Akademische abhandlung--Helsinki. / "Literaturverzeichnis": p. [180]-185.

Issued also as thesis, Munich. / Bibliography: p. 179-185.

Thesis (Ph. D.)--Cornell University, 1985. / Vita. Description based on print version record. Includes bibliographical references (p. 566-578).

This thesis compares two perspectives on the production of Holocaust memory: a novel that leads up to The Holocaust in Britain and one that reflects the hindsight perspective of a liberator in the Soviet Union. The novels are Virginia Woolf’s BETWEEN THE ACTS and Vasily Grossman’s LIFE AND FATE. The analysis offers a locus of analysis for the diasporic literary energy created by the catastrophe in the 20th and 21st centuries. The project offers a theorized standpoint on the role of literature on official historical archives. Proposing a method through which contemporary readers can engage the diasporic event of The Holocaust, the project adopts both the extended metaphor and literal expression of soundscapes. Soundscapes encompass the immaterial processes of memorialization and the literal sonic textures developed in Holocaust novels. The critical perspective incorporates contemporary notions of narratology, archival practices, and cultural manifestations of language into the notion of literary ethnomusicology.

This study examines how two media sources—one Russian and one Ukrainian—portray Russia and Ukraine before, during, and after the EuroMaidan crisis in Ukraine. Russian-language texts posted between January 2013 and December 2015 on the sites Ukranews.com (a Ukrainian news outlet) and TASS.ru (Russian) were organized in a corpus of over 20,000,000 words. This study analyzes the nouns “Россия” (“Russia”) and “Украина” (“Ukraine”) according to the verbal predicates that attach to either noun. The results demonstrate predictable variation in the agency of the two entities in response to cultural events and contexts. The analysis of the corpus data operationalizes a combined model of agency using Halliday and Matheissen’s (2004) classification of processes, shaped by the animacy of the actor, and Dik’s (1989) States of Affairs Matrix, which prioritizes the actor’s physical effect in space and time. In this study, predicates of “Russia” and “Ukraine” are given numeric scores based on the models. Then, a new method of checking the validity of these models is tested by examining other entities that take the same predicates as Russia and Ukraine. Measurements from discrete time periods reveal how the agency of both entities changed before, during, and after EuroMaidan.

The use and evolution of socialist realism, in both Stalinist times (Polevoi- A Story About a Real Man) and in post-soviet reflections (Pelevin- Omon Ra).

In this project, contemporary theater and performance art is examined in four cities in ex-Yugoslavia. War has pervaded all of the sites in some way, interrupting a sense of normalcy, altering the city physically as well as ideologically. For that reason, interaction with urban space becomes a central element in performances—whether it serves to preserve the city’s identity amidst destruction, to cleanse the city from the shame of official exploits, to break from the insular legacy of nationalism that flooded the streets, or to gather the city together in a process of collective healing.

Thesis (M. A.), Memorial University of Newfoundland, 1998. / Bibliography: leaves p. 52-56.

Plenzdorf's works, one written before the fall of socialism in the German Democratic Republic (hereafter referred to as the DDR), and one after, portray relationships between fathers and sons, which act as a metaphor to express a personal perspective of the state, revealing that the DDR was neither as repressive or as omnipresent for the average citizen as outsiders are often given to believe. The father, or Übervater, a figure deeply rooted in the German consciousness, is represented by the state and proves itself as an entity which gives the protagonists in both works little notice, despite their best efforts to seek out a paternalistic presence.

Flanerie is the art of taking a walk, leisurely observing the movements and spaces of the city. By writing about cityscapes, urban realms, and the condition of society, flaneurs are able to describe the uniqueness of the metropolis and give life to the modern city—creating a photograph of an urban setting. In the early nineteenth century, and even today, flaneur literature has been ultimately dominated by men who have documented their cultural and aesthetic interactions with the city. During these times, unwritten rules have often excluded the female from participating in parts of the urban society. Today, these unwritten rules are still apparent as many park signs warn us to stay out of secluded areas after dark—implying the possibility of danger for women, but no necessarily for men. The controversy over the existence of the flaneuse or female flaneur has been the corner stone of many recent debates as a large body of scholarship has claimed that women have had no part in the art of flanerie. The questions still remain: was it possible for women to promenade in the streets of a male-dominated society and is it possible that female flaneur literature even exists? My answer to these questions is yes. Although the public sphere was dominated by the male figure as they confined women to the private realm of the home, there were notable women who proved to be exceptions to these rules. Recently, scholars have uncovered an array of female authors that have written in the art of flanerie. Irmgard Keun was one of the prominent exceptions who wrote many texts that are potentially important as cultural and historical documents of the time period in which she lived. In this thesis, I will investigate Keun's first two novels, Gilig—eine von uns and Das kunstseidene Madchen, as well as a few of her lesser known feuilletons that have scarcely been observed or considered as essential links to the rare works of the female flaneur. I will first discuss the problems of the flaneuse—being subjected to gender-stratified societies, being seen as a prostitute, and being confined to the private realm of the home. I will then argue several aspects of Keun's novels and feuilletons that are necessary to understand the practices of the modern flaneur and, more importantly, to liberate the controversial figure of the flaneuse.