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Iurii Olesha : = His Encounter with Soviet Culture.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Iurii Olesha :/
其他題名:	His Encounter with Soviet Culture.
作者:	Jones, Thomas Robert.
面頁冊數:	1 online resource (253 pages)
附註:	Source: Masters Abstracts International, Volume: 83-06.
Contained By:	Masters Abstracts International83-06.
標題:	Society. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=28822799click for full text (PQDT)
ISBN:	9798496596411

Iurii Olesha : = His Encounter with Soviet Culture.
Jones, Thomas Robert.

Iurii Olesha :His Encounter with Soviet Culture. - 1 online resource (253 pages)

Source: Masters Abstracts International, Volume: 83-06.

Thesis (M.A.)--The Australian National University (Australia), 1968.

Includes bibliographical references

Even on his deathbed Olesha played at being king. This was in character. His life had been spent hastening about the Soviet landscape, together with an incongruous baggage of crown jewels and royal robes, looking for his kingdom. the realm where he would be recognized as lord, where the currency would be metaphors and dreams, where machines would be proscribed by law, and circuses would play all the year round. He declared several times that he had sighted it on the horizon, but it always proved to be a false alarm. So he died still playing the part.This slightly pathetic figure was the author of a novel of 2 great artistic promise, Envy, and a successful children's story which has remained popular as a book, a play and now a film, to this day.3 He produced several originally conceived and written short-stories, and was considered a prominent playwright about the turn of the 1930's. Beginning with the early 30's however, his creative output conformed more and more to the socialist realist stereotypes, his creative pivots and thematic concerns became obsessions and slogans, his short-stories and plays turned into statements of government policy or remained forever unfinished fragments. After his death in 1960, his 'farewell' book, Not a Day without a Line, was published, artistically scarcely more satisfying than any of his other literary notes and reminiscences of the preceding three decades, but throwing a lot of light on the question of why, to use one of Olesha's own favourite images, the ugly duckling had failed to change into a fully-fledged swan.This thesis, while determining Olesha's position in Russian literature with regard to themes and style, traces the decline of Olesha's art as he acceded to the demands of socialist realism and battled to find a place for himself in the Soviet society of his era. It attempts to show that the writer's 'cancer of the imagination' and growing inability to write anything but featureless sketches and abject pieces of propaganda for obscure magazines were not attributable to inner elements of sterility alone but also to the official literary policy of the times and the social conditions under which Olesha lived. In order to trace these developments accurately, Olesha's works are examined virtually in chronological order, except where his drama and short stories have been grouped and analysed separately to facilitate comparison and in the case of some of his publicist and literary articles and reminiscences.This thesis does not encompass any criticism of Olesha's poetry, although some general observations on the nature of the verse written under the pseudonym 'Zubilo' are included in Chapter One in order to clarify certain aspects of the author's later development. An attempt is made to cover Olesha's fiction and drama as comprehensively as possible. However, some of Olesha's 'sketches' and 'tales' have not been considered, particularly those of a purely sporting, political or patriotic nature. 1 Similarly, a selection has been made from his film scenarios and numerous articles, interviews and speeches on literary and other matters.

Electronic reproduction.
Ann Arbor, Mich. :
ProQuest,
2023

Mode of access: World Wide Web

ISBN: 9798496596411Subjects--Topical Terms:

700566
Society.
Index Terms--Genre/Form:

542853
Electronic books.

Iurii Olesha : = His Encounter with Soviet Culture.
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500 $a Source: Masters Abstracts International, Volume: 83-06.
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504 $a Includes bibliographical references
520 $a Even on his deathbed Olesha played at being king. This was in character. His life had been spent hastening about the Soviet landscape, together with an incongruous baggage of crown jewels and royal robes, looking for his kingdom. the realm where he would be recognized as lord, where the currency would be metaphors and dreams, where machines would be proscribed by law, and circuses would play all the year round. He declared several times that he had sighted it on the horizon, but it always proved to be a false alarm. So he died still playing the part.This slightly pathetic figure was the author of a novel of 2 great artistic promise, Envy, and a successful children's story which has remained popular as a book, a play and now a film, to this day.3 He produced several originally conceived and written short-stories, and was considered a prominent playwright about the turn of the 1930's. Beginning with the early 30's however, his creative output conformed more and more to the socialist realist stereotypes, his creative pivots and thematic concerns became obsessions and slogans, his short-stories and plays turned into statements of government policy or remained forever unfinished fragments. After his death in 1960, his 'farewell' book, Not a Day without a Line, was published, artistically scarcely more satisfying than any of his other literary notes and reminiscences of the preceding three decades, but throwing a lot of light on the question of why, to use one of Olesha's own favourite images, the ugly duckling had failed to change into a fully-fledged swan.This thesis, while determining Olesha's position in Russian literature with regard to themes and style, traces the decline of Olesha's art as he acceded to the demands of socialist realism and battled to find a place for himself in the Soviet society of his era. It attempts to show that the writer's 'cancer of the imagination' and growing inability to write anything but featureless sketches and abject pieces of propaganda for obscure magazines were not attributable to inner elements of sterility alone but also to the official literary policy of the times and the social conditions under which Olesha lived. In order to trace these developments accurately, Olesha's works are examined virtually in chronological order, except where his drama and short stories have been grouped and analysed separately to facilitate comparison and in the case of some of his publicist and literary articles and reminiscences.This thesis does not encompass any criticism of Olesha's poetry, although some general observations on the nature of the verse written under the pseudonym 'Zubilo' are included in Chapter One in order to clarify certain aspects of the author's later development. An attempt is made to cover Olesha's fiction and drama as comprehensively as possible. However, some of Olesha's 'sketches' and 'tales' have not been considered, particularly those of a purely sporting, political or patriotic nature. 1 Similarly, a selection has been made from his film scenarios and numerous articles, interviews and speeches on literary and other matters.
533 $a Electronic reproduction. $b Ann Arbor, Mich. : $c ProQuest, $d 2023
538 $a Mode of access: World Wide Web
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650 4 $a Heart. $3 578987
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773 0 $t Masters Abstracts International $g 83-06.
856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=28822799 $z click for full text (PQDT)