Thesis (Ph. D.)--University of Pittsburgh, 1969. / Includes bibliographical references (leaves 200-207).

Thesis (M.A.)--University of Wisconsin--Madison, 1966. / eContent provider-neutral record in process. Description based on print version record. Bibliography: l. 55-56.

Thesis (Ph.D.)--Brown University, 2005. / Vita. Thesis advisor: Hervé Vanel, Kermit S. Champa. Includes bibliographical references (leaves 264-275). Also available online.

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This paper examines the structure, title, epigraph, and spiritual philosophy of Leo Tolstoy’s great novel, Anna Karenina. The intricate structure of the novel can leave more questions than it answers, and as the novel was written at such a critical, complex time of Tolstoy’s life, the ideas the characters struggle with in Anna Karenina are of both daily and cosmic importance. Considering influences and criticism of the novel, the method of Tolstoy’s vision of living well as shown in Anna Karenina leads to a very specific and intricate spiritual philosophy. It is also found that the novel’s structure and title are in conflict.

This thesis is a the comparative analysis of the motifs of advertising concepts as found in the German novel <em>Viktor Vogel</em>, by Alexandra Raumer, and the Russian novel <em>Generation P. </em>, by Viktor Pelevin. For reasons of readability, the work utilized is the German translation of <em>Generation P. </em> However, both the original Russian text and the German language film (which was produced prior to the German novel) have been used, and chapters regarding their interpretation are included. <br ><br /> The analysis of both novels contains discussion of the topic, function, and task of advertising in the text, as well as the manner in which marketing theory has influenced its literary manifestation. Additionally the relationships between advertising executives and clients are explored. <br ><br /> While the aspects aforementioned form the basis of the comparative analysis of <em>Viktor Vogel</em> and <em>Generation P. </em>, the thesis also includes work-specific researches. Regarding <em>Viktor Vogel</em>, the motifs of advertising found in the novel are compared to those which are present in the film. Likewise, concerning <em>Generation P. </em>, the advertisements in the Russian original are examined in comparison to its German language translation, and its interpretation is completed by a summary of the Russian advertising culture. <br ><br /> The results of this analysis concluded that in the work <em>Viktor Vogel</em> a strong measure of realistic and real-word advertising is maintained. Additionally, it is revealed that the focus of advertising in this work is primarily concerned with the internal processes of the marketing agency as opposed to actual advertisements, whose inclusion is solely for decorative purposes. The original movie, however, puts more emphasis on the depiction of the motif of advertising, providing more information than mere visual icons. <br ><br /> In contrast to these findings, the advertising found in <em>Generation P. </em> is in keeping with the absurd literary reality as created by Viktor Pelevin. The portrayal of advertisement activity is here strongly influenced by the economic changes that have taken place after the collapse of the former system. The advertising concepts in <em>Generation P. </em> complete three main tasks: the description of the environment, the development of the protagonists, and the representation of irony and satire. Advertising for foreign products concentrates on items, which enchance the prestige of the user (such as textiles, alcohol and cigarettes) and emphasize the actual product, whereas advertising dealing with genuine Russian items focus primarly on the service sector. Looking at the original text reveals significant differences between the German and the Russian edition which cannot to be put down to the high quality of the translation itself but are rather the result of later changes by Pelevin. It has become evident, that advertisements such as those found in the Russian novel encompass phenomena, which would be contrary to those which are used in the West.

Spanning over three decades, the prose of Vladimir Makanin bears witness to the extraordinary changes SovietlRussian society and literature have undergone, and to which he, as a writer, has been continually exposed. The focus of the thesis is Makanin's abiding concern with the condition of man; man as individual and man as a collective term. The position of man in time (contemporaneity), out of time (the eternal memory of man), and through time (the past, present and future). Despite this apparent central concern, the author's prose is constantly changing, and what seemed previously to be absolutes are subverted. In this unstable environment the author continually expresses the reality in which he perceives man to be, until the concepts of 'reality' and the nature of 'man' are themselves destabilised. Chapter 1 provides an introductory overview of Makanin' s literary career and critical reception. The five core chapters examine different presentations of man's condition. Chapter 2 discusses the tension of the individual amongst the collective, with particular emphasis on the spatial representation of this dilemma. The third chapter is an examination of the incorporation of parables, myths and legends, revealing attempts to depict a 'higher reality' and also the author's means of overcoming socialist realism's censorship constraints. In Chapter 4, the author's concept of 'genetic memory' is considered as a temporal and spatial construct for examining man's individuality and condition in contemporary society. This chapter additionally highlights the author's move from his early social realist depictions revealed in the first two chapters, to his later interest in Russian postmodern theories found in the following two chapters. In Chapters 5 and 6 Makanin's ideas on narrative, history, and man's postmodern condition are analysed. The final text to be discussed, Kavkazskii plennyi, is examined as an innovation in Makanin's philosophy and postmodem prose.

This thesis is a the comparative analysis of the motifs of advertising concepts as found in the German novel <em>Viktor Vogel</em>, by Alexandra Raumer, and the Russian novel <em>Generation P. </em>, by Viktor Pelevin. For reasons of readability, the work utilized is the German translation of <em>Generation P. </em> However, both the original Russian text and the German language film (which was produced prior to the German novel) have been used, and chapters regarding their interpretation are included. <br ><br /> The analysis of both novels contains discussion of the topic, function, and task of advertising in the text, as well as the manner in which marketing theory has influenced its literary manifestation. Additionally the relationships between advertising executives and clients are explored. <br ><br /> While the aspects aforementioned form the basis of the comparative analysis of <em>Viktor Vogel</em> and <em>Generation P. </em>, the thesis also includes work-specific researches. Regarding <em>Viktor Vogel</em>, the motifs of advertising found in the novel are compared to those which are present in the film. Likewise, concerning <em>Generation P. </em>, the advertisements in the Russian original are examined in comparison to its German language translation, and its interpretation is completed by a summary of the Russian advertising culture. <br ><br /> The results of this analysis concluded that in the work <em>Viktor Vogel</em> a strong measure of realistic and real-word advertising is maintained. Additionally, it is revealed that the focus of advertising in this work is primarily concerned with the internal processes of the marketing agency as opposed to actual advertisements, whose inclusion is solely for decorative purposes. The original movie, however, puts more emphasis on the depiction of the motif of advertising, providing more information than mere visual icons. <br ><br /> In contrast to these findings, the advertising found in <em>Generation P. </em> is in keeping with the absurd literary reality as created by Viktor Pelevin. The portrayal of advertisement activity is here strongly influenced by the economic changes that have taken place after the collapse of the former system. The advertising concepts in <em>Generation P. </em> complete three main tasks: the description of the environment, the development of the protagonists, and the representation of irony and satire. Advertising for foreign products concentrates on items, which enchance the prestige of the user (such as textiles, alcohol and cigarettes) and emphasize the actual product, whereas advertising dealing with genuine Russian items focus primarly on the service sector. Looking at the original text reveals significant differences between the German and the Russian edition which cannot to be put down to the high quality of the translation itself but are rather the result of later changes by Pelevin. It has become evident, that advertisements such as those found in the Russian novel encompass phenomena, which would be contrary to those which are used in the West.

In his analysis of Mikhail Bulgakov’s The Master and Margarita, Elliot Mason explores the biblical and mythological ancestry of two of the novel’s most under-studied demonic characters: Azazello and Korov′ev-Fagot. Both characters, it is argued, serve important thematic roles within The Master and Margarita, acting as symbols of the oppressed artist, creativity and judgement. Azazello and Korov′ev-Fagot are integral to an eschatological reading of the text, with Korov′ev in particular suggesting new areas of Faustian influence within The Master and Margarita. Azazello’s relevance to the novel is discussed in terms of his relationship with another of Bulgakov’s characters: the demon Abaddon. Through an examination of the biblical, literary and mythological development of the myth of the Azazel-figure throughout history, Mason argues a thematic, and perhaps even more tangible, connection between the two characters. In the context of Bulgakov’s novel, it is argued, Azazello and Abaddon are interrelated, and it is this relationship that sheds new light on the thematic importance of either character to The Master and Margarita. An examination of older, non-canonical biblical texts allows the connection between Azazel and Abaddon to be explored and applied to Bulgakov’s novel. It is argued that Bulgakov himself, upon reading the texts studied, came to many of the same conclusions, and that these conclusions resulted in the connectedness of Azazello and Abaddon within The Master and Margarita. The second chapter of Mason’s study is devoted to tracing the heritage of the character, Kovo′ev-Fagot. A number of references and clues within The Master and Margarita are suggestive of the fact that Bulgakov had a particular literary, mythological or contemporary figure in mind when he created the character. Despite these references, Bulgakovian scholars have so far been unable to identify precisely whom Bulgakov was drawing on as inspiration for Korov′ev. Using the information provided by The Master and Margarita, Mason argues for a reading of Korov′ev-Fagot as the biblical, mythological sea-beast, Leviathan. He further links the character with Mephistopheles, finding a connection between Leviathan and Mephistopheles in a lesser-known version of the Faust legend, which replaces the name of one with the other. An overview of Leviathan’s eschatological and thematic functions, as well as his relationship with Egyptian and Norse chaos serpents, is used in order to provide the demonological background of the figure to a potentially non-specialist audience. The themes explored in this section of the argument are then applied to The Master and Margarita itself, in order to better understand the intended role of Korov′ev-Fagot to Bulgakov’s work. The identification of Korov′ev-Fagot with Leviathan and Mephistopheles, as well as that of Azazello with Abaddon, serves as a foundation of information, compiled in order that future interpretations may hopefully draw from it.