkey/1213148.
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Many American novels of the late nineteenth and early twentieth centuries discuss prostitution. Some works like Reginald Wright Kauffman's The House of Bondage, (1910) exaggerate the threat of "white slavery," but others like David Graham Phillips's Susan Lenox: Her Fall and Rise (1917) more honestly depict the harsh conditions which caused many women to prostitute themselves for survival. Contemporary critical interpretations of novels addressed in this dissertation began before major shifts in women's roles in the workplace, before trends towards family planning, before women could respectably live on their own, and especially before women won the right to vote. Yet, a century of progress later, this vestigal criticism still influences our study of these texts.Relying on primary source materials such as prostitute autobiographies and vice commission reports, I compare fictional representations of prostitution to historical data, focusing on the prostitute's voice and her position in society. I examine actual prostitutes' life stories to dispel the misconception that prostitution was always a lower-class business. My chapters are ordered in regards to the prominence of the prostitute characters' voices: in Stephen Crane's Maggie: A Girl of the Streets (1893) the heroine seldom speaks for herself; in two Socialist novels--Upton Sinclair's The Jungle (1906) and Estelle Baker's The Rose Door (1911)--prostitutes debate low wages, political corruption, and organized vice; and in Phillips's Susan Lenox, the title character is almost always allowed to speak for herself, and readers can see what she is thinking as well as doing. As my chapters progress, I demonstrate how the fictions become more like the prostitutes' own autobiographies, with self-reliant women telling their stories without shame or remorse. My conclusion, "Revamping `Fallen Women' Pedagogy for Teaching American Literature," suggests how social history and textual scholarship of specific "fallen women" novels should affect our teaching of these texts.Department of English
24
Mbatsha, Thembisa. "A critical analysis of the screen adaptation of Saule’s Unyana womntu". Thesis, University of Fort Hare, 2012. http://hdl.handle.net/10353/d1018674.
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This research will concentrate on various aspects of the screen adaptation of “Unyana womntu” (Saule, 1989). This study comprises of six chapters. In Chapter 1 of this study, the research aims and objectives are formulated. The research methods that are to be followed will involve a thorough reading of the written text, as well as a comprehensive repetitive viewing of all the episodes of the screen version. In the final part of Chapter 1, background information is provided on the personal life of the author as well as on his contributions to the African literary tradition. Background information on the production of the screen version is also provided. In the Chapter 2, the theoretical aspects of the phenomenon of literary adaptation are discussed. This discussion provides a framework for the analysis of the adaptation of “Unyana womntu” (Saule, 1989) in the remaining chapters of this study. The aim of this chapter is to identify and discuss the most important principles which come into play when the written text is adapted into a screen production. Since the screen production belongs to the genre of the performing arts, this chapter is introduced with a discussion on the performing arts and on the drama, in particular. The section will be concluded with a discussion on the different sub-types of the drama which can be found, including the screen production. The main emphasis is on an analysis of the basic features and principles of the drama in screen format. Since the screen play Unyana Womntu (1998) is based upon a novel by the same title, the literary features of the novel are to be discussed here as well. The specific features of the Xhosa novel will also receive attention.
25
Chan, Wing-chun Julia, e 陳永晉. "Towards an aesthetics of cliché: cultural recycling and contemporary fiction". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2009. http://hub.hku.hk/bib/B42182311.
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Lin, Yuexin Rachel. "Among ghosts and tigers : the Chinese in the Russian Far East, 1917-1920". Thesis, University of Oxford, 2015. http://ora.ox.ac.uk/objects/uuid:6b8153ea-0f39-43cd-9c76-416f86c85d02.
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This thesis examines the experiences of the overseas Chinese in the Russian Far East during the revolutionary and Civil War period from 1917 to 1920, as well as their responses to the upheaval. Bucking the current trend towards transcultural history, the thesis argues that Chinese identity and nationalist language were of prime importance to this community. By concentrating on Chinese-language sources, the thesis re-privileges the community's internal discourses and highlights the prevalence of nationalist rhetoric across the Sino-Russian border. It also sites the Chinese community's use of nationalist language within the context of the global diaspora, for which questions of national weakness and revival were also pressing. Going further, the thesis postulates the presence of "Chinese nationalism with Russian characteristics", in which the issues surrounding Chinese nationalism as a whole were heightened. It shows that the rhetoric of 'national humiliation' and victimhood were particularly immediate to the community in the Russian Far East, since it was located at one of the epicentres of imperial contestation. In practice, this led to a modus vivendi with the Reds and a decisive turn against the Whites. Furthermore, the chaos of the revolutions and Civil War imbued this nationalism with an opportunistic quality. The collapse of Russian state power became the 'opportunity of a thousand years' for China to redress past wrongs. This allowed the overseas community to work closely with local authorities and the Beijing government to achieve shared goals. New civil society organisations with community-wide aims were formed. Beijing extended its diplomatic reach in the form of new Far Eastern consulates. Finally, common nationalist rhetoric underpinned China's successful attempt to re-establish its civilian and military presence on the Amur River. "Chinese nationalism with Russian characteristics" could be effectively harnessed to secure multi-level and cross-border cooperation.
27
Shao, Dong, e 邵棟. "A study of yingxi fiction in the early republican China = Min chu ying xi xiao shuo yan jiu". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2014. http://hdl.handle.net/10722/206447.
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The dissertation attempted to study Yingxi Fiction, a genre of fiction, which emerged and prevailed in Shanghai during the early two decades of the twentieth century. The majority of writers of Yingxi fiction at that time were literati of the Mandarin Duck and Butterfly School. After watching the imported silent movies, they recorded the contents and adapted them as fictional texts for the purpose of introducing the stories to those who could not afford to watch the films. This type of genre was named Yingxi fiction and had been welcomed by public readers at leisure. In fact Yingxi fiction had implied how traditional literati received and absorbed western cultural elements on their way to pursue Chinese modernity. This study would like to conduct a close examination of Yingxi fiction, which has been previously ignored, through in-depth analysis of the texts and investigation of its social as well as cultural significance.
This dissertation consisted of five chapters. Chapter One was an introduction of the popular fiction, movie and Yingxi fiction in Early Republican China. Previous studies on Yingxi fiction were briefly presented as well.
Chapter Two dealt with the emergence of Yingxi fiction. The prefaces and peer reviews of some works of this genre would be especially studied in order to explore the motivations of the writers and their approaches to compose the Yingxi fiction. Three Yingxi fiction writers, Zhou Shoujuan (1895-1968), Bao Tianxiao (1875-1973) and Lu Dan’an(1894-1980), were comprehensively illustrated as case studies.
Chapter Three focused on the application of “Paradigm” in textual analyses of Yingxi fiction. Serving as an unusual spectacle, paradigm provided a thorough understanding of the hybrid narrative style of the stories. By discussing the narrative pause, redundancy, story modes and language usage, the way in which the paradigm of Chinese fiction influenced by western literature would been exposed.
Chapter Four discussed the graph-text conversion in Yingxi fiction. It was suggested that writers’ failure in identifying the moral issues and female images in western movies could be explained and might be regarded as the writers’ skills of adaptation of the stories for the sake of Chinese representations.
Lastly, the conclusion chapter summed up the distinctive features of Yingxi fiction, the prominence of the genre and its significance in modern Chinese literature. Besides, the limitations and reasons of fading away of Yingxi fiction would also be expounded.published_or_final_version
Chinese
Master
Master of Philosophy
28
Humphreys, Charlotte M. "Cubo-Futurism in Russia, 1912-1922 : the transformation of a painterly style". Thesis, University of St Andrews, 1989. http://hdl.handle.net/10023/2946.
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Cubo-Futurlsm is defined both in terms of the development of Cubist and Futurist styles of painting by the Russian avant-garde artists Liubov Popova, Nadezhda Udaltsova, Olga Rozanova and Ivan Puni between 1912 and 1915, and in terms of the reworking and transformation of' these two movements against the unique Russian cultural background into a new non-objective art after 1915. The Russian artistic and cultural context, including Ouspensky and the fourth dimension and the linguistic theories of the Futurist poets Alexei Kruchenykh and Vellmlr Khlebnikov concerning a transratlona]. language (zaum), played a vital role for a number of artists in their move into non-objective painting and construction. Zaum influenced the reworking of Cubist collage by Malevich, Puni and Rozanova, and the abstract collages and reliefs of Rozanova and Puni are defined as visual equivalents to the new logic "broader than sense" envisaged by zaum. As part of the Russian cultural context, indigenous art forms also acted as possible stimuli for the development of a non-objective painterly style. The abstract potential which artists saw in the icon was exploited by Puni in his non-objective reliefs of 1915-c1919, and the principles of decoration in Islamic Architecture may be seen as an important source for Popova's painterly architectonics of 19 16-18. After 1916, the principles of non-objective painting, established fran an examination of Cubism and Futurism, were applied to tasks of design and the theatre. Puni, Rozanova and Udaitsova designed household and fashion items, and Alexandra Exter and Alexandr Vesnin completed set and costume designs for several productions in the Moscow Kamerny Theatre between 1916 and 1922. In their attempt to articulate a dynamic spatial environment, the principles for these designs derived from earlier Cubo-Futurist experiments in painting.
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Bell, Pamela. "Art that never was : representations of the artist in twentieth-century Australian fiction". Thesis, The University of Sydney, 2003. http://hdl.handle.net/2123/7310.
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This thesis traces the development of the artist figure as a leading character in twentieth-century Australian novels. In Australia there have always been complex interconnections between the worlds of art and literature, perhaps the most obvious being the cluster of artists and writers centred on the journal Vision, co-edited by Norman Lindsay’s son Jack with Kenneth Slessor, who was heavily influenced by Lindsay. Slessor’s poem “Five Bells”, an elegy for his artist friend Joe Lynch, later became the subject of a mural painted for Sydney Opera House by John Olsen. Although this and other connections between poetry and art are of interest, this thesis concentrates on fiction only.
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Abu-Manneh, Bashir. "Fiction of the New statesman, 1913-1939". Thesis, University of Oxford, 2002. http://ora.ox.ac.uk/objects/uuid:a2444f4a-ee6b-4063-afbf-26348bd22356.
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This thesis is the first systematic study of short stories published in the New Statesman [NS] weekly magazine from its foundation in 1913 to 1939. The main question it seeks to address is what type of fiction did a mainstream socialist publication like the NS publish then? By chronologically charting dominant literary figures and themes, the thesis aims to discern significant cultural tendencies and editorial principles of selection. Following Raymond Williams' 'cultural materialism', fiction is read in its relation to social history, as a 'representation of history'. Chapter 1 deals with the foundation of the journal and its first year of publication, mapping out the contradictions between Fabian collectivist ideology and ethical socialism, urban realism and literary Georgianism, country and city. A focus on urban problems of poverty unemployment, philanthropy, and machinofacture is at the heart of the NS's literary concern, in 1913. Chapter 2 focuses on stories published during World War I, and goes up to 1926. It argues that the reality of the War was falsified as a time of rest and relaxation, in line with the journal's political policy of supporting the war effort. The immediate post-war period is read as a time of disappointment and intensified social conflict and struggle. The General Strike of 1926 is a turning point in interwar history. It also ushers in a period of unprecedented cultural activity in the NS. As Chapters 4 and 5 show, the post-Strike period is characterised by the consolidation of the working-class fiction of socialist R. M. Fox; by the rise of the countryside realism of H. E. Bates; and by the rise of the colonial fiction of E. R. Morrough on Egypt (which is examined in the context of Leslie Mitchell's, E. M. Forster's, and William Plomer's responses to empire). Significant contributions by women writers (such as Faith Compton Mackenzie) about travel, duty, and oppression are also made in the late 20s, early 30s. Chapter 6 is dedicated to the magnificent place that Russian fiction occupies in the 30s through the work of Michael Zoshchenko. Though written during the free and experimental 20s, his satiric fiction is published as a sample of Soviet literature of the 30s, thus consolidating the Stalinist line dictated by the political editor, Kingsley Martin, that 'self-criticism' is a central part of Soviet politics and society. Chapter 7 is a tribute to the NS's contribution to reconstructing British realism away from both Victorian moralism and European naturalism. The stories of Bates, V. S. Pritchett, and Peter Chamberlain are dominant, conveying different ways of negotiating the pressures of documentary realism and the political developments of the 30s. Also discussed is the unique modernist contribution of neglected Stella Benson, which presents a strong challenge to the usual representationalism of NS fiction. The concluding chapter reads NS fiction in the whole period between 1913 and 1939 as the cultural expression of the new petty bourgeoisie, especially its progressive, politically and socially engaged side. With its focus on ordinariness and lived experience, and its formal experimentation and innovation, NS fiction exemplifies artistic commitment par excellence, a conscious cultural alignment with the actuality and potentiality of the new petty bourgeoisie.
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阮慧娟 e Wai-kuen Jeannie Yuen. "Crisis and negotiation: a study of modern chinese fiction in the eighties". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1994. http://hub.hku.hk/bib/B31212050.
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Armanno, Venero. "The volcano". Thesis, Queensland University of Technology, 1998.
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The problems associated with marketing in China have been raised in several studies in the last 10 years. However, these prior studies focused on the four elements of
marketing mix for China and not on strategic marketing for the market in China, nor did they emphasise the implications of culture and marketing systems in China for developing strategic marketing plans.
This thesis has focused on building a general framework that could help Western firms, particularly Hong Kong-based, to develop strategic marketing plans that deal with
Chinese cultures and marketing systems in China. Therefore this thesis addresses the
research problem:How do wholly-owned Western firms in Hong Kong develop strategic marketing plans to do business in China? This research reviewed the available literature relating to cultures and marketing
systems in the West and China. By comparing and contrasting these differences, eleven research questions were formulated and shown as follow. In developing strategic marketing plans for the market in China: RQJ: how is market research as important a foundation for strategic marketing effectiveness as it is in the West?
RQ2: how is planning longer-term than in the West?
RQ3: how is the approach evolutionary rather than revolutionary, compared to the
West?
RQ4: how does strategy emphasise long-term relationships with and among consumers
(for example, by offering sales service) more than in the West?
RQ5: how does target marketing emphasise the group rather than the individual?
RQ6: how are product line strategies different.from those in the West?
RQ7: how do marketing strategies allow for less flexibility in price than in the West?
RQB: how will promotion strategies which Western firms can exercise within
distribution channels in China be similar to those used in the West?
RQ9: how are the choice of institutions and levels of channels in China different from
those in the West?
RQI Oa: how is market segmentation of consumers in China more difficult than in the
West?
RQllb: how can cultural differences between West and China be used as a basis for market segmentation?
As discussed in chapter 3, data were collected by using the case study methodology,with one pilot case study conducted in Brisbane to refine the research protocol and
procedure. In the major stage of data collection, six wholly-owned Western firms from different industries were interviewed and examined in Hong Kong. As discussed in chapter 4, data was analysed by using case descriptions, cross-case analysis and explanation building methods. Triangulation was carried out in order to ensure the findings and conclusion were convincing and generalisable.
The results of the research indicate that most of the methods for developing strategic marketing plans for the market in China (for example, market research, segmentation and targeting) are derived from the Western conventional marketing principles. However, the methods are relatively rudimentary and the approach tends to
evolutionary and emphasises relationships. Indeed, there are only a few similarities between strategic marketing planning in China and the West, with the differences being attributable in the main to cultural factors and marketing systems. The major contribution of the research was to provide far more detailed descriptions and
sometimes explanations of strategic marketing planning processes than those provided in the extant literature.
On the basis of these research findings, a model (refer table 5.2 and figure 5.1) has been built to help Western firms to develop strategic marketing plans that deal with
Chinese cultures and marketing systems.
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Kneen, Kris. "Head on". Thesis, Queensland University of Technology, 1998. https://eprints.qut.edu.au/35902/1/35902_Kneen_1998.pdf.
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Trapnell, Rose Maria. "Ali Seashells". Thesis, Queensland University of Technology, 1998.
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Twelve year old Ali is no ordinary girl. Even before she reaches high school her :friends are starting to change, old allegiances are breaking up, and the balance of power between those in her group is shifting. The pressure is on to conform. But if Ali does she risks losing the very thing that keeps her centred. Should she offer up her ability to morph into a dolphin in order to fit in with the group?
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Pinson, Guillaume 1973. "Fiction du monde : analyse littéraire et médiatique de la mondanité, 1885-1914". Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=102151.
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This work proposes a double analysis of the mundane society representations between 1885 and 1914, in the press and the novel. This analysis separates these two categories of media to insist on their particularities, and tries to think of them in terms of an interaction.A first part explores the organisation of the topics and the main genre of the mundane society in the press, applying the social discourse theory. The analysis is based on the perusal of a set of representative daily newspapers (Le Gaulois, Le Figaro) and of weekly and monthly publications (Le Grand monde, La Vie parisienne, Femina notably, as well as around thirty other titles). It shows that the mundane society in the newspaper is constrained by a poetics stemming from the characteristics of press writing: collective writing, periodicity of the publication, text length limitation and reference to reality. Some texts are tempted by fiction, even though they keep a reality-based referential, whereas other texts that are openly fictitious, fit the mundane fiction into the newspaper.
The second part is based on the general conclusion of the first part: the mundane society in the newspaper is a represented society, made of for a distant and anonymous public. With the advent of the medias in the 19th century, the mundane society has entered into the era of mediations and "industrial writing". Some writers, from Bourget to Proust, take these upheavals into account and present the mundane society as a metaphor of the mass media society. This is done following three main axes: the temptation of withdrawal of the fiction into a closed world (psychological and mundane movement impulsed by Goncourt with Cherie, prolonged by Bourget and Hervieux notably); the games of exchange between the novel and the newspaper (Maupassant, Toulet, Legrand, amongst others); and finally, the isolation of the mundane world and the aesthetic work on mediations (Rolland, Colette, Mirbeau, Lorrain et Gide notably). All these writings address the question of sociability at the era of the triumph of mediations: what room is left for the mundane society, for direct encounter, for exchange, in a world of mediation and mass media coverage? for immediate connections in a society of mediated ties? The epilogue proposes a journalistic reading of A la recherche du temps perdu, synthesis-work which inaugurates a modern and sociological perception: it is in the world of the imagined mundane society, distant and represented in the mass media, that the narrator draws the resources for his observation of the world.
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許子東 e Zidong Xu. "Narratives of the "Cultural Revolution" in contemporary Chinese fiction". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1997. http://hub.hku.hk/bib/B31237915.
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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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程雲峰 e Wan-fung Ching. "The images of peasants in modern Chinese fiction". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1989. http://hub.hku.hk/bib/B31209166.
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Roy, Nina Tamara. "Harvest of memories : national identity and primitivism in French and Russian art, 1888-1909". Thesis, McGill University, 2001. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=37827.
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This dissertation analyses the convergence of primitivism and nationalism in late-nineteenth and early-twentieth century French and Russian art. The discourse of primitivism has yielded a number of critical studies focusing on the artistic appropriation of aesthetics derived from "tribal" arts, Asian arts, medieval icons, outsider art, and peasant arts and crafts. Within that scholarship, modern European art that appropriates the aesthetics of folk arts and themes of the peasantry is frequently considered to be representative of national identity and myth. The artistic elucidation of the peasantry as emblematic of national identity combined with their incorporation into primitivism produces a tension that complicates the conventional, binary structure of the discourse. It is therefore necessary to examine artistic expressions of national myth and the peasantry's absorption into the primitivist discourse, as this indicates a critical point at which issues of nationalism and primitivism converge. In the cultural realm, that juncture is located in the artistic idealisation of peasant cultures, which is indicative of a mythical state of being from which national identity could be rearticulated.The myth of the peasantry as developed in nineteenth century European thought centres around the premise that rural populations were an unchanging element of society whose traditional customs, religious beliefs, and modes of production contrasted sharply with the accelerated changes in urban culture. A critical examination of selected paintings by the French artist Paul Gauguin (1848--1903), the Russian Neoprimitivist Natalia Goncharova (1881--1962), and the French Fauve painter Othon Friesz (1879--1949) within their specific, social contexts reveals the ways in which the modern, artistic maintenance of the rural myth elucidates current political and social issues of nationalism. This underscores the peasantry's symbolism within the nation as representative of a national, collective consciousness and ancestry. The peasantry's incorporation into the primitivist discourse and the cultural articulation of the rural myth are revealed in the paintings The Vision After the Sermon (1888), Yellow Christ (1889), Fruit Harvest (1909), and Autumn Work (1908). The paintings and their respective social contexts situate the peasantry both as constructions within the primitivist discourse and symbols of national identity, thereby disrupting the structure of alterity upon which primitivism is predicated.
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Slaughter, Carolyn Overton. "Language as disclosure in five modernist American works". Diss., The University of Arizona, 1987. http://hdl.handle.net/10150/184311.
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"Language as Disclosure in Five Modernist American Works" comprises a series of Heideggerian readings of James's The Turn of the Screw, Williams's In the American Grain, Faulkner's As I Lay Dying, Hemingway's Death in the Afternoon, and Barth's Lost in the Funhouse. Each text is taken as a single and separate performance of poetic language. The readings do not interpret or explain the texts but attempt to follow them in a thinking, to map what shows up and in what relations. The attempt is to get past the roadblock of "ambiguity" that characterizes modernist texts, not by deciding the undecidable but by exploring it. The dissertation explores the nature or function of language. In James literality works to indicate, to evoke, to found and maintain as well as to violate or subvert a human order. Language borders and opposes the abyss in the story, and it is at this border and in this conflict that reality originates. Williams too revises the notion of origin as he proposes a new "method" of "composition" whereby a poet in the act of asserting and proving himself sets forth not only his own potency but that of his ground, his locality, his period and his time. In the Faulkner story representative language has become disconnected from life, is irrelevant, ineffectual, dysfunctional. However, in spite of its explicit indictment of words, the work discloses a new ontology, a new standard of value, and an originary function for words. In the Hemingway story language or the work of art (the bullfight, here) is the site, the occasion, and the agency in and by which "facts," things that actually happen, rise into appearance upon the horizon of death. In these modernist works we find the function of language to be, in some sense, disclosure. With the Barth story we pass into a milder postmodern atmosphere, but we find the same antagonists, language and not-language. Ostensibly language is impotent; thematically the rational paradigm is overwhelmed by objectivity. I claim, however, that language diminished and exposed is still working by modernist standards to provoke into view the potentiality that representative language cannot express.
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李仕芬 e Shi-fan Lee. "The male characters in the fiction of contemporary Taiwanese women writers". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1997. http://hub.hku.hk/bib/B31235979.
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胡從經 e Cong-jing Hu. "A criticism of the studies of Chinese fiction during the period 1900 to 1950". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1994. http://hub.hku.hk/bib/B31234173.
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Wagenaar, Peter Simon. "The shadowed corners of sunlit ruins: Gothic elements in twentieth century children's adventure fiction". Thesis, Rhodes University, 1991. http://hdl.handle.net/10962/d1002293.
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This thesis examines the way in which children's adventure fiction makes use of Gothic features, how these features have been modified for a younger audience and how these modifications have been influenced by other developments in children's and popular fiction: Chapter One sets out to define the nature of Gothic and isolate those aspects of it relevant to the proposed study. It puts forward a theory to account for the movement of Gothic trends into later children's fiction. Chapter Two examines the use of landscape, setting and atmospheric effects in Gothic and the way in which children's fiction has used similar trappings to create similar effects. Children's fiction, emphasising pleasurable excitement rather than fear has, however, muted these effects somewhat and played down the role of the supernatural, so intrinsic to Gothic. Chapter Three emphasises the Gothic's use of stereotypes, focusing on the portrayal of heroes and heroines. Those of children's fiction are portrayed very similarly to those of Gothic and the chapter compares and, on occasion, contrasts them noting, inter alia, their adherence to rigid moral codes and narrowly defined norms of masculine and feminine behaviour. Chapter Four looks at the portrayal of villains and the way in which their appearance defines them as such (as, indeed, does that of heroes and heroines). It examines in some detail their relationship to and interaction with the heroes and heroines, noting, for example, the 'pseudo-parental' role of villains who are characteristically older and in socially approved positions to exert power over heroes and heroines. The Conclusion addresses the fantasy aspect of these novels,referred to several times in passing in the course of earlier chapters, and comments on how the features detailed in Chapters Two, Three and Four all operate within the conventions of a fantasy.
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Ingham, Michael Anthony. "Theatre of storytelling : the prose fiction stage adaptation as social allegory in contemporary British drama /". Thesis, Hong Kong : University of Hong Kong, 1998. http://sunzi.lib.hku.hk/hkuto/record.jsp?B20275961.
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Pasholok, Maria. "Imaginary interiors : representing domestic spaces in 1910s and 1920s Russian film and literature". Thesis, University of Oxford, 2015. https://ora.ox.ac.uk/objects/uuid:c9d47ca1-6164-48fb-99f1-67ef37c77c4a.
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This thesis is an exploration of the ways in which a number of important Russian writers and filmmakers of the 1910s and 1920s appropriated domestic interiors as structural, visual and literary metaphors. My focus is on the artistic articulation of the closed space of the Russian domestic interior, in particular as it surfaced in the narratives of the modernist literature and cinema of the time and became an essential metaphor of its age. In my discussion I take issue with two standard ways of understanding domestic space in existing literature. I argue that representations of home spaces in early twentiethcentury Russian culture mount a challenge to the conventional view of the home as a place of safety and stability. I also argue that, at this point, the traditional approach to the room and the domestic space as a fixed closed structure is assailed by representations that see domestic space as kinetic. The importance of the 'room in motion' means that I address cinematic as well as literary representations of domestic space, and show that even literary representation borrow cinematic techniques. My different chapters constitute case studies of various separate, but complementary, aspects of the representation of home space. The first chapter shows how domestic space in reflected in the poetical language of Anna Akhmatova. The second chapter focuses on the parallel exploration of rooms and a child's consciousness in Kotik Letaev by Andrei Belyi. The third chapter discovers the philosophy of a room built by Sigizmund Krzhizhanovskii in his short stories of the 1920s. The next three chapters focus on interiors of three different cinematic genres. The fourth chapter looks closely at films created by Evgenii Bauer, showing the director's innovative techniques of framing and set-design. The fifth chapter explores the film Tret'ia Meshchanskaia by Abram Room, focusing on the director's employment of the room as a structural device of the film. The last chapter analyses two lyrical comedies by Boris Barnet to show the comic effect produced by the empty room and domestic objects in his films, and also focuses on the image of staircase. In conclusion, I speculate that the representation of interior spaces in the period in question goes beyond genre, medium, and narrative structure and becomes an important and culturally dynamic motif of the time.
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Ho, Julie Elaine. ""Half of life": male voices in the novels of Carol Shields". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2000. http://hub.hku.hk/bib/B31222596.
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Fong, Sing-ha, e 方星霞. "Continuity and transcendence of Jing School". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2007. http://hub.hku.hk/bib/B39558228.
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George, Delyth Ann. "Rhai agweddau ar serch a chariad yn y nofel Gymraeg - 1917-85". Thesis, Aberystwyth University, 1986. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.295763.
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Stewart, Robert Earl. "The catastrophe of entertainment : televisuality and post-postmodern American fiction". Thesis, McGill University, 1999. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=30220.
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This thesis examines the effects of television and entertainment culture on American fiction. Focusing primarily on the novels of Don DeLillo and David Foster Wallace, with a secondary focus on the films of American film director David Lynch, the thesis proposes that post-postmodern fiction, fiction in which the familiarizing trends of postmodern fiction are reversed, is a response to the powerful influence of television and other forms of electronic media on American culture.
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Huebner, Andrew Brooks. "Famine Fighters: American Veterans, the American Relief Administration, and the 1921 Russian Famine". Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1609075/.
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This study argues that the American Relief Administration (ARA) operationally and culturally was defined by the character and experiences of First World War American military veterans. The historiography of the American Relief Administration in the last half-century has painted the ARA as a purely civilian organization greatly detached from the military sphere. By examining the military veterans of the ARA scholars can more accurately assess the image of the ARA, including what motivated their personnel and determined their relief mission conduct. Additionally, this study will properly explain how the ARA as an organization mutually benefited and suffered from its connection to the U.S. military throughout its European missions, in particular, the 1921 Russian famine relief expedition.