The commentary considers the relationship between memory and narrative from a critical perspective. ), which was created between 19; Spiegelman’s graphic memoir, Maus: A Survivor’s Tale (1986); and Wolf’s autobiographical novel, Stadt der Engel oder: The Overcoat of Dr. The commentary also expands on some of the problems with narrating the past that emerged during my writing process, and suggests potential solutions, drawing inspiration from Salomon, Spiegelman and Wolf.
Gogol, for his part, does not seem to pick up on the additional, emotional story Ashoke desires to tell: and the scene perfectly demonstrates how his father’s reserve, forged in part by the difficulties of his life in India, meshes with Gogol’s brasher, more typically American adolescence—in which all parents are simply bossy, or annoying, or awkward.
This dissertation characterizes the particular brands of irony at work in Gogol's fiction over the course of his career and analyzes how they are generated, how they act upon readers, and how they relate to the broader aesthetic and ideological project to which Gogol ultimately dedicated himself - namely, his attempt to rid Russian literary efforts of their dependence upon narrative as their organizing principle.
In the process, she is forced to confront her own partially suppressed memories.
She is assisted by Aaron, an intern working at an archive in Berlin that houses the shredded surveillance records of the former East German security service — the Ministerium for Staatssicherheit, or ‘Stasi’. Chronologically, the three works roughly follow the trajectory of 20th-century Germany and the traumatic events that shaped it, from the Second World War and the Holocaust, to the country’s division, and the rise and fall of the dictatorship of the German Democratic Republic.
The critical discussion centres on Salomon’s multimedia memoir, Leben?
His first is an “American” celebration: watching a basketball game with school friends (of different backgrounds) at home, eating pizza and ice cream.The narrator moves on to Gogol’s social life in high school, which, though not particularly robust, does include some furtive drinking and smoking, which his parents never suspect.Gogol goes with friends one night to a party at the local college (where Ashoke is a professor), and meets a college girl named Kim, whom he kisses. Doctoral thesis, Goldsmiths, University of London [Thesis] No full text available This creative writing thesis consists of a novel and a critical commentary, both of which explore the link between memory and narrative.The novel, Confession with Blue Horses, tells the story of Ella Valentin, an East German woman trying to piece together her family’s past.His parents, however, are thrilled to be back among their extended families, and for months they travel to different aunts’ and uncles’ houses in Calcutta, eating long meals and catching up.Gogol and Sonia feel out of place, “foreign” in the city, but Ashoke and Ashima, Gogol notices, are far more confident in their native tongue, and among their friends and relatives.Gogol and Sonia are accustomed to squabbling among themselves, to talking back to their parents (casually, and without malice), and to behaving with the kind of independence to which Americans are accustomed.But in Calcutta, among relatives, Gogol and Sonia must be on their best behavior for two reasons: because they are guests among family, and because Bengali culture demands stricter discipline, where individual desires are often set aside for group or familial ones.This dissertation also argues that Gogol's use of irony is so extreme in form that it provides an excellent case study for an evaluation of the nature of irony itself.Thus, Gogol's fiction is analyzed with an eye toward how the concept of irony illuminates the structure and function of his prose, and conversely, how the operations of that prose challenge received notions of how irony functions in a literary work.