Thesis (Ph. D.)--University of Texas at Austin, 2004. / Supervisor: Keith A. Livers. Vita. Includes bibliographical references. Also available from UMI.

A recent genre study by Erika Gottlieb (2001) divides dystopian literature into two temporal categories, which she calls West and East. Within this framework, Gottlieb places Evgenii Zamiatin’s We (1921) within her Western framework comprised of authors primarily concerned with envisaging future totalitarian societies. Conversely, she places Andrei Platonov’s The Foundation Pit (1930) within her Eastern framework of authors concerned with providing descriptive works of those totalitarian societies come to pass in the present. It is with these classifications that this thesis takes issue. It is my contention that in We Zamiatin was actually centrally concerned with providing a description and critical account of both the volatile, repressive socialist system of contemporary Leninist Russia and the claim that post-revolutionary Russia now inhabited a post-historical epoch. I further argue that in The Foundation Pit Platonov was as concerned with questions of the future as he was with the society of the present: in his implied criticism of Stalin’s Five-Year Plans, he engages not merely with the political policies of a particular moment in time, but with the larger view of how the present relates to the future which underlies them.

A recent genre study by Erika Gottlieb (2001) divides dystopian literature into two temporal categories, which she calls West and East. Within this framework, Gottlieb places Evgenii Zamiatin’s We (1921) within her Western framework comprised of authors primarily concerned with envisaging future totalitarian societies. Conversely, she places Andrei Platonov’s The Foundation Pit (1930) within her Eastern framework of authors concerned with providing descriptive works of those totalitarian societies come to pass in the present. It is with these classifications that this thesis takes issue. It is my contention that in We Zamiatin was actually centrally concerned with providing a description and critical account of both the volatile, repressive socialist system of contemporary Leninist Russia and the claim that post-revolutionary Russia now inhabited a post-historical epoch. I further argue that in The Foundation Pit Platonov was as concerned with questions of the future as he was with the society of the present: in his implied criticism of Stalin’s Five-Year Plans, he engages not merely with the political policies of a particular moment in time, but with the larger view of how the present relates to the future which underlies them.

Texte remanié de: Diss. / Bibliogr. p. 436-451. Notes bibliogr.

Not available / text

This thesis examines the treatment of ideological matters in Andrej Platonov’s 1930 novel Kotlovan. The examination is based on Ol’ga Meerson’s theory of non-estrangement, which is applied to the depiction of ideology in Kotlovan. The specific themes examined are collectivism and materialism, which were viewed in the early Soviet period as important aspects of Marxist-Leninist ideology. The findings suggest that both collectivism and materialism are core issues in Kotlovan. Contrary to what one might suppose, however, these themes are not treated primarily in the famously dissonant and often ideologically coloured language of the surface of the text. Rather, the treatment of ideology seems to be conducted on a deeper level, where these issues are veiled by means of non-estrangement. By hiding away these core issues, the text requires the reader to accept them as given premises of the reality described in the text, in order to be able to proceed with the reading process. / Объектом исследования предлагаемой работы выступает повесть А.П. Платонова Котлован. Предметом же исследования является трактовка в тексте Котлована вопросов идеологической тематики, а более точно – коллективизма и материализма, воспринимаемых в качестве важнейших составляющих марксизма-ленинизма. В представленной работе применительно к идеологической тематике исследуемой повести использована разработанная Ольгой Меерсон теория неостранения. Результаты исследования указывают на центральную роль коллективизма и материализма в повести Котлован, которые при этом обсуждаются не столько на уровне платоновского специфического, нередко идеологически подкрашенного языка, сколько в более глубинном пласте текста, скрытые методом неостранения. Именно эта скрытость центральных тем в тексте заставляет читателя принимать их за данность изображаемой в Котловане действительности.

Thesis (M. Sc.)--Carleton University, 2002. / Includes bibliographical references (p. 37-38). Also available in electronic format on the Internet.

This research is devoted to metaphysics of sex and love in the A. Platonovs’ mature short stories in the context of philosophy of the first half of the XX century. This topic is actual, because the question of the spiritual origins of love feelings in the Platonovs’ world is not developed systematically enough. At the same time, it is one of the most important to understanding the originality of the creative individuality of A.Platonov. The author substantiates the importance of love in the world of the writer and offers the original typology of love feelings, based on the mature short stories of Platonov which were written in 1930-1940-s. / Данная работа посвящена исследованию метафизики любви и пола в зрелых рассказах А. Платонова в контексте философской мысли первой половины XX века. Данная тема актуальна, поскольку вопрос о духовных истоках любовного чувства в платоновском мире разработан недостаточно системно. При этом он является одним из важнейших для понимания своеобразия творческой индивидуальности А. Платонова. Автор обосновывает значимость любви в художественном мире писателя и предлагает оригинальную типологию любовного чувства, опираясь на зрелые рассказы Платонова 1930-1940-х годов.

<p>Orfičko učenje o bogu Erotu. Bog Erot u starogrčkoj mitologiji i njegovo predstavljanje u Hesiodovoj Teogoniji, Sapfinoj poeziji i Aristofanovoj komediji Ptice. Dokazivanje da je Platonov pojam erosa &ldquo;conditio sine qua non&rdquo; filozofije kao filozofije. Doktorska disertacija prikazuje razvoj pojma Erosa iz mitologije i poezije preko interpretacija Presokratovaca do Platonovog pojma erosa. Ovaj pojam je presudno uticao na hri&scaron;ćanstvo kao i na celokupnu filozofiju Zapada. Ključne reči: Sokratov pojam erosa, Platonov pojam erosa, savremene interpretacije pojma, veza antičkih i savremenih interpretacija.</p> / <p>Orfic teaching about god Eros. God Eros at the Ancient mythology and his representation in Hesiod`s Theogony, Sappho`s poetry and Aristophanes`s comedy The Birds. Proving that Plato`s concept of Eros is &ldquo;conditio sine qua non&rdquo; philosophy like philosophy. Doctor&rsquo;s thesis shows the progress concept of Eros from the mythology and poetry through Presocratic interpretations to the Plato`s concept of Eros. This concept is fundamental for the Christianity and for all forms of philosophy in Western World. Key words: Socrates`s concept of Eros, Plato`s concept of Eros,Contemporary interpretations of Concept, Link between Ancient and Contemporary Interpretations.</p>

This master thesis is thematically treating three short stories of Andrey Platonov: Bessmertie, Fro and Vozvraščenie. The purpose is to examine how Platonov presents the Soviet family and to what extent it fits the Soviet family politics. The family portraits are analysed in comparison with the guiding principles of the doctrine of Socialist Realism with the trends of Socialist Realism and family policy of the time into consideration.       The first part describes Platonov’s life, the Socialist Realism, and the family policies of the Soviet Union. It also discusses how the influences of the time could have affected the author’s later works. The second part consists of an analysis of the three short stories mentioned above.      The conclusion is that there is an opposition between the task of working and family life in the stories. Despite the fact that Platonov problematizes this opposition, there are few signs that he writes with an intended direct opposition towards the Soviet power or censorship. The themes of his stories are instead in fact following the development of contemporary family politics, and that is a development with a Soviet family that is “withering away”. / <p>Min examen är från Masterprogrammet i språk. Programmet finns inte med under kategorin "Utbildningsprogram".</p>