В первой части магистерской работы реферативно представлена теория романа М.М.Бахтина, а также научный взгляд на данную теорию. Во второй, практической, части представлен литературоведческий анализ финалов/ эпилогов классических романов XIX в., и сде��ана попытка применить теорию романа М.М.Бахтина на практике. / Pirmoje magisrto darbo dalyje yra referuojama M.M. Bachtino romano teorija, o taip pat kitų mokslininkų požiūris į šią teorija. Antroje, praktinėje, dalyje atlikta literatūrologinė klasikinių XIX a. romanų finalų analizė ir yra mėginama panaudoti M. M. Bachtino romano teoriją praktikoje. / In the first part the works is the theory of the novel of M.M.Bachtin, and also a scientific view on the given theory is presented. In the second, practical, to a part it is presented the analysis conclusions/epilogues of classical novels of XIX century, and attempt to put the theory of the novel of M.M.Bachtin into practice is made.

Das Hauptziel der Arbeit ist die Rekonstruktion der sozialen und kulturellen Rahmenbedingungen, unter denen dramatische Stücke zwischen Shakespeares Tod im Jahre 1616 und der Schließung der Theater im Jahre 1642 produziert wurden. Mithilfe einer Vielfalt zeitgenössischer Quellen erfolgt eine Rekonstruktion des historischen Kontextes aus zeitgenössischer Sicht. Die Arbeit analysiert wer die Menschen waren, für die Shakespeares Nachfolger ihre Stücke für die öffentlichen und privaten Bühnen Londons schrieben. Des Weiteren stellt die Arbeit dar, wie der Gang ins Theater in einer bisher von der Forschung nur wenig beachteten Epoche aussah und zeigt auf, wer genau in diesen Jahren ins Theater ging und wie diese Zuschauer und ihre Erwartungen an die Bühne durch eine Vielzahl externer und stetig wechselnder kultureller, politischer und sozialer Faktoren (z.B. Bärenhatzen, Prostitution, Hinrichtungen etc.) beeinflusst wurden. Zudem liegt ein weiteres Hauptaugenmerk der Arbeit darauf, wie die drei Autoren John Ford, Richard Brome und James Shirley in den Prologen und Epilogen zu ihren Stücken die Gegenwart der Zuschauer thematisiert und die Entwicklung des frühneuzeitlichen Theaters metadramatisch und selbstreflexiv angesprochen haben.

This thesis explores the origin and expression of dialectical thought in the life and writings of the American modernist Laura Riding. Within a biographical framework, I trace the steps by which it became the defining characteristic of her poetic, literary and critical works. A few have noted Riding's dialectical manner; none have appreciated its centrality. This is the first detailed study. An introductory outline of the origin and definition of dialectic provides a working theoretical context for the study that follows. Riding was born Laura Reichenthal in New York City, 1901. Her father, a Jewish émigré, was a committed activist for the left and included Riding in his campaigning at a very young age, immersing and educating her in the political and philosophical radicalism thriving in New York's Jewish communities of the era. There she internalised the revolutionary dialectics that would inform her aesthetic practice. Breaking with her father in her teens, she abandoned politics for literature. As Laura Riding - the name she adopted in 1927 and with which her literary writings continue to be associated - she moved to London and began collaborating with Robert Graves, relocating with him to Majorca in 1929. Producing poetry, fiction, criticism and experimental philosophico-literary works, she became a formidable presence within European literary modernism. Many aspects of her work are dialectical. Paradox, inversion and negation are perennial textual features. Key events in her life were also experienced as dialectical. Her insistence upon 'death' as an inverted sigil of unmediated vitality points toward a negatively dialectical mode of thought. In this regard, the theories of Theodor W. Adorno prove invaluable. Adorno provides a unique lexicon of terms - 'constitutive subjectivity', 'administered world', 'true object' - with which to draw out Riding's dialectical subtleties. Reading them alongside Adorno's negatively dialectical theory of modernist art and aesthetic praxis, certain aspects of Riding's writings are illuminated and, in some respects, they correspond. After a suicide attempt in 1929, Riding's perspective changed. Before it, her point of view was positioned within institutionally determined 'reality', and 'truth' beyond it was adumbrated by dialectical means. Afterwards, she believed herself transfigured: the embodiment of immediate, consciously apprehended noumenal objectivity. But the written word remained recalcitrant toward her attempts to inscribe this newfound positive 'truth'. This frustration contributed to her abandonment of poetry at the end of the 1930s. Re-emerging in the 1960s as Laura (Riding) Jackson, her disavowal of poetry and exploration of 'truth-potential' in language utilised dialectical approaches derived from her earlier experiences and writings.

Магистерская диссертация посвящена зачинам новелл Э. А. По как малоизученной области поэтики писателя. Цель работы – типологизация зачинов новелл Э. А. По на основании их лингвостилистических маркеров, характера предоставляемой в рамках зачина информации и мотивной наполненности. Актуальность исследования определяется отсутствием в науке общепринятой дефиниции зачина, критериев его делимитации, четкого понимания смыслового наполнения зачинов. Проанализировав существующие концепции теоретических описаний зачинов художественного текста, автор приходит к выводу об их недостаточности и конструирует собственное определение и собственную типологию зачинов для новелл Э. А. По, опираясь на эмпирические материалы исследования. Под зачином понимается первый абзац как содержательно-тематический блок, выделенный в соответствии с экспрессивно-образной авторской установкой. Проводится анализ нарративной субъектной организации зачинов, выделяются экспозиционные (интродукция персонажей, места и времени действия), композиционно-стилистические мотивы (апелляция к читателю, рассуждения), вариации приема «вырезанное начало». В результате исследования зачины были дифференцированы, на основании 1) способа сюжетно-композиционной организации рассказа (3 класса); 2) функции мотивов, преобладающих в зачине (11 подтипов). Отдельно рассматриваются особенности новаторской модели зачинов Э. А. По, где связь зачина с сюжетом условна, и сюжетная история служит иллюстративным материалом к изложенным в зачине тезисам. Материалом для исследования служат 66 новелл Э. А. По на английском языке из двухтомной антологии ‘The Complete Poems and Stories of Edgar Allan Poe’. / The master's thesis is devoted to the opening fragments of E. A. Poe's short stories as an understudied area of the writer's poetics. The aim of the study is to classify opening fragments (the beginnings) of E. A. Poe's short stories based on their linguistic and stylistic markers, the information provided within and the motif content. The relevance of the study is determined by the lack of a generally accepted definition of the opening fragment, criteria of its delimitation, a clear understanding of the concept and semantic content of the opening fragment in the literary and linguistics approaches. Having analyzed the available concepts of opening fragment’s theoretical descriptions in fiction texts, the author concludes their insufficiency and constructs his own definition and typology of opening fragments for the E. A. Poe’s short stories, based on the empirical research materials. The opening fragment is understood as the first paragraph of the work as a conceptual and thematic segment, allocated in accordance with the expressive and imaginative author's attitude. The analysis of narrative subjective organization of beginnings is carried out, and expositional (introduction of characters, place and time of action), compositional and stylistic motives (appeal to the reader, reasoning), variations of the ‘cut-off beginning’ technique are distinguished. As a result of the study, the opening fragments were differentiated: 1) according to the method of plot-compositional organization of the story (3 classes); 2) according to the functions of the motives prevailing in the opening fragment (11 subtypes). Separately, the features of the innovative model of E. A. Poe's opening fragments are considered, where the connection of the beginning with the plot is conditional, and the plot serves as illustrative material for the theses set out in the opening fragment. The material for the study is 66 original short stories by Edgar Allan Poe from the two-volume anthology ‘The Complete Poems and Stories of Edgar Allan Poe’.