Honors Projects for Languages and Literatures of Europe and the Americas

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    Russian Satire-- the Hero and the Anti Hero: A Critique of the Current Soviet Position
    (University of Hawaii at Manoa, 2015-11-20) Winternitz, Jenta
    Western critics with an alert eye on literary events on the Soviet scene have recently noticed an unusual and noteworthy phenomenon. The Soviet literary community has dared place itself in a bargaining position vis-a-vis the government to defend a certain freedom of expression, rebelling against the delimiting framework imposed by the Party on the scope of literature. This is a significant move in the eyes of western observers who interpret it as a possible prelude to further expressions of assertiveness, perhaps in fields beyond literature. For to oppose rules of literary conduct is tantamount to contradicting the State, and could prove a hazardous undertaking; and then again, seen optimistically, the avant garde move might prove to be a decisive factor in a relaxed attitude by the State.
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    The Revolutionary Poetry of Sergei Esenin in the Years 1917 and 1918
    (University of Hawaii at Manoa, 2015-11-20) Oliva, Dale Miyagi ; Klimenko, Michael
    The poems written in 19l7 and 1918, the early years of the Russian revolution, form an important stage in the development of the literary career of the poet Sergei Esenin. They express the strongest confidence in the future of his country and strike an unusually joyful note in the work of a poet who is otherwise considered melancholy and somber. A product of an unusual and intense religious background and an agrarian upbringing, Esenin saw in the revolution the emergence of both a new Zion and modern Arcadia, bringing a Christian peace, pastoral happiness, and utopian justice to men of good will –Russia's rural peasantry.
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    A Thematic Comparison Between Ghosts, A Dollʻs House, and the Lorquian Trilogy
    (University of Hawaii at Manoa, 2015-11-20) Kong, Verna Leilani ; Dias, Austin ; Martínez, Antonio
    Américo Castro, in Iberoamérica, states, "... it is essential to the drama that man feel himself to be in conflict with the ideas and beliefs of his time and that he possess enough energy to express in art the struggle between the individual and the world in which he must live”1. Federico García Lorca and Henrik Ibsen are two men whose biographies substantiate this generalization. Born more than two generations apart, they both faced sociological and political conflicts of comparable intensities. Lorca understood very well the events that led to the Spanish Civil War although he could do nothing to affect the upheavals. Ibsen was caught in a social and cultural movement that stressed the importance of reforms, freedom, and individualism. Both writers were sensitive to the human struggles around them and channeled their feelings about these conflicts into their work.
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    The Phantasmagoric Art of Sinyavsky-Tertz: a Soviet Writerʻs Response to His Literary and Social Milieu
    (University of Hawaii at Manoa, 2015-11-20) Darbyshire, Ann
    There is perhaps no Soviet writer of the contemporary period who has explored the question of man's relation to himself and his society, and characterized the dilemmas of modern Soviet literature as clearly and relentlessly as has "Abram Tertz", the pseudonym adopted by the critic Andrei Sinyavsky for the publication of his works abroad. The creative use of language, the artistic style, and thoroughly remarkable world of fantasy that distinguish Sinyavsky-Tertz's writings place him in the forefront of current Soviet writers.