Thesis (M.A.) -- Central Connecticut State University, 2010. / Thesis advisor: Aimee Pozorski. "... in partial fulfillment of the requirements for the degree of Master of Art in English Literature." Includes bibliographical references (leaves 88-89). Also available via the World Wide Web.

Thesis (M.A.)--University of Hong Kong, 2001. / Includes bibliographical references.

Thesis (M.A.)--University of Hong Kong, 2001. / Includes bibliographical references. Also available in print.

This work examines the fiction of Salman Rushdie--Grimus, Midnight's Children, Shame and The Satanic Verses, and its complex narrative structure. Fictional narrative is discussed in terms of structuralist theory using studies by Mieke Bal, Seymour Chatman and Gerald Prince. Historical narrative is analyzed through the writings of the philosophers of history, Hayden White, Louis O. Mink and Paul Ricoeur. These theories are applied to the fiction of Salman Rushdie in order to investigate his use of narrative. It is concluded that he uses a combination of historical and fictional narrative in order to explode existing 'truths' and mythologies, and to suggest alternative realities in their place.

This thesis argues that the shortcomings of modernist liberal defences of Salman Rushdie's The Satanic Verses have helped to draw debate over the book into a stalemate. It also attempts to demonstrate how aspects of this stalemate might be broken. Chapter One contains a brief philosophical survey of the debate, juxtaposing the framework relativism propounded by Rushdie and many of his advocates with the absolutism of Rushdie's Muslim detractors. The chapter closes with an analysis of the contradictions present in Rushdie's relativistic defence of his novel. / Chapter Two opens with a short argument against existing blasphemy laws. The philosophical sketches in Chapter One are applied to the contents of the novel itself, producing an outline of the contending views of "literary contest" and "authorial intention" held by the two sides in the debate, and illuminating Rushdie's apparent confusion about the purposes of his novel. / Chapter Three proposes a solution--based on philosopher Alasdair McIntyre's thought--to defects in modernist liberal defences of The Satanic Verses.

University, Diss., 2006--Heidelberg. / Erscheinungsjahr an der Haupttitelstelle: 2005.

Thesis (Ph. D.)--University of Virginia, 1996. / Includes bibliographical references (leaves 293-318). Also available online through Digital Dissertations.

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This dissertation explores the porous boundaries between Salman Rushdie's fiction and the various manifestations of the filmic vision, especially in Midnight's Children, The Satanic Verses, and other selected Rushdie texts. My focus includes a chapter on Midnight's Children, in which I analyze the cinematic qualities of the novel's form, content, and structure. In this chapter I formulate a theory of the post-colonial novel which notes the hybridization of Rushdie's fiction, which process reflects a fragmentation and hybridization in Indian culture. I show how Rushdie's book is unique in its use of the novelization of film. I also argue that Rushdie is a narrative trickster. In my second chapter I analyze the controversial The Satanic Verses. My focus is the vast web of allusions to the film and television industries in the novel. I examine the way Rushdie tropes the "spiritual vision" in cinematic terms, thus shedding new light on the controversy involving the religious aspects of the novel which placed Rushdie on the most renowned hit-list of modern times. I also explore the phenomenon of the dream as a kind of interior cinematic experience. My last chapter explores several other instances in Rushdie's works that are influenced by a filmic vision, with specific examples from Haroun and the Sea of Stories, "The Firebird's Nest," and numerous other articles, interviews, and essays involving Rushdie. In my conclusion I discuss some of the emerging similarities between film and the novel, born out of the relatively recent technology of video cassette recorders and players, and I examine the democratizing effects of this relatively new way of seeing.