El presente trabajo tiene como objeto demostrar que en la novela la violencia del exilio es el motor que desencadena el trauma. Esto se desarrollaría en una línea causal donde el exilio provoca el sentimiento del desarraigo que se vive intensamente al retornar, y como consecuencia la salida de este sentimiento sería el olvido, expresado simbólicamente en el Alzheimer. Finalmente, en este proceso emerge la escritura, entendida como el dispositivo que combate el olvido del padre, y, en otro nivel de lectura, el olvido que el país ha hecho de su pasado.

Thesis (Ph. D.)--University of Oregon, 2008. / Typescript. Includes vita and abstract. Includes bibliographical references (leaves 194-206). Also available online in Scholars' Bank; and in ProQuest, free to University of Oregon users.

The thesis follows the emergence of Joseph Brodsky`s work in the Czech Republic, it comments on the very first publications. The author enumerates and describes all of the Czech translations: poetic and prosaic (essays, dramas and dialogues) . Present work proposes very detailed analysis of translated poetry (translations were made by different authors from 1960`s till nowadays), characterizes stylistic approaches, methods of translation and provides comparison. The author gives information about Saint-Petersburg`s meetings of Joseph Brodsky and Václav Daněk - Czech poet and his further translator. On the basis of interviews, dialogues and memoires of the contemporaries the work illustrates poet`s attitude to famous people of Czech culture; it also mentions poetic translations of Joseph Brodsky made from Czech language. The work demonstrates Brodsky`s opinion on the creation of good translation. Also the author presents a number of Czech articles devoted to Josepf Brodsky and his work.

No description available.

Text in Afrikaans / The concepts of parody and pastiche are oftell employed by leading theoreticians to offer definitions of the elusive term "Postmodernism". One is led to conclude that parody and pastiche are direct1y linked to Postmodernism. This is especially valid in the case of pastiche. Indeed, it appears, therefore, that the continllous assumption of the appellation "pastiche" in the Postmodernist discourse could reveal its link to Postmodernism and Postmodernity in general. While parody and pastiche are not new phenomena, the question is why, ill our time, these concepts should be so acutely present in the discourse of literary theory - especially in theoretic contributions on Postmodernism and/or Postmodernis! texts. However, an investigation of the studies done on Postmodernist drama/theatre reveals a distinct lack of reflection about the role of parody and pastiche and a disturbing absence of publication on the the subject. This state of affairs reveals a conspicuous delay in terms of theoretical deliberation when compared to other investigat1ve practices, i.e. literary criticism and philosophy. This study, then, is essentially interested in transposing the present emphasis on parody and pastiche found in contemporary literary theory to Postmodernist drama/theatre. The final objective of this study is to explore the impact of the concepts of parody and pastiche on twentieth century drama/theatre and their possible contribution to a better understanding of the elusive term "Postmodemist drama/theatre". / Afrikaans and Theory of Literature / D. Litt. et Phil. (Literature)

Part I of this thesis has been written with a view to exploring the relevance a text over 2500 years old has for contemporary ars poetica. From a detailed study of ‘The Book of Job’ I highlight three main tropes, ‘cognitive dissonance’, ‘tĕšuvah’, and ‘dark saying’, and demonstrate how these might inform the working methods of the contemporary poet. In the introduction I define these tropes in their theological and historical context. Chapter one provides a detailed examination of ‘Job’, its antecedents and its influence on literature. In chapters two and three I examine in detail techniques of Classical Hebrew poetry employed in ‘Job’ and argue for a confluence between literary technique and Jobian cosmology. Stylistically, the rest of the thesis is a critical meditation on how the main tropes of ‘Job’ can be mapped onto contemporary ars poetica. In chapter four I initiate an exploration into varying responses to cognitive dissonance, suggesting how the false comforters and Job represent different approaches to, and stages of, poetic composition. A critique of an essay by David Daiches is followed by a detailed study of Seamus Heaney. In chapter five I map the trope of tĕšuvah onto contemporary ars poetica with reference to the poetry of Pilinszky, Popa, and to the poems and critical work of Ted Hughes. The chapter concludes with a brief exploration into the common ground shared between the terms tĕšuvah and versus as a means of highlighting the importance of proper maturation of the work. Chapter six consists of a discussion of how the kind of ‘dark saying’ found in ‘Job’ 38-41 impacts on an understanding of poetic language and its capacity to accelerate our comprehension of reality. I support this notion with excerpts from Joseph Brodsky and a close reading of Montale’s ‘L’anguilla’. Chapter seven further develops the notion of poetry as a means of propulsion beyond the familiar, the predictable or the clichéd, by examining the function of metaphor and what I term ‘quick thinking’, and by referring to two recently published poems by John Burnside and Don Paterson. In chapter eight I draw out the overall motif implied by a close reading of ‘Job’, that of the weathering of an ordeal, and map this onto ars poetica, looking at two aspects of labour, which I identify as ‘endurance’ and ‘letting go’, crucial for the proper maturation of a poem or body of poems. The concluding chapter develops the theme of the temple first discussed in chapter one. I argue for a connection between Job as a temple initiate, who has the capacity to atone for the false comforters, and poetry as a form of ‘at-one-ment’. This notion is supported by reference to Geoffrey Hill and Rilke. Part II of the thesis consists of a selection of my own poems, titled ‘Bedrock’.

Text in Afrikaans / The concepts of parody and pastiche are oftell employed by leading theoreticians to offer definitions of the elusive term "Postmodernism". One is led to conclude that parody and pastiche are direct1y linked to Postmodernism. This is especially valid in the case of pastiche. Indeed, it appears, therefore, that the continllous assumption of the appellation "pastiche" in the Postmodernist discourse could reveal its link to Postmodernism and Postmodernity in general. While parody and pastiche are not new phenomena, the question is why, ill our time, these concepts should be so acutely present in the discourse of literary theory - especially in theoretic contributions on Postmodernism and/or Postmodernis! texts. However, an investigation of the studies done on Postmodernist drama/theatre reveals a distinct lack of reflection about the role of parody and pastiche and a disturbing absence of publication on the the subject. This state of affairs reveals a conspicuous delay in terms of theoretical deliberation when compared to other investigat1ve practices, i.e. literary criticism and philosophy. This study, then, is essentially interested in transposing the present emphasis on parody and pastiche found in contemporary literary theory to Postmodernist drama/theatre. The final objective of this study is to explore the impact of the concepts of parody and pastiche on twentieth century drama/theatre and their possible contribution to a better understanding of the elusive term "Postmodemist drama/theatre". / Afrikaans and Theory of Literature / D. Litt. et Phil. (Literature)

Тема данной диссертации – «Творчество И. Бродского: приёмы и формы самоидентификации». Работа посвящена филологической реконструкции и анализу форм и приемов самоидентификации поэта, реализованных в его поэзии и прозе. В рамках исследования был проведен анализ специфики образного ряда лирики поэта в аспекте его авторефлексии, рассмотрено поэтическое письмо-послание как специфической жанровой формы самоидентификации Бродского, проанализированы стихотворения, посвященные «М. Б.», в аспекте реализации самоидентификации поэта через любовную драму. Также было уделено внимание изучению характера автобиографизма в мемуарных эссе Бродского, исследованию публичных выступлений поэта как способа выражения самоидентификации, анализу жанра открытого письма как формы публичного поведения. Как завершающий этап развития поэтического самосознания Бродского рассмотрено эссе «Письмо Горацию». Были выявлены и проанализированы основные черты самоидентификации Бродского, такие как склонность к отчуждению, конструирование автомифа и лингвистическая утопия поэта. / The topic of this dissertation is " The work of J. Brodsky: methods and forms of self-identification". The work is devoted to the philological reconstruction and analysis of the forms and techniques of the poet's self-identification, implemented in his poetry and prose. The study analyzed the specifics of the figurative series of the poet's lyrics in the aspect of his self-reflection, considered the poetic message as a specific genre form of Brodsky's self-identification, analyzed the poems dedicated to "M. B." in the aspect of the realization of the poet's self-identification through a love drama. Attention was also paid to the study of the nature of autobiography in Brodsky's memoir essays, the study of the poet's public speeches as a way of expressing self-identification, and the analysis of the genre of open writing as a form of public behavior. The essay "Letter to Horace" is considered as the final stage in the development of Brodsky's poetic self-awareness. The main features of Brodsky's self-identification were identified and analyzed, such as a tendency to alienation, the construction of an automyph and the linguistic utopia of the poet.