Thesis (M.A.)--West Virginia University, 2004. / Title from document title page. Document formatted into pages; contains v, 105 p. Includes abstract. Includes bibliographical references (p. 102-105).

Thesis (M. A.)--University of Adelaide, Dept. of German, 1960. / [Typewritten]. Includes bibliography.

Everywhere You Look documents the genesis, production process, performance history, and rewrites of a script informed by a concern for social justice issues in contemporary America. In the quest to generate believable, naturalistic dialogue and behavior informed by important questions of religious conviction, civil liberties, and the viability of violence as a political solution, the script is cast as social realism. After a discussion of the critical context in which the play exists, the lessons and pitfalls of collaboration in the production process are charted. A rewritten script is generated from a process of performance, talk-backs sessions, and committee recommendations. The thesis document includes Appendices containing pre-production and post-production versions of the script, as well as images from the program and color photos of the original thesis production.

No description available.

This thesis sets out to examine social realism in Alex La Guma's longer fiction by using Georg Lukacs's Marxist theory as a point of departure. Tracing the development in La Guma's novels in terms of a shift from critical realism to gestures towards socialist realism I argue that this shift is informed by Lenin's "spontaneity/consciousness dialectic" in terms of which workers begin by engaging in spontaneous actions before they are ultimately guided by a developed political consciousness. I am quite aware that linking La Guma's work to socialist realism might raise some eyebrows in some circles but I am nonetheless quite emphatic about the fact that socialist realism in La Guma's fiction is not in any way tantamount to the Stalin-Zhdanovite version of what Lukacs calls "illustrative literature". Rejecting Lukacs's conception that socialist realism is a prerogative of writers in the socialist countries, I argue that gestures towards socialist realism made in La Guma's last novels are rooted in South African social reality. One of the claims being made in this study is that La Guma's novels render visible his attempt to create a South African proletarian literature. For this reason I make a case for Russian precedents of La Guma's writing by attempting to identify some intertextual connection between La Guma's novels and Gorky's work. Where realism is concerned I argue that although La Guma seems to draw extensively on Maxim Gorky in redefining his aesthetics of realism, Lukacs's theory of realism is useful in contextualising his fiction. The first chapter is largely biographical, examining La Guma's father's influence in shaping his political ideology and his literary tastes. Chapter two focuses on La Guma's aesthetics of realism. In chapter three I examine La Guma's journalism as having provided him with the subjects of his fiction and argue that there is a carry-over in terms of La Guma's style from journalism to fiction. Accordingly, I provide evidence of this carry-over in the next chapter on A Walk in the Night in which I argue that while La Guma's style is naturalist the novel is critical realist in perspective. Chapter five contextualizes the shift from And A Threefold Cord, to The Stone • Country as providing evidence of La Guma's use of "the spontaneity/consciousness dialectic". In chapter six I read In the Fog of the Seasons' End in relation to Gorky's Mother as its intertext in terms of its gestures towards socialist realism as seen for example in its "positive heroes", Beukes and Tekwane. There are further elements of socialist realism in Time of the Butcherbird which are nevertheless brought into question by some ideological contradictions within the text this is the central thrust of my argument in chapter seven. I conclude this study with a brief discussion of La Guma's craftsmanship. / Thesis (Ph.D.) - University of Natal, Pietermaritzburg, 1998.

The work is situated in a literary and theoretical context by working with the concepts of authenticity and realism, and within that the story/world distinction. The literary context is examined in terms of realism, naturalism, and the novel of character or psychological novel. The associated research is then discussed. Finally, the novel’s societal context is analysed in terms of some prevailing philosophical views and the existing socio-political structure.

The work is situated in a literary and theoretical context by working with the concepts of authenticity and realism, and within that the story/world distinction. The literary context is examined in terms of realism, naturalism, and the novel of character or psychological novel. The associated research is then discussed. Finally, the novel’s societal context is analysed in terms of some prevailing philosophical views and the existing socio-political structure.

The work is situated in a literary and theoretical context by working with the concepts of authenticity and realism, and within that the story/world distinction. The literary context is examined in terms of realism, naturalism, and the novel of character or psychological novel. The associated research is then discussed. Finally, the novel’s societal context is analysed in terms of some prevailing philosophical views and the existing socio-political structure.

京都大学 / 0048 / 新制・課程博士 / 博士(文学) / 甲第18438号 / 文博第651号 / 新制||文||605(附属図書館) / 31316 / 京都大学大学院文学研究科文献文化学専攻 / (主査)教授 佐々木 徹, 教授 若島 正, 准教授 廣田 篤彦 / 学位規則第4条第1項該当 / Doctor of Letters / Kyoto University / DGAM

One of the first Village Prose writers was Yuri Kazakov. In his short stories about life in remote Russian villages, Kazakov was able to combine traditions of Tolstoy and Dostoyevsky with traditions of Turgenev and Bunin and created a unique style using psychological parallelism in lyrical prose. Through the aspects of village, nature, time, and native language, Yuri Kazakov exposed the life of the marginals. He was interested in individuals and their personal feelings and thoughts. He did not look at individuals as a part of society but rather as a part of and the creation of nature. Therefore, he found his characters in the remote Siberian villages where the Soviet regime and propaganda minimally influenced people’s lives and their traditional values. His characters cannot be characterized as simply good or bad. Through his characters, Kazakov investigated and explored the complexity of human nature, emotions, and motifs. In his stories, he was able to masterfully unfold human souls and draw their psychological portraits to address timeless philosophical questions about the purpose of live, moral choices, unity of people and nature