Thesis (Ph. D.)--Ohio State University, 2009. / Title from first page of PDF file. Includes bibliographical references (p. 285-299).

Thesis (M.A.)--The University of North Carolina at Greensboro, 2009. / Directed by Keith Cushman; submitted to the Dept. of English. Title from PDF t.p. (viewed Apr. 29, 2010). Includes bibliographical references (p. 36-39, 67-68).

No description available.

No description available.

Thesis (M.A.)--Oregon State University, 2010. / Printout. Includes bibliographical references (leaves 92-96). Also available on the World Wide Web.

No description available.

My thesis addresses two significant misrepresentations in western criticism and translation of Mayakovsky that have developed since his death in 1930: his diminished status as a Marxist poet; and his negative attitude towards everyday life (byt). Part One (‘Mayakovsky and Marxism') contests the consistent refusal in the west to acknowledge Mayakovsky as a Marxist poet and demonstrates instead, through a close examination of the specific terminology used in certain essays and poems by Mayakovsky in relation to that used by Karl Marx in Capital, not only that the poet is keenly engaged with and influenced by Marxist theory, but that he uses that theory explicitly to describe and imagine the production of ideal communist writing. Part Two (‘Mayakovsky and Byt') contests the widespread western characterisation of Mayakovsky as a misogynist whose hatred of domesticity in all its forms has long been accepted as fact. At the heart of this characterisation is the Russian concept of byt (everyday life), which has been systematically misunderstood and mistranslated in relation to Mayakovsky. Through a study of the complex cultural, political and social developments of this concept in early Soviet Russia, alongside the collation of my own translations of twenty-nine never-before-translated poems by Mayakovsky on the subject of byt, this part of the thesis presents a radical and feminist perspective of the poet as a vocal proponent of equality and revolution in everyday life. Both contestations represent the first sustained studies of their kind in English, and – in the case of Part Two in particular, which is the first of its kind in any language – constitute significant and challenging contributions to Mayakovsky scholarship.

Plankwalk is a creative thesis in the form of a novella and critical afterword. The essay explains how the author makes use of a variety of sources, and how he shapes their effect according to an original conception of the form of the contemporary novella. There follows a discussion of this form and its relation to the confessional narratives of Vladimir Nabokov, and to cultural critics' views on the social role of criminals. The author demonstrates how the changing nature of criminality and confession is reflected in the works of de Sade, Poe, and Nabokov. The issues of the handling of irony, paranoia and the relation of crime to work emerge as the key elements. The author posits the fusion of confessional narrative with the literature of genre overdetermination, in which the expectations of genre dominate a character's interiority.

Thesis (M.A.)--University of Missouri-Columbia, 2004. / Typescript. Includes bibliographical references (leaves 58-59). Also available on the Internet.

Thesis (M.A.)--University of Hong Kong, 1999.