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.

Zugl.: London, University, Diss., 2004.

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Cette thèse présente l’édition critique du Mystère de la vie de sainte Marguerite, d’après un imprimé unique conservé à la Bibliothèque Nationale de France sous la cote RES-YF-4690 ne contenant aucune indication concernant la date, le lieu, ni le nom de l’imprimeur. Ce texte de quatre mille cinq cents vers environ, mettant en scène quarante-deux personnages, relate la vie et le martyre de sainte Marguerite d’Antioche. Le mystère fut représenté deux fois au XVIe siècle, en 1554 devant Catherine de Médicis et en 1584 à Draguignan, en Provence, et une fois encore à Malestroit, en Bretagne, en 1601.Après avoir décrit le volume de la BnF, nous analysons le culte et la légende de sainte Marguerite, ainsi que la riche production littéraire, en latin et en langue vulgaire, qui nous a transmis le récit depuis le Moyen Âge. Notre intérêt se porte notamment sur les traditions textuelles françaises et italiennes. À côté du Mystère, nous allons en effet analyser une version en prose de la légende de la vie de sainte Marguerite, écrite en toscan au XIVe siècle. En particulier, nous réalisons une analyse philologique des variantes contenues dans six témoins manuscrits et imprimés, en faisant le rapport avec la source latine. Il s’agit en effet d’effectuer une première enquête de cette tradition textuelle en prose en vue d’une analyse philologique et linguistique plus large. Nous continuons avec l’étude linguistique et rhétorique du mystère hagiographique français. Ces analyses nous ont permis d’établir que le texte a été composé à une date beaucoup plus ancienne que celle à laquelle il a été imprimé, probablement dans la seconde moitié du XVe siècle, et qu’il a connu ensuite une longue transmission. Une versification particulièrement irrégulière garde la trace d’un texte qui a été remanié et modernisé à plusieurs reprises pour être adapté à la langue de l’époque et aux goûts des lecteurs. Nous terminons avec l’édition critique du mystère, suivie de notes portant sur le texte et d’un glossaire. / This thesis presents a critical edition of the Mystère de la vie de sainte Marguerite from a single printed text now kept in the National Library of France under the reference RES-YF-4690, without any indications of period, place or publisher. This drama play contains approximately 4500 verses and 42 characters and tells about the life and the martyrdrom of saint Margaret of Antioch. It was performed twice in the XVI century, in 1554 at the presence of Catherine of Medicis, in 1584 in the city of Draguignan, and finally in 1601 in the city of Malestroit. Our work includes several different parts: philological and historical analysis, literary presentation, linguistic and metric study. Finally, we present the critical edition of the text followed by some notes on the text and a glossary. Our work includes also a study of an italian version of the life of saint Margaret wrote in Tuscan dialect in the XIV century. We propose a philological and linguistic analysis of the text from six different manuscripts and printed copies.

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. / Arts, Faculty of / English, Department of / Graduate

Master's thesis was made due to a lack of culture in sales to final customers. The aim of emerging company is to highlight in these gaps and deliver customer solutions, which affects all processes in the company. Ultimately bringing to our customers improved communication with consumers, enhancing the prestige of the company and increase sales.

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<p>On the most general, theological level this dissertation explores the origins, ensuing articulations, and intellectual implications of what has been characterized as a new Christian "political-historical consciousness" (politisch-historisches Bewusstsein)&mdashthat totalizing reconception of history and ecclesial identity that enabled early Christians to imagine themselves as simultaneously new to the world in terms of revelation and yet also ancient with respect to God's eternal plan. On the more specific and descriptive level, I propose that a key to mapping the early development of this new historical consciousness comes via detailed analysis of a single term introduced by the apostle Paul into the Christian theological lexicon, the noun <italic>mysterion</italic> and the particular understanding of history and revelation that is commonly coupled with it, an understanding I refer to in varying ways as the "once hidden, now revealed" mystery schema. It is, I claim, the historical arrangement of this once hidden/now revealed discourse, and thus the comprehensive division of time into adjacent eras of concealment and revelation, that provided Christians of the first two centuries with the intellectual architecture and concomitant discursive schema that formulated and then further legitimized some of the most original claims of Christian theology. Among these claims are, most notably, ecclesiological propositions regarding the status of the Gentiles among the people of God, hermeneutical propositions related to the revisionary Christian readings of Israel's scriptures, and christological propositions about the unified identity of the newly revealed Christ and the creator God of Israel. Insofar as such propositions were named as mysteries--which is to say, as realities newly revealed but eternally known by the God of Israel--and yet were argued independently of, if not in contradiction of, Torah and other authoritative Jewish writings (see chapters five), or on the basis of Jewish scriptures but without any obvious presence in their "plain sense" (see chapters six and seven), or by appeal to what had become a textual field of authoritative Christian writings (see chapter eight), some sort of new intellectual apparatus was needed to articulate these novel claims. The notion of an eternal mystery previously hidden but recently disclosed to the world, provided just such an apparatus. A detailed lexical analysis of "mystery" in Paul and other early Christian authors should thus provide a helpful constraint for analyzing these larger and less tangible subjects of early Christian thinking about divine revelation and the structure of history. </p><p> To be clear, in training my attention on the word and the "once hidden, now revealed" discourse, I am not presuming some sort of idealized concept-in-word equation (or, in this case, a discourse-in-word equation), the error of nomenclaturism as Saussure termed it. Nor am I suggesting that <italic>mysterion</italic> had any sort of fixed meaning, much less a totality of meanings to be smuggled into every occurrence. The linguistic axioms that words and things share no inviolable, one-to-one correspondence, and that sentences (or more complex syntactical strucutres), not individual lexemes, are to be regarded as the fundamental units determining meaning should by now be truisms. My focus on <italic>mysterion</italic> is simply motivated, first, by the observation that when this signifier is used by early Christian authors it most frequently refers to some theological or hermeneutical claim that was previously hidden but is now currently disclosed and thus, second, by the practicality of treating this word as a limiting heuristic for analyzing the more nebulous hidden/revealed discursive formation. This is not to confuse the word for the discourse. Rather it is to use this particular word, which so often appears to be a near technical term for the discourse, as an entry point into it.</p> / Dissertation

This work examines the significance of drugs in Victorian stories of detection through a selection of detective fiction published between the years 1860 and 1890. The main purpose of the work is to show how these texts make a specific link between drugs and detection, and use this link to engage themselves in questions concerning reading and the consumption of fiction. I wish to argue, first, that drugs play a significant role in Victorian detective stories as a device to produce a sense of mystery and excitement in these texts. Secondly, I shall hope to show how this is achieved especially by presenting detection as having the drug-like qualities of intoxication and addiction. And thirdly, I shall examine how this particular characterisation of detection evokes a conception of detective fiction as a drug and invites the reader to consider her experience of reading in terms of an experience of drugs. In short, drugs, in these narratives, do not appear as a mere theme or a plot element, but can be seen to affect the very narrative form and structure of the fiction.

Although children’s programming has been considered to be at the forefront of incorporating racial and ethnic diversity, the roles on television for racial and ethnic minorities have continued to be limited or based on stereotypes, and sheer presence in numbers for non-whites is still lacking in comparison to white characters. Television programming during the 1990s and early 2000s became a key period in history for racial and ethnic representation, as programming as a whole reflected a greater non-white presence than ever before, with children’s programming as no exception. This thesis focuses on how race and ethnicity were depicted on the children’s cable networks Nickelodeon and Disney Channel during this time period. My study focuses on three programs, The Mystery Files of Shelby Woo (Nickelodeon, 1996-1998), Taina (Nickelodeon, 2001-2002), and The Proud Family (Disney Channel, 2001-2005), all of which placed racial and ethnic minorities as lead characters, diverging from the standard in casting for children’s television programs. In observing whether these programs portrayed race in an assimilationist, color/culture conscious, or post-racial manner, my study provides insight into the overarching narrative constructed about race and ethnicity for youth viewing two of television’s most successful networks committed to programming for kids in this time period. / text