Thesis (Ph.D.) - University of St Andrews, April 2007.

Thesis (Ph. D.)--University of Wisconsin--Madison, 1972. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.

Texte remanié de: Habilitationsschrift--Fakultät für Geschichtswissenschaft und Philosophie--Universität Bielefeld, 1997. / Bibliogr. p. 409-454. Index.

This thesis explores Joseph Roth's image of the Habsburg Empire es depicted in two of his works, namely Radetzkymarsch (1932) and Die Kapuzinergruft (1938).

Through a close analysis of Suzanne Collins’ Hunger Games series and Veronica Roth’s Divergent series, it will be shown that these two-current young adult dystopian book-film crossovers pose several relevant parallels to contemporary real-world problems. By deciphering a pattern on what garners their popularity, and most importantly analyzing the aspect of why they reached such levels of recognition, we can then begin to close in on just how important these two series are in representing the 21st century young American mindset. Taking into the equation also, how the overall-arching genre of dystopia has evolved with the times and has now adapted to reflect contemporary anxieties and fears. Looking into several elements such as a newfound desire for strong female roles, persuasive antagonists that are inspired by realistic historical precedents, and an unsettling desensitization towards violence and gore, we can then see that the successful equation of The Hunger Games and Divergent series reflects mainstream interests evocatively and effectively. It is not just an intervention into the encompassing utopian/dystopian tradition, but into today’s sociology. / Includes bibliography. / Dissertation (Ph.D.)--Florida Atlantic University, 2018. / FAU Electronic Theses and Dissertations Collection

Philip Roth's parody of autobiography in the Zuckerman series is part of a larger debate concerning the problems of Jewish art. As Roth manipulates personal and personified autobiography, he both underlines and undermines Jewish traditions of reading and writing. To be sure, Zuckerman's struggle for artistic identity articulates a long-standing Jewish concern with the tensions of collective representation. It is from a culture consistently threatened by alienation and extermination that Roth finds his terms of reference. Zuckerman and his creator are subject to a whole discourse of Jewish textuality: to Jewish notions about the relationship between the individual and the group; between fact and fiction and between aesthetics and morality. / However, the Zuckerman books are at once part of a continuum of Jewish culture and a unique response to the pressures of contemporary American Judaism. Through his humorous manipulations of autobiographical fiction, Roth finally counter-turns the very compasses by which he has oriented himself. He offers a potent commentary on the fatuity of Jewish "facts" and on the fictitious nature of the collectivized Jewish voice. For Roth, it is not only the Jew's experience, but his/her imagination, his/her individual frame of understanding, that determines ethnic identity. In the end, Roth challenges the cohesion of the Jewish cultural text. He places himself in a house of mirrors, where life and art, self and group, Jewish reverence and Jewish rebellion, endlessly reflect off one another.

This thesis takes as its starting point the consensus among scholars and interpreters of Joseph Roth’s work that his writing can be divided into two periods: an early “socialist” phase and a later “monarchist” phase. In opposition to this view, a reading of Roth’s novels is put forward in which his desire to make sense of post-Habsburg Central Europe provides the underlying logic, thus reconciling his early novels with Radetzkymarsch and Die Kapuzinergruft. The first chapter addresses the common contention that the transformation in Roth’s work is the result of a deep identity crisis. An alternative reading of the relevance of Roth’s identity to his work is offered: namely, that Roth’s conviction that identity is multivalent explains his rejection of both nationalism and other “solutions” to the problems of post-war Europe, a sentiment that finds expression in his early novels. The interpretation of these novels, which represent Roth’s early attempts to give literary form to contemporary reality, is the focus of the second chapter of the thesis. In the third chapter Radetzkymarsch is analyzed as a historical novel in the terms first proposed by Georg Lukács, as a novel which facilitates the understanding of the present through the portrayal of the past. Paradoxically, it is the historical form that most effectively captures and illuminates the complex reality of Roth’s contemporary times. The fourth and final chapter demonstrates that Die Kapuzinergruft is not simply an inferior sequel to Radetzkymarsch, a nostalgic evocation of an idealized lost Habsburg world and condemnation of the 1930s present, but rather continues the dialogue between past and present begun in Radetzkymarsch. In this novel, written before and in the immediate aftermath of the Anschluß of Austria to Nazi Germany, it is not Roth but his narrator who takes flight from reality, behaviour that Roth condemns as leading to the repetition of mistakes from the past and the failure to prevent the ultimate political catastrophe.

Thesis (M.A.)--University of Delaware, 2007. / Principal faculty advisor: Elaine B. Safer, Dept. of English. Includes bibliographical references.

No description available.

Den här uppsatsen är en komparativ studie, vilken behandlar ungdomsromanen Divergent skriven av Veronica Roth 2011 och dess filmatisering. Syftet med uppsatsen är att belysa skillnader och likheter mellan boken och filmen, med fokus på framställningen av två huvudkaraktärer. Utöver den komparativa analysen av karaktärerna förs en diskussion kring vikten av att belysa likheter och skillnader mellan karaktärer i två medier och dess relevans för den pedagogiska verksamheten. Detta för att barn ska bli medvetna om förändringar som kan ske då en berättelse byter medium. Uppsatsens resultat visar att karaktärernas framställning till stor del liknar varandra. De ändringar som gjorts anses vara till förmån för det nya mediet adaptionen anpassas till.