Browsing by Subject "Russian literature"
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Item “A cousinly resemblance” : negotiating identity in literature of Russia and the U.S. South(2016-05) Leachman, Julianna Lee; Hutchison, Coleman, 1977-; Kuzmic, Tatiana; Bremen, Brian; Livers, Keith; Pesenson, MichaelFollowing Carson McCullers’ 1941 declaration that “there is surely a cousinly resemblance” between Russian literature and literature of the U.S. South, this dissertation examines that affinity, revealing that understandings of identity in both Russia and the U.S. South have been shaped by their historic marginalization by the dominant cultural centers of Europe and the U.S. North, respectively. This oppositional definition of identity, which has labeled Russians and southerners as inferior “others” against which those in the cultural centers define themselves, has led to a cultural hybridity that wavers between allegiance to a conservative, defensive self-definition of superiority to the dominant culture and a more cosmopolitan identity that seeks to integrate fully with a multicultural and multinational global culture. Scholarly dialogue surrounding issues of regional and national identity, from Gilles Deleuze and Felix Guattari’s conception of “minor literature” to Homi Bhabha’s understanding of “minority discourse” to Edward Said’s ruminations on exile and postcolonial identity, inform my study of Russian and southern identity. Through a comparative analysis grounded in literary-historical and cultural studies, I examine literary texts by three Russian writers and three writers from the U.S. South, spanning more than a one hundred year period from 1842 to 1955. Attending closely to works by Andrei Platonov, Nikolai Gogol, Fyodor Dostoevsky, William Faulkner, Flannery O’Connor, and Carson McCullers, this dissertation seeks to answer questions of authority and authenticity regarding the stories of Russia and the U.S. South. By insisting on a reevaluation of traditional accounts of regional or national narratives, the authors considered here demand to know who or what gets to belong to these narratives, and by whose standards.Item Ethnic passing across the Jewish literary diaspora(2011-12) Katsnelson, Anna; Wolitz, Seth L.; Richmond-Garza, Elizabeth; Hoberman, John; Lindstrom, Naomi; Roncador, SoniaIn my dissertation, I examine the works of six writers (George S. Kaufman, Moss Hart, Clarice and Elisa Lispector, Evgenia Ginzburg and Vasilii Aksyonov) who did not explore their Jewish identity in their texts and were subsequently left out of the canons of Jewish literature in their respective countries. My goal is to recalibrate the concept of the Jewish canon from the charged notion of identity to a theory of shared thematic material in which the works of hyphenated Jewish writers will be considered under the category of ‘Jewish American, Brazilian, or Russian’ if they share definite attributes. This was a transnational study showing that similar forces were at work not only in one country, but across continents, affecting the sensibilities of Jewish writers in remarkably similar ways. On a larger scale their de-thematized narratives share thematic tropes and belong to a ‘minor, liminal, marginal narrative,’ a narrative which attempted to work within the scope of the master narratives produced by the hegemonic culture. I have claimed that even though these six writers did not thematize identity in their texts, because of the negative political and social situation for the Jew in the first half of the twentieth century in western civilization, this situation and the writers’ own alterity produced similar and overlapping narratives.Item Predatory portraiture : Goethe's Faust and the literary vampire in Gogol's [P]opmpem and Wilde's The picture of Dorian Gray(2010-12) Anderson, Matthew Neil, 1983-; Garza, Thomas J.; Richmond-Garza, Elizabeth M.Despite the fact that there seems to be no direct link between the works of Nikolai Gogol and those of Oscar Wilde, Gogol’s novella, Портрет (The Portrait) and Wilde’s novel, The Picture of Dorian Gray, share many elements in common, most notably the device of the predatory portrait. This report explores the parallels that exist between these two texts and argues that they mutually derive from elements found in Goethe’s Faust and the trope of the literary vampire.Item Uri-Nisn Gnesin : between the worlds, belonging to both(2012-05) Bredstein, Andrey Alexander, 1970-; Grumberg, Karen; Raizen, Esther; Ghanoonparvar, Mohammad; Hoberman, John; Livers, KeithThis dissertation examines the life and work of the Jewish writer Uri-Nisn Gnesin (1879-1913). Living in Russia, using Yiddish in his daily life, and writing prose in Hebrew, Gnesin was part of a multicultural and multilingual generation, which was too assimilated to live the traditional life of its fathers, and yet, not able to break with it completely. For many Russian Jews, this dual identity, rarely recognized in modern scholarly discourse on Hebrew literature, resulted in psychological discomfort, feelings of guilt, and other traumas. Addressing this identity crisis, I show how the worldview of an assimilated Russian Jew is reflected in Gnesin’s Hebrew fiction. I offer an alternative view of Gnesin as a Jewish-Russian writer whose dual identity played a more complex role in his literary work and whose influence transcended a simple knowledge of languages or classic texts. It was not merely a language or a book, but the unique Jewish-Slavic atmosphere of small Eastern European towns that provided Gnesin with all the models necessary for thinking, feeling, and writing. In my study, I consider theories of canonization to demonstrate the reason why Gnesin has first and foremost been categorized as a Hebrew writer. Contemporary scholars of modern Hebrew fiction generally agree that Gnesin’s fiction is secular due to the non-Jewish associative infrastructure of his work. By exploring the historical and spiritual conditions of Gnesin’s generation, I attempt to overcome the limitations of such a view, which overemphasizes the role of language in his development as a writer. A functional analysis of Gnesin’s literary language maintains that although he found his best form of expression in literary Hebrew, it appeared mostly in the final stages of his writing. I propose that Gnesin and that whole generation of modern Hebrew writers used a special “hyper-language” consisting of three integral parts: a natively spoken language, a commonly spoken non-Jewish national language, and a written literary language. Ultimately, Gnesin appears to be a fin de siècle writer who used Hebrew language as a sophisticated tool to propagate his troubled Jewish-Russian experience.