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.

Errata pasted in front end-papers. / Bibliography: leaves 410-432. / ix, 432 leaves ; 30 cm. / Title page, contents and abstract only. The complete thesis in print form is available from the University Library. / Thesis (Ph.D.)--University of Adelaide, Dept. of Linguistics, 1997?

M.A. (Afrikaans) / Please refer to full text to view abstract

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Depuis la deuxième guerre mondiale le roman caradien français témoigne d'un dynamisme étonnant. Dans ce travail nous nous proposons d'examiner certains de ces romans écrits entre les années 1947 et 1957 afin de mettre en relief quelques traits de leur développement. L'intére êt des intellectuels pour l'effet de l’évolution sociale de la Province de Québec sur la mentalité de l'individu se manifeste librement dans le roman. L'auteur n'est nullement retenu par les règies qu'impos ent un document historique. Cette liberté lui permet d'arriver à la même fin que l'historien ou le sociologue, d'une façon plus realiste, done plus attrayante, pour un plus grand nombre de gens. Littérature encore dans son enfance, la littérature canadienne ne justifiera encore aucun jugement définitif d’ensemble. Toutefois il faut signaler un aspect significatif du roman canadien français: l'interréaotion des forces sociales et de la personnalité collective et individuelle. Cette thése ne se borne pas à signaler les simples esquisses de moeurs. Elle a plutôt l'intention de dégager des romans un type d'homme représentatif de cette société en évolution. / Arts, Faculty of / Central Eastern Northern European Studies, Department of / Graduate

De tous les genres littéraires le roman était le moins en faveur chez les écrivains du Canada Français au XIXe siècle. Le manque de métier de ces écrivains et leur incapacité à observer et à analyser les caractères expliquent sans doute cette étrange lacune. Les premiers romans contenaient surtout des légendes, des rapports historiques mêlés d'études de moeurs indiennes. L'exploitation de la veine d'aventure étant toujours le point de départ de toute littérature naissante, le roman canadien-francais s’était tourné vers la véritable aventure du Canada, c'est-à-dire la colonisation. Les thèmes en étaient l’attachement au sol, l’exploitation et le patriotisme. Mais la présentation était primitive. En 1914 "Le Temps" publie Maria Chapdelaine de Louis Hémon. Cette oeuvre a donné le ton à bien des romanciers canadiens-français, qui ont trouvé chez un écrivain venu de France les éléments qui leur manquaient, c'est-à-dire une technique, un style, l'observation exacte et l'analyse des caractères. Ce chef-d'oeuvre de Louis Hémon contient un thème important, celui de la lutte de l'homme contre la nature. Ce thème se trouve aussi dans les oeuvres de trois autres écrivains: Marie Le Franc, Georges Bugnet et Maurice Constantin-Weyer, tous arrivés de France au début du vingtième siècle. Cette thèse se propose d'etudier l'homme et la nature à travers les oeuvres de ces quatre écrivains français, et les éléments nouveaux qu'ils ont apportés à la littérature du Canada Français. / Arts, Faculty of / Central Eastern Northern European Studies, Department of / Graduate

This thesis is composed of the translation of previously untranslated works of important modern Spanish authors from Spain, Argentina and Mexico: Adolfo Bioy Casares (Argentine novelist and frequent collaborator with Jorge Luis Borges): PLAN DE EVASION, 1945. The entire novel is structured on a "fantastical" formula of physiological-philosophical ideas--rooted in the psychological theories of William James and encompassing even the borders of the current threshold of biological engineering. This "formula" is presented near the end of the novel and serves as the key to the reality of the novel itself: to the manner of its architecture, its mental and emotional perceptions and its ultimate "resolution" which turns the conclusion back on its parts, forcing the reader to make a reassessment of the perplexing components of reality in the novel and, perhaps, even to reexamine the questions of the nature of reality itself. In a fully fictional and highly symmetrical manner, the novel explores the question of reality, building its own structure of a network of multiple and conflicting realities which are each developed to be consistent with themselves but which conflict insolubly at their ultimate junctures with each other. Rafael Alberti (poet and dramatist of the famous "Generation of 1927" in Spain): EL ADEFESIO, 1944. This work, often compared with Garcia Lorca's "House of Bernarda Alba", is considered by the critics to be his finest play, and in Spain his work is more highly regarded than that of Lorca. Like Lorca, in El Adefesio Alberti utilizes common Spanish folklore, but unlike Lorca he uses it only as a springboard to larger and more complex ends. In the play he interweaves Spanish folklore with Greek mythology and Christian legend, employing a naked, fluid symbolism in a way that is at moments strikingly modern and existential. In the play he achieves a startling poetic counterpoint between the classical, lyrical ritual of tradition, with its elevated emotion, and a dissonant ritual of grotesqueries suggestive of the modern theatre of the absurd—resulting in a poetic unity that is both rich and complex. Jorge Guillen (an imagist poet, also of the "Generation of 1927" in Spain): CANTICO, 1928. His self-professed aims in Cantico (a "poetry of affirmation") are to express his concept of the basic unity, harmony and abundance of life and of the intimate relatedness of all things in time and space. In the poems of Cantico Guillen pursues this affirmation through purity, intensity of vision and exclusion, his verses characterized by a refined, joyful classicism and brilliant metaphor. Alfonso Canales (an important member of the school of modern Spanish poets, whose works date from 1950 to the present): 0T0N0, 1956. This poem is from his book of poetry El Candado. Max Aub (major modern playwright and fervent anti-fascist, self- exiled from Spain and now residing in Mexico since 1942): LOS EXCELENTES VARONES, 1946. Although his work is no longer recognized in Spain, Aub is generally regarded by critics as one of the finest living Spanish playwrights. The concerns which have dominated Aub's post-Spain writings are those of war, fascism, exile, humanism and the dignity of man under pressure in relation to moral values. Although Los Excelentes Varones, by Aub's own classification, belongs to the genre of his work which he calls "police theatre", it is much more than that, being also a piercing black farce satirizing the recurrent and ominous impulse of society—past, present and possibly future—toward the police state / Arts, Faculty of / Graduate

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