A presente dissertação apresenta uma primeira tradução em língua portuguesa (variante brasileira) para o conto \"O forno\" (1969), do escritor soviético Evguéni Kharitónov, seguida de um glossário. A proposta do trabalho é realizar uma análise literária desse texto, centrada na figura do narrador-protagonista e suas peculiaridades. O desenvolvimento dessa análise dar-se-á em três partes: considerações a respeito do narrador em primeira pessoa e a caracterização de seu discurso como sendo um \"discurso amoroso\"; a construção das demais personagens do conto e suas relações com o narrador-protagonista; as relações que esse narrador-protagonista estabelece com o tempo e o espaço de sua narrativa; e, por fim, a conclusão. Além da tradução e da análise, esta dissertação apresenta, em apêndice, uma cronologia da vida e obra do escritor, bem como quatro outros textos ficcionais de sua autoria. Há também anexos com imagens referentes ao conto \"O forno\", com o intuito de ilustrar um pouco o contexto em que a história se passa, e algumas fotos do próprio Kharitónov. / The present dissertation presents the first translation in Portuguese (Brazilian variant) of the short story \"The Oven\" (1969), by the soviet writer Yevgeny Kharitonov, followed by a glossary. The works proposition is to carry a literary analysis of the text out, centered on the first person narrator and its peculiarities. The analysis development will happen in three parts: considerations about fisrt-person narrator and the characterization of its discourse as a \"lover\'s discourse\"; the characters construction and their relations with the narrator; the relations the first-person narrator establishes with time and space in the narrative; and lastly, the conclusion. Besides the translation and the analysis, there are, in appendix, a life and work chronology, as well as four additional fiction texts of the author. There are also, in addendum, images related to the short story \"The Oven\", in order to illustrate the contex of the story, in addition to some photos of Kharitonov himself.

Intimate spaces play a key role in the development of human identity, constructing identity through an internalized experience of the house itself. Building on Bachelard's theories in The Poetics of Space, I argue that characters in Yevgeny Zamyatin's We and J.G. Ballard's The Drowned World gain a new awareness of self after experiencing nature as a substitute for the house. The emergence of a new identity occurs because nature offers protection from the forces that inhibit both D-503 and Keran's individual growth ; it offers the safety of the house that neither character is allowed in a private home : D-503 because of the panoptic space of the One state and Kerans due to the nature of the changing circumstances of the environment and his own biology that force him to accept his role as a "new" human and the jungle as "home". / by Megan Mandell. / Thesis (M.A.)--Florida Atlantic University, 2013. / Includes bibliography. / Mode of access: World Wide Web. / System requirements: Adobe Reader.

[pt] Este trabalho tem como objetivo central analisar comparativamente três dos principais romances distópicos escritos na primeira metade do século XX: We (1924) de Yevgeny Zamyatin, Brave New World (1932) escrito por Aldous Huxley e 1984 (1949) escrito pelo romancista e jornalista inglês George Orwell. Não se trata aqui de pensar apenas em como essas obras foram moldadas por um ou outro conjunto de pressões históricas, mas sim procurar refletir especialmente se e como essas obras também podem possuir uma dimensão propositiva comum a todas elas. Elabora-se, a partir desse esforço, a categoria de estética do prognóstico, no interior do próprio pensamento crítico e ensaístico de Aldous Huxley. Partindo da obra de Huxley e posterioremente testando a força dessa categoria de estética do prognóstico frente aos dois outros romances, fomos capazes de perceber como a ficção opera a construção de uma encenação que pretende ser mais do que mera encenação. Pretende ser ela mesma uma espécie de realismo do futuro, chamado por nós de realismo distópico. Mas esse realismo não encontra o ponto máximo de sua representação da realidade na literatura ao profetizar (prognosticar) os meios pelos quais a sociedade do futuro irá se desenvolver, mas sim nas tópicas centrais à construção de seus protagonistas: o amor e a morte. / [en] This work is mainly aimed at comparing three of the main dystopian novels written in the first half of the twentieth century: We (1924) by Yevgeny Zamyatin, Brave New World (1932) written by Aldous Huxley and 1984 (1949) written by the english novelist and journalist George Orwell. We re not only interested to think of how these works were shaped by either set of historical pressures, but rather trying to reflect especially if and how these works may also have a common propositional dimension to all of them. Draws up from that effort, the category of the aesthetic of prognosis, built inside the critical and essayistic thought of Aldous Huxley himself. Starting from the work of Huxley and then testing the strength of this category of aesthetic of prognosis compared to the other two novels, we were able to understand how fiction works to build a staging that aims to be more than mere acting. Want to be itself a kind of realism of the future, called by us the dystopian realism. But this realism did not find the peak of its representation of reality in literature prophesying (predicting) the means by which the society of the future will develop, but on the construction of the central protagonists issues: love and death.

The tradition of civic poetry occupies a unique place in the history of Russian literature. The civic poet (grazhdanskii poet) characteristically addresses socio-political issues and injustices relevant to the era in opposition to the established authority. This often comes out of a sense of responsibility to the nation. During the Thaw period (1953-63), an interval of relative artistic freedom that followed decades of severe artistic control, Y. Yevtushenko (1932- ) was among the first poets who dared to speak critically about the social and political injustices that occurred during Stalin’s dictatorship. At that time, his civic-oriented poetry focused primarily on the reassessment of historical, social, and political values in the post-Stalin era. The aim of the present study is to evaluate Yevtushenko’s position within the tradition of civic poets and to illustrate his stylistic ability to combine lyrical intimacy and autobiographic experiences with national and international issues in the genre of civic poetry. I approach the subject using a methodology of close examination: a formal and structural analysis of select poems in the original Russian. In addition, relevant social, political, and historical conditions are taken into account, as well as Mayakovsky’s influence on Yevtushenko’s poetry. This research offers a definition of the term “civic poet” and supplies a historical survey of civic poetry that dates back to the satires of the eighteenth century. I specifically refer to the Russian icons of this genre: G. Derzhavin, A. Pushkin, K. Ryleev, M. Lermontov, N. Nekrasov, and V. Mayakovsky. I start my evaluation of Yevtushenko as a civic poet by examining his narrative poem, Stantsiia Zima (1956), and proceed with a detailed analysis of his most important political poems of the Thaw period: “Babii Yar” (1961) and “Nasledniki Stalina” (Heirs of Stalin, 1962). In addition, I assess Yevtushenko’s political and cultural acts throughout his career. Finally, I further analyze select poems by Yevtushenko that were published from 1990 to 2005, to offer a new and more complete view of Yevtushenko’s place in the canon of Russian civic poets.

The tradition of civic poetry occupies a unique place in the history of Russian literature. The civic poet (grazhdanskii poet) characteristically addresses socio-political issues and injustices relevant to the era in opposition to the established authority. This often comes out of a sense of responsibility to the nation. During the Thaw period (1953-63), an interval of relative artistic freedom that followed decades of severe artistic control, Y. Yevtushenko (1932- ) was among the first poets who dared to speak critically about the social and political injustices that occurred during Stalin’s dictatorship. At that time, his civic-oriented poetry focused primarily on the reassessment of historical, social, and political values in the post-Stalin era. The aim of the present study is to evaluate Yevtushenko’s position within the tradition of civic poets and to illustrate his stylistic ability to combine lyrical intimacy and autobiographic experiences with national and international issues in the genre of civic poetry. I approach the subject using a methodology of close examination: a formal and structural analysis of select poems in the original Russian. In addition, relevant social, political, and historical conditions are taken into account, as well as Mayakovsky’s influence on Yevtushenko’s poetry. This research offers a definition of the term “civic poet” and supplies a historical survey of civic poetry that dates back to the satires of the eighteenth century. I specifically refer to the Russian icons of this genre: G. Derzhavin, A. Pushkin, K. Ryleev, M. Lermontov, N. Nekrasov, and V. Mayakovsky. I start my evaluation of Yevtushenko as a civic poet by examining his narrative poem, Stantsiia Zima (1956), and proceed with a detailed analysis of his most important political poems of the Thaw period: “Babii Yar” (1961) and “Nasledniki Stalina” (Heirs of Stalin, 1962). In addition, I assess Yevtushenko’s political and cultural acts throughout his career. Finally, I further analyze select poems by Yevtushenko that were published from 1990 to 2005, to offer a new and more complete view of Yevtushenko’s place in the canon of Russian civic poets.

The objective of this thesis is to explain how Dmitrii Shostakovich used Yevgeny Yevtushenko's poetry to create the Thirteenth Symphony. This collaboration between two arts, poetry and music, reflects more than just separate ideas. The five movements of the symphony bring to public conscience the political opinions of Shostakovich regarding life in the Soviet Union.

This dissertation chronicles the discourse of sincerity in state published Soviet Russian literature and criticism from Stalin’s death in 1953 to 1970. It presents a means of reading sincerity as a literary device in fiction and poetry that corresponds to an understanding of sincerity as rhetoric. This view holds that sincerity is a socially determined effect of language and affect. As such, the dissertation begins by analyzing the valences of sincerity during the Thaw, exploring them in connection with writers of the Village Prose and Youth Prose movements as well as in the poetry of Evgenii Evtushenko. From this survey of different literary trends, a general framework of a shift from an essentialist to a performative conception of sincerity in Russian official literature is presented. This dissertation argues that there was a gradual process which saw authoritative discourse and a discourse of sincerity exist in tension with each other in the early Thaw before performativity seeped into sincerity rhetoric in the Youth Prose of the early ‘60s. An awareness of sincerity as rhetorical or performative language flourished in postmodernist literature and late Soviet underground art, creating a mode that was self-conscious of the impossibility of essential sincerity while still seeking a way to be sincere.

Tom Wolfe was a founding father of New Journalism, revolutionizing journalistic reporting by introducing literary tools of storytelling. The literary influence on New Journalism is well-covered by journalism scholars, but Wolfe was also a fiction writer, and as such he actively tried to rally his generation of fiction writers behind him for a New Social Novel, more grounded in reality and reporting. His post-postmodern novels also amalgamate journalism and literature, but how and to what extent journalism influenced his fiction writing is a story yet untold.  Wolfe provided a normative blueprint for how to achieve verisimilitude in fiction, in his literary manifesto: “Stalking the Billion-Footed Beast”. At about the same time, he started writing the novel A Man in Full. Using A Man in Full as an application of his ideas of the ideal novel, this thesis investigates how Wolfe constructed the reality effect in his fiction and foregrounds the origins of Tom Wolfe’s literary voice, focusing on onomatopoetic language, statuspheric minutiae, expressive punctuation, and Wolfe’s characteristic wake-the-dead prose style. I argue that Wolfe did reinvent verisimilitude in literary realism, but not in the way that he intended, through reporting and status details, but rather through language.

My aim with this essay is to analyse how the theme of sexuality and love in two dystopian novels – We  (1924),  by Yevgeny Zamyatin and Kallocain  (1940), by Karin Boye – relate to “the modern project”, a term I use to identify a cluster of important ideas that profoundly impacted society in the first decades of the 20th century. My analysis is based on a theoretical point of view claiming that dystopian novels present a critical perspective on society, and that they deal with issues, problems and values specific to the period in which they were written. Using a comparative method, where “the modern project” works asan “Ansatzpunkt”, I explore a variety of texts studying the theme of love and sexualityin We  and Kallocain  from different perspectives. I further discuss how both novels criticize societies where some of the ideas from “the modern project” are realized in unexpected ways: the “bourgeois family” is gone and the state performs some of its duties, sexuality is reduced to biological needs and reproduction, and love relationships are seen as egotistical and irrational. Even though these societies are trying hard, they can’t stop their citizens from using love and sexuality as a means to connect to one another and build a resistance. My conclusion is that both Zamyatin and Boye most likely were inspired by the writings of Sigmund Freud, who at that time was highly influential. In this light their novels can beinterpreted as presenting the human libido (We) and insights gained through psychoanalysis (Kallocain) as defences against collectivistic totalitarian states.

The aim of this essay is to provide an answer to the question "What is the Meaning of Meaningless sex in Dystopia?". It will show that meaningful concepts such as sexual satisfaction, pleassure, passion, love, bonding, procreation and family are handled as threats in dystopian societies described in well-known novels as We, Brave New World and Nineteen Eighty-Four . It will explain how the conflict between the collective and the individual influences peoples' sexuality. It will also show how leading powers in the three dystopian societies use different methods to remove the significanse and functions of sex. It will suggest meaningless sex is a means to control the masses in a collective and that meaningful sex is an act of rebelion against the state. / .