This thesis attempts to show that Georg Lukacs' Marxist theory of realism is best understood, not as a self sufficient body of theory, but in the context of his pre- Marxist theory of literature and his ,role in the Communist movement, A comparison of the theory expounded in "Die Seele and die Fonaen" and "Die Theorie des Romans" with the main positions of "Geschichte und Kiassenbewusstsein" reveals that it was remarkably easy for Lukacs to accommodate his literary theory within the newly-acquired philosophy. An examination of Lukacs' career shows that his move to Marxism was motivated by a search for the practical instrument to implement the ideal which was the mainspring behind both his own life and, in his theory, all great literature, namely, the classical ideal of harmony. The resulting change in emphasis from aesthetics to political action led, in the thirties, to the attempt to synthesize both in a cultural campaign. Political pressure, combined with the genuine belief that the excesses of Stalinism were the acceptable price of resistance to the overriding threat of fascism, resulted in the employment of a rigid determinism, deplored ill others, which was incompatible with the core of his understanding of literary realism. The creation of realism was, however, for both the pre- Marxist and the Marxist Lukacs, ultimately inexplicable in materialist terms.

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The aim of this thesis is to study problems of translation in linguistic terms - that is, within the framework of linguistic theory. The theory underlying this study is the scale-and-category theory, which is most fully presented in M.A.K. Halliday*s "Categories of the Theory of Grammar", Word, vol. 17» pp.241-292. It is assumed that the reader will have some knowledge of this work, and thus it has not been considered necessary to present a detailed statement of the underlying theory. The study falls into three parts. Part I, which consists of the first chapter, presents translation in its proper perspective. It is claimed that translation, being an operation upon languages, comes under the scope of linguistics and can only be studied scientifically if regarded as such. The chapter also deals with seme of the theoretical problems concerning an application of linguistic theory to problems of translation. Part II, which consists of five chapters (2-6), presents grammatical descriptions of English and Hindi on the one hand and analyses of texts in the tv/o languages on the other beginning from the sentence down to the group rank. Each of these chapters has been divided into three sections. The descriptions of English and Hindi in the first and the second sections are of course not exhaustive but are presented mainly for the purpose of their application to the texts in the third section. This method has "been followed in all the five chapters of Part II. Part III, consisting of the last chapter, is in the nature of concluding remarks dealing with some of the main points arising out of the present study as well as some general points concerning translation and language comparison. Although the present work is "based on texts the aim is not only to study the texts listed below but also to show by examples the validity of an application of linguistic method to problems of translation and language comparison in general.

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Reading life writing as textual performance, this thesis identifies and explores different permutations of "experiment" in nineteenth and twentieth-century life writing. I trace the response of multiple "acts" of (self-) representation to conflicting socio-cultural discourses; to existing "rules" of genre and form; and to extant narratives and texts. The diversity which results-texts written within and against prevailing traditions-presents a challenge to linear, progressive models of development in life writing. The canon is unsettled: "conventional" texts are subject to new readings which emphasise the experiment of dealing with complex subjectivity; the term "life writing" expands to include seemingly mutually-exclusive forms, such as fiction and non-fiction, poetry and prose; while the intersection between narratives and texts reveals a complex, contested relationship that results in mutable, responsive forms. As such, this research participates in a current trend towards inclusiveness in life-writing criticism, going beyond the recovery of silenced voices (axes of gender, race and sexuality having diversified the canon) and petty-order narratives, such as letters and diaries. Reading for "experiment" reveals the need for a more complex understanding of life writing and its practices. Notions of performativity and responsiveness suggest a non-linear model of development, alternating between regulation, revision and experiment. My thesis develops this argument through readings of six key texts: Elizabeth Barrett Browning's Aurora Leigh (1856); Elizabeth Gaskell's Life of Charlotte Bronte (1857);. John Addington Symonds's Memoirs (1889/1984); Nigel Nicolson's Portrait of a Marriage (1920/1973); and Virginia Woolf's Orlando (1928) and Roger Fry (1940).