Thesis (Ph. D.)--University of Texas at Austin, 2005. / Vita. Includes bibliographical references.

Thesis (D.M.A.--Music)--University of California, San Diego, 2000. / Vita. Works analyzed: First piano concerto / Dmitri Shostakovich -- Quintet for piano and strings / Alfred Schnittke -- Drei Stücke / Edison Denisov -- Sonata no. 5 in ten movements / Galina Ustvolskaya. Duration of acc. tapes: 1:25:00. Includes bibliographical references (leaves 77-84).

Though it is not certain to what extent Gogol was familiar with Dante, it appears he may have regarded Dead Souls I (1842) as the first part of a tripartite scheme in light of La Divina Commedia. Interestingly, the foundations for such a scheme can be found in Gogol's first major publication, Evenings on a Farm near Dikanka (1831-1832) and, in the prose fiction and plays of 1835-1836, a definite pattern is revealed. The pattern that evolved in the works of this period involves the emergence of a demonic element which shatters any illusion of a Paradise which may have been established previously. Consequently, one is then drawn down through the awakenings of conscience - Purgatory and, finally, to realization in the Inferno. The inversion of the Dante scheme which takes place, results in a "commedia del demonio". This "commedia" is particularly significant for both interpreting Gogol's works and for understanding the author himself. It forms a bridge between Gogol's early comic-gothic tales in Evenings and the mature style and humour of Dead Souls. Equally important is the fact that correlations with the literary devices and the religious thought of Dante's time can also be seen. Such works as "Old World Landowners" (Mirgorod, 1835), "Viy" (Mireorod, 1835), "Nevsky Prospekt" (Arabesques, 1835) and the play The Government Inspector (performed in 1836) are especially representative of Nikolai Gogol's "commedia del demonio", and therefore form an integral part to this study. In connection with these and other works, certain links concerning the literary and historical heritage, and personal spirituality which exist between Gogol and Dante as reflected in both their own life and works will be examined as well. Thus the "commedia" scheme, and ultimately, Gogol as a writer of the human "soul" may be better understood. / Arts, Faculty of / Asian Studies, Department of / Graduate

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An examination of the compositional style illustrative of the anti-collectivist ideology as found in Edison Denisov's Quatre Pièces pour flûte et piano. Includes a short history of Denisov's formal training, history of the Soviet musical environment, an overview of his creative output, and discussion of the anti-collectivist characteristics in his works. Defines the anti-collectivist doctrine as individual reaction to the totalitarian collective of the Soviet communist state of the twentieth century. Identification of eclectic compositional techniques, and how they represent individual expression under a totalitarian regime. Listing of Denisov's works with the flute in a primary role, interviews with Aurèle Nicolet and Ekaterina Denisov, correspondence from Denisov to Nicolet, and the manuscript score to Quatre Pièces pour flûte et piano follow as appendices.

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Gogol, Dostoevsky and Bely are three Russian novelists, most of whose writings are set in the city of St. Petersburg, and whose feelings for their city were a bizarre mixture of love and hatred. / This dissertation is divided into four chapters, the first of which is a survey of the attitudes held by the literary predecessors and contemporaries of Gogol, Dostoevsky and Bely toward St. Petersburg, and a discussion of the influence of the French feuilletons on the nineteenth-century Russian urban novel. The second chapter is an investigation of the overall image of the city as presented to the reader by the three writers. The predominantly tragic fate of the novelists' heroes is discussed in the third chapter. The final chapter is a study of six major recurrent themes which link the urban novels of Gogol, Dostoevsky and Bely.

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