Tesi sul tema "Literature – russian"
Segui questo link per vedere altri tipi di pubblicazioni sul tema: Literature – russian.
Cita una fonte nei formati APA, MLA, Chicago, Harvard e in molti altri stili
Vedi i top-50 saggi (tesi di laurea o di dottorato) per l'attività di ricerca sul tema "Literature – russian".
Accanto a ogni fonte nell'elenco di riferimenti c'è un pulsante "Aggiungi alla bibliografia". Premilo e genereremo automaticamente la citazione bibliografica dell'opera scelta nello stile citazionale di cui hai bisogno: APA, MLA, Harvard, Chicago, Vancouver ecc.
Puoi anche scaricare il testo completo della pubblicazione scientifica nel formato .pdf e leggere online l'abstract (il sommario) dell'opera se è presente nei metadati.
Vedi le tesi di molte aree scientifiche e compila una bibliografia corretta.
1
Shank, Ashley C. "Composers as Storytellers: The Inextricable Link Between Literature and Music in 19th Century Russia". University of Akron / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=akron1290275047.
Testo completo
2
Rose, Katherine Mae. "Multivalent Russian Medievalism: Old Russia Through New Eyes". Thesis, Harvard University, 2016. http://nrs.harvard.edu/urn-3:HUL.InstRepos:33493416.
Testo completoAbstract (sommario):
This thesis explores representations of medieval Russia in cultural and artistic works of the late nineteenth and early twentieth centuries, with an eye to the shifting perceptions of Russia’s cultural heritage demonstrated through these works. The thesis explores the history of medievalism as a field of study and interrogates the reasons that medievalism as a paradigm has not been applied to the field of Russian studies to date. The first chapter is an investigation of architectural monuments incorporating Old Russian motifs, following the trajectory of the “Russian Style” in church architecture, one of the most prominent and best-remembered forms of Russian medievalism. Chapter two explores the visual representation of medieval Russian warriors, bogatyri, in visual and plastic arts, and the ways in which this figure is involved in the national mythmaking project of the nineteenth century. The third chapter focuses on the Rimsky-Korsakov opera, The Invisible City of Kitezh and the Maiden Fevroniya, investigating the ways that different medieval and modern elements come together in this work to present an aestheticized image of medieval Russia. In this analysis of diverse and far-ranging facets of Russian medievalism in the plastic, visual, literary and performing arts, the complicated relationship between medievalism and the prevalent discourse of nationalism is investigated, opening up new opportunities for scholarly intersections with other medievalisms – in Western Europe and beyond.Slavic Languages and Literatures
3
Swartz, Howard M. "The Soviet-Afghan War in Russian literature". Thesis, University of Oxford, 1992. https://ora.ox.ac.uk/objects/uuid:1b5cf666-d10b-4df2-9a71-967cb98d5b46.
Testo completoAbstract (sommario):
This thesis is an historical and literary investigation of the treatment of the 1979- 89 Soviet-Afghan War in contemporary Russian literature. The texts chosen for study include official and unofficial literature, written within the former USSR as well as abroad, and cover publicistic writing, poetry, and prose fiction. These works are described and analyzed with a two-fold purpose: to explore creative trends found in the literature of this subject, and to evaluate the extent to which the genre of Afghan War literature in Russian has changed over the past decade. In order to provide a context for this literature, the introduction describes the method of socialist realism as it applies to military themes, and the legacy of World War Two novels in Russian. The first chapter provides a brief history of Russian-Afghan relations, and an account of the ten-year intervention. The second chapter documents the dissolution of official censorship during the 1980s, revealing dissent over the Soviet military role in Afghanistan. Chapter Three discusses the evolution of the genre of publicistic writing, and documents its unprecedented frankness through revelations made in Soviet journalistic investigations. Chapter Four provides an overview of song and poetry about the conflict, beginning with magnitizdat produced by amateur songwriters, and later including works by professional poets. Chapter Five discusses novels and short stories about the war. A range of fictional works is traced, from propagandistic portrayals, both pro-and anti-Soviet, to non-ideological, personal interpretations which incorporate lyricism, satire, and fantasy. Chapter Six focuses on the works of Aleksandr Prokhanov, a writer who initially used his fiction to support the war effort, and whose oeuvre charts the disintegration of Party consensus on interpretation and depiction of the events in Afghanistan. The final three chapters treat the works of Oleg Ermakov, whose lyricism and stylistic experimentation mark a new direction for recent Russian war fiction. The analysis shows Afghan War literature to signal a radical break with recent official Soviet military writing as shaped by socialist realism. This break is evident in the frankness and subjectivity of publicistic writing, and the anti-war sentiment found in a significant minority of published songs and poems. In particular, Oleg Ermakov's prose continues the past legacy of unofficial, dissident war fiction.
4
Protopopova, Darya. "Virginia Woolf and the Russians : Readings of Russian Literature in British Modernism". Thesis, University of Oxford, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.522785.
Testo completo
5
Oliveira, Deise de. "Um mundo fora dos eixos: a literatura russa contemporânea através do Russian Booker Prize". Universidade de São Paulo, 2012. http://www.teses.usp.br/teses/disponiveis/8/8155/tde-16082012-122739/.
Testo completoAbstract (sommario):
Nosso projeto consiste na discussão sobre a literatura e cultura contemporânea na Rússia, especialmente a questão do Pós-modernismo, por um recorte específico: a análise das obras ganhadoras do concurso Russian Booker Prize com enfoque no processo de classificação adotado pelos júris , bem como um apanhado geral da premiação na Rússia. Para tal, analisaremos, em um primeiro momento, os pensadores e críticos mais representativos dessa prosa alternativa ou pós-moderna, sempre com um embasamento histórico. Entender o indivíduo pós-soviético será de fundamental importância para lidar com os temas e personagens dos romances vencedores. Em um segundo momento, nosso trabalho será o de investigar os critérios utilizados pela banca, a fim de tentar encontrar (se houver) algum ponto comum entre algumas das obras ganhadoras. Pensar em tais pontos será de suma importância para compreender os sistemas de valores dos críticos envolvidos nesse processo de premiação, além de colaborar para o enriquecimento de uma nova abordagem analítica da nova literatura russa e de alguns de seus nomes mais prolíficos.Our project consists in the discussion of contemporary literature and culture in Russia, especially the question of post-modernism, by a specific focus: the analysis of the winning works of the Russian Booker Prize contest focusing on the process of classification adopted by the judges as well as a overview of the awards in Russia. To this end, we will analyze, at first, critical thinkers and most representative of this \"prose alternative\" or post-modern, always with a historical foundation. Understanding the individual post-Soviet is of fundamental importance to deal with the issues and characters of novels winners. In a second step, our work is to investigate the criteria used by banks in order to try to find (if any) a common point among some of the winning works. Think about these points will be extremely important to understand the value systems of the critics involved in the awards process, and contribute to the enrichment of a new analytical approach of the new Russian literature and some of its most prolific names.
6
Peaker, Carol L. "Reading revolution : Russian émigrés and the reception of Russian literature in England, c. 1890-1905". Thesis, University of Oxford, 2007. http://ora.ox.ac.uk/objects/uuid:c21af242-f696-4a7c-8f8e-5f9df9ea111c.
Testo completoAbstract (sommario):
This thesis explores the involvement of Russian emigres in disseminating and informing the reception of Russian literature in England. It examines their use of translations and literary commentary as vehicles for propaganda, and considers the impact of their unique approach to literature on both Anglo-Russian relations and English letters. Part One describes the arrival of Russian émigrés in England and their mixed reception: as victims of a brutal regime, mysterious sages, exotic outcasts, Slavic barbarians, or at worst, as dangerous 'incendiarists' to be feared and reviled. It reflects on the welcome and assistance offered them by socialists, feminists, literati and Nonconformists, as well as the dangers they faced from Russian government agents and their English confreres. It then introduces, in turn, each of the five Russian exiles featured in this thesis, providing biographical details, outlining their work in Britain as propagandists and political agitators, and mapping out their political and literary affiliations. Part Two opens with an analysis of the motives - financial, political, cultural, and personal - which compelled Russian exiles to promulgate Russian literature in England. A chapter is then devoted to each of the five émigrés, chronicling their work disseminating the Russian canon, and outlining the circumstances surrounding their translations, lectures, books, journal articles, and publishing activities. Interspersed within these five narratives are discourses on each propagandist's aesthetic vision. Part Three is a case study of the émigré impact on Turgenev's English reputation. It starts by tracing the author's early reception, showing how he was initially regarded in England as a European novelist whose artistry took precedence over his politics, and whose exquisite writing revealed universal truths through its careful selection and presentation of minute details. It then shows how émigré commentary altered perceptions of the author, transforming him from a disinterested artist dealing only in universal themes into a radical critic of various epochs of Russian national life, whose novels revealed important inner truths about the state of Russian society and politics. The conclusion examines what may be termed the 'collateral' effects of émigré commentary on Russian literature and their involvement in translation projects in England. Firstly, it looks at the political impact of their criticism: how the émigré presentation of Russian literature affected Anglo-Russian relations and attitudes towards the first Russian revolution in 1905. It then considers how émigrés helped or hindered reputations of writers according to their own politically and aesthetically motivated preferences. Finally, it looks at the possible ramifications of émigré literary theory on English approaches to literature and criticism, and suggests further avenues of inquiry.
7
Skomp, Elizabeth Ann. "Women and violence in postwar Russian literature". Thesis, University College London (University of London), 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.406677.
Testo completo
8
Brooke, Angela. "Imagining England in Russian literature, 1855-1917". Thesis, University of Surrey, 2008. http://epubs.surrey.ac.uk/844622/.
Testo completoAbstract (sommario):
During the era of Russia's modernisation and industrialisation which spans from the death of Nicholas I to the Revolution of 1917, Russian thinkers saw Britain as a rival and a society to emulate. The concern with Britain found its way to the pages of Russia's literary prose fiction in the form of English characters and images of England's society. The dissertation gives an analytical study of the English in Russian literature, examining how they become the textual other in the quest to identify Russia's national self between 1855 and 1917. The dissertation argues that the promulgation of stereotypes of Englishness in Russia's prose literature relies upon images that had been established by the travel narrative in the initial stages of Russia's quest to define its national identity. Early attempts to define Russia's selfhood through travellers' perceptions of England between 1790 and the 1840s fostered an essentialised image of Englishness which the later writers cemented. The theoretical investigation of identity creates a foundation upon which our assessment has been formed. It involves the exploration of Russian national identity as it is implied through the images of England and the English: Evoking the critical framework of Said and the theories of Orientalism and Occidentalism, this dissertation studies the Russian literary productions of England and the English, of religion in England, of 'Englishness' as a form of social respectability, and also of the British Empire and the exportation of English values abroad.
9
Lechtchenko, Natalia. "A window on Russia : the Moscow myth in twentieth-century Russian literature and culture /". View online version; access limited to Brown University users, 2005. http://wwwlib.umi.com/dissertations/fullcit/3174635.
Testo completo
10
Smirnova, Daria, e Daria Smirnova. "The Petersburg Text in Russian Literature of the 1990s". Thesis, University of Oregon, 2012. http://hdl.handle.net/1794/12526.
Testo completoAbstract (sommario):
The image of Saint Petersburg has influenced the imagination of Russian writers since the establishment of this city in 1703. Today, it is common to speak about the Petersburg Text in Russian literature that has its own mythology, imagery, and stylistics. However, the research in this sphere is predominately concentrated on works written before the second half of the 20th century.
This thesis addresses the revival of the Petersburg mythology in the 1990s in works by such authors as Mikhail Veller, Andrei Konstantinov, and Marusia Klimova. It illustrates how the reinvention of traditional Petersburg themes contributed to the representation of the "wild 1990s" reality. It also examines the influence of mass media and popular culture on the development of Petersburg narration in terms of genre, style, and the creation of an author's public persona. The cultural significance of the cityscape in these works is of particular interest.
11
Hine, Alyn Desmond. "Russian literature in the works of Mikhail Naimy". Thesis, SOAS, University of London, 2011. http://eprints.soas.ac.uk/14698/.
Testo completo
12
Butler, Jennifer. "Ambiguity in nineteenth-century russian literature and opera". Online version, 2004. http://bibpurl.oclc.org/web/30681.
Testo completo
13
Rudich, Olha Vitaliivna. "Presentation of Russia and the West in Mikhalkov's Barber of Siberia and Sokurov's Russian Ark". The Ohio State University, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=osu1396454061.
Testo completo
14
Korovianska, Veronika. "Establishing National Identity in the Twentieth-Century China: Traces of Russian and Ukrainian Literature in the New Chinese Literature". Thesis, University of Oregon, 2018. http://hdl.handle.net/1794/23797.
Testo completoAbstract (sommario):
Russian literature is traditionally regarded as one that served a model and guide for
Chinese intellectuals in developing their national literature. It is also recognized that Eastern
European literatures drew much attention of Chinese intellectuals in their quest for national
identity and modernization. This thesis is aimed at providing a more detailed look at the Chinese-
Slavic literary discourse of the 1920’s, focusing on Russian literature as a recognized literary
“authority” of the time, and Ukrainian literature as an example of a literature of an oppressed
nation, which went under both Russian and Eastern European “labels” at the time. I argue that
challenged by a deep social and political crisis, Chinese intellectuals were compelled to develop
a unique form of national identity, basing it on two usually mutually exclusive forms of
nationalism, which manifested itself in the literary works of the period.
15
Almeida, Paula Costa Vaz de. "A caminho do Absoluto: a poética e a vida literária de Marina Tsvetáieva através de sua prosa". Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/8/8155/tde-01062015-182251/.
Testo completoAbstract (sommario):
Este trabalho propõe um estudo da poética e da vida literária de Marina Tsvetáieva com base em uma seleção de suas obras em prosa consideradas representativas de seu pensamento artístico, bem como de seus principais procedimentos compositivos. Para tanto, foi empreendida uma análise de forma e conteúdo dessas obras, integrada ao contexto histórico e literário em que foram produzidas, à luz dos recursos teóricos e interpretativos oferecidos por Tzvetan Todorov, Véronique Lossky, Joseph Brodsky e Walter Benjamin, entre outros.This work proposes a study of Marina Tsvetaevas poetry and literary life based in a selection of her prose works considered representatives of her artistic thought as well as her main compositional principles. Therefore, it was done an analytic study of these works integrating them into historic and literary context that they were produced, in light of the theoretical and interpretative resources of Tzvetan Todorov, Véronique Lossky, Joseph Brodsky and Walter Benjamin, among others.
16
Possehl, Suzanne René. "A women's journal, or, The birth of a Cosmo girl in 19th-century Russia /". Thesis, McGill University, 1997. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=20175.
Testo completoAbstract (sommario):
This thesis examines the role nineteenth-century women's literary journals, specifically Ladies' Journal (1823--1833), played in the development of Russian literature. The longest-lived and most-circulated of the pre-Soviet women's literary journals, Ladies' Journal was well-positioned to have contributed to the on-going formation of a national literature through its influence on the Russian woman writer and reader. Ladies' Journal served as a forum for new Russian women writers and translators. It also promoted the discussion of women's issues. However, Ladies' Journal had a contradictory editorial policy concerning women and literature. While advocating women stake their own ground as writers, Ladies' Journal modeled the type of writer it wanted. The ideal writer was the inspiration of male poets and did not differ from the Romantic heroine or the ideal Romantic woman. This was a gesture in the spirit of the time, but it had consequences for Russian literature and for the poetics and politics of Russian women's journals to come.
17
Hodgson, Katharine Merwinna. "Russian Soviet war poetry 1941-45". Thesis, University of Cambridge, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.239076.
Testo completo
18
Lopes, Leanne. "Realism in Russian literature capturing truth and eliciting responses /". Click here to view, 2010. http://digitalcommons.calpoly.edu/englsp/2/.
Testo completoAbstract (sommario):
Thesis (B.A.)--California Polytechnic State University, 2010.Project advisor: Robert Inchausti. Title from PDF title page; viewed on Mar. 24, 2010. Includes bibliographical references. Also available on microfiche.
19
Wicks, Cynthia Suzanne Petot. "The role of I.S. Turgenev in introducing Russian literature to France /". Thesis, Connect to this title online; UW restricted, 1997. http://hdl.handle.net/1773/6652.
Testo completo
20
McKenna, Ruth Suzanne. "Russia in media and popular discourse : the impact on Russian migrants living in Scotland". Thesis, University of Glasgow, 2018. http://theses.gla.ac.uk/30984/.
Testo completoAbstract (sommario):
Russian people living in Scotland – and the UK more broadly – are exposed to a political climate where Russian domestic and foreign policy is the subject of intense media scrutiny and, often, criticism. This thesis explores the intersection between UK and Scottish media discourse on Russia and Russian people, Scottish public attitudes towards Russia and Russian people, and the everyday lives of Russian migrants living in Scotland. The thesis is based upon data gathered from a critical discourse analysis of 1200 Scottish and UK newspaper articles, two surveys carried out with approximately 400 Scottish and 100 Russian respondents, and interviews conducted with 24 Scottish and 21 Russian participants. The thesis argues that Russia is ‘othered’ in UK and Scottish media discourse, frequently associated with negative characteristics such as aggression and dishonesty. Through such discursive strategies, Russia is portrayed as fundamentally different from the UK, Europe and the West. While identifying some positive media engagement with Russian culture and travel, I highlight the way in which such coverage often relies upon exoticised and orientalised tropes. My findings show that there is limited press engagement with Russian people, other than President Vladimir Putin. I demonstrate that Putin has become intrinsic to contemporary imaginings of Russia, often represented as ‘Russia personified’. Ultimately, I suggest that the way in which Russian and Russian people are represented in media discourse reflects contemporary and historical power dynamics between the UK and Russia. The thesis explores how these findings intersect with Scottish participants’ attitudes towards Russia and Russian people, analysing the way in which interviewees articulated and differentiated Russian, Scottish or British, and Western identities. Throughout my discussion of both popular and media perspectives, I stress the ongoing significance of the Soviet legacy upon perceptions of contemporary Russia. I suggest that there is a complex relationship between media discourse on Russia and popular attitudes towards the country, arguing that, while Scottish participants often challenged the ideas about Russia put forward in the press, they nevertheless reproduced dominant discourses. The thesis explores this process of challenging, but nonetheless internalising, dominant media narratives. Finally, I examine how media and popular representations of Russia affect the lived experiences of Russian migrants in Scotland. I suggest that representations of Russia can have a stigmatising effect, creating ontological and social insecurities for Russian people. I suggest that such vulnerabilities often result from day-to-day encounters in seemingly banal settings, such as on public transport or in the pub. However, I emphasise the complexity of the way in which Russian participants responded to public attitudes, exploring times when they felt stereotyped, cases when interviewees were misrecognised as Polish migrants and, finally, drawing attention to positive experiences. Finally, I stress the ways in which close and trusting relationships, as well as managing media consumption, can play a key role in coping with and mitigating everyday experiences of vulnerability. The thesis makes several original contributions to knowledge. I build upon a small, but growing, body of work on the representation of Russia in contemporary media discourse. My focus on the UK and Scottish media environment, as well as the use of critical discourse analysis to critique media sources, differentiates the thesis from existing work within the field. Further, I add a contemporary perspective to existing literature on British representations of Russia, most of which has focused on receptiveness to Russian culture, particularly during the Tsarist and early Soviet periods. My use of empirical – rather than archival or secondary – data further distinguishes the thesis, with this research offering the first detailed and critical account of British popular perceptions of Russia. More broadly, I offer a bottom-up perspective into the ways in which Western (and Eastern) identities are represented and utilised on an everyday basis. The emphasis upon the stigmatising effect of media and popular attitudes towards Russia upon Russian migrants living in Scotland is also distinctive, as well as my exploration of the social and ontological vulnerabilities such stigmatising experiences can create.
21
Soma, Eduardo. "Ulisses em tempos de estagnação: tradução e estudo de Moskvá - Petuchki, de Venedíkt Eroféiev". Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/8/8155/tde-09122016-135054/.
Testo completoAbstract (sommario):
O presente trabalho apresenta o romance MoskváPetuchki, de Venedíkt Eroféiev, e propõe o seu estudo com base na investigação da sua composição temática. Através da tradução do texto integral e de considerações analíticas, a obra é confrontada ao contexto histórico e literário soviético. Desse modo, e por meio da utilização de recursos interpretativos apresentados por Mikhail Bakhtin, Boris Groys, Evgeny Dobrenko, Ann Komaromi e Aleksei Yurchak, entre outros, o romance é considerado enquanto uma parte fundamental da literatura dissidente soviética do período do Degelo e uma resposta à cultura hegemônica do período.The present work introduces Venedikt Erofeyev`s novel, Moskva Petushki, and proposes a study by means of an investigation of its thematic composition. Based on its complete translation and analysis, the work is confronted with its soviet context, both historical and literary. Thus, and using concepts presented by Mikhail Bakhtin, Boris Groys, Evgeny Dobrenko, Ann Komaromi, Aleksei Yurchak, and others, the novel is thought of as a fundamental part of soviet dissident literature of the Thaw era, and as an answer to the hegemonic culture of the period.
22
Ben-Amos, Anat. "Imagination and literature in the Russian prose of Vladimir Nabokov". Thesis, University of Essex, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.284584.
Testo completo
23
Siarheichyk, Galina. "Ancient echoes: Baba Yaga and contemporary Russian literature (Ludmilla Petrushevskaya)". Diss., Connect to online resource, 2005. http://wwwlib.umi.com/cr/colorado/fullcit?p1425789.
Testo completo
24
Barrett, Rebecca. "The woman question in English and Russian literature, 1848-1877". Thesis, Keele University, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.502940.
Testo completo
25
Tooke, C. J. "The representation of Jewish women in pre-revolutionary Russian literature". Thesis, University College London (University of London), 2012. http://discovery.ucl.ac.uk/1353702/.
Testo completoAbstract (sommario):
This thesis analyses the representation of Jewish women in pre-revolutionary Russian literature, focusing on the period 1881–1907. It argues that Jewish women, far from universally marginalized, played a central role in works by a number of Russian writers, embodying and challenging not only stereotypes but also a variety of ideological viewpoints on key socio-political questions in late tsarist Russia. The ambiguous identity of Jewish women, portrayed as outsiders and yet also often as to some degree amenable, rendered them ideal figures through which to explore and test national and gender identities, and tolerance, in the Russian Empire. The thesis is divided into four chapters. Chapter One considers how two major Russian writers, Chekhov and Kuprin, both reproduce and problematize stereotypes relating to Jewish women and Jews as a whole in their construction of the ‘Jewish feminine’. Chapter Two reveals how two writers from opposite ends of the political spectrum, the conservative antisemite Vsevolod Krestovskii and the liberal progressive Evgenii Chirikov, use narratives of Jewish female assimilation into Russian society to condemn the social and political status quo. Chapter Three examines the representation of the ‘demonic’ Jewess in novels concerning an alleged Jewish plot for world domination by two antisemitic writers, Nikolai Vagner and Vera Kryzhanovskaia. Chapter Four analyses the depiction of revolutionary Jewish women in works by two Russian-Jewish writers, David Aizman and Semen An-skii. Whether they portray Jewish women as striving for a just society or for its downfall, the texts use the figure of the Jewess to criticize late tsarist society. Indeed, this thesis concludes that the works, despite the prominence within them of Jewish women, are often less concerned with Jews and Jewesses as such than with the socio-political debates to which they contribute, particularly the question of Russian national identity and character.
26
Schuckman, Emily E. "Representations of the prostitute in contemporary Russian literature and film /". Thesis, Connect to this title online; UW restricted, 2008. http://hdl.handle.net/1773/7168.
Testo completo
27
Kadyrbekova, Zaure. "Ecosystemic worldview in Russian fairy tales". Thesis, McGill University, 2014. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=121571.
Testo completoAbstract (sommario):
The majority of interpretations of literary animals focus on the animals' metaphoric or symbolic significance, overlooking the actual animal, which often completely disappears behind its metaphoric or mythological representation. Such traditional interpretations of animals expose the dominant anthropocentric focus of the humanities in general, and literary studies in particular. Yet, even as textual representations a lot of literary animals still exhibit some basic species-specific characteristics. By analyzing selected Russian fairytales through the animal studies perspective I will show that in a lot of Russian fairytales animals exercise their agency, retain their animal specificity and are involved in complex companionate relationships with humans. Such portrayal of animals in Russian fairytales warrants identifying traditional Russian worldview as ecosystemic – in which humans are positioned on an equal plane with other living beings. Given the insufficient number of interpretive works on Russian fairytales, and the lack of work on fairytale animals, the present application of animal studies to Russian folktales can be one of the first steps to filling this niche.Les analyses des animaux dans la littérature se concentrent pour la plupart sur la signification de l'animal métaphorique ou symbolique et negligent par là même l'animal réel qui disparaît souvent derrière sa représentation métaphorique ou mythologique. Ces interprétations traditionnelles révèlent l'anthropocentrisme qui domine dans les sciences humaines en général, et les études littéraires en particulier. Pourtant, les animaux dans la littérature retiennent encore des caractéristiques spécifiques à leur espèce. En analysant certains contes de fées russes du point de vue des études animales, je vais montrer que les animaux gardent leur capacité d'être agent, qu'ils conservent leur spécificité animale et qu'ils sont impliqués dans des relations complexes comme compagnons des humains. Cette représentation des animaux dans les contes de fées russes montre que la vision traditionnelle du monde russe est écosystémique – c'est-à-dire que les humains sont sur un même plan d'égalité que les autres êtres vivants. Compte tenu du nombre insuffisant d'analyses sur les contes de fées russes, et du manque d'analyses sur les animaux dans les contes de fées en général, la présente étude représente une étape importante pour combler cette lacune.
28
Kovalchuk, Anna. "Narrating the National Future: The Cossacks in Ukrainian and Russian Literature". Thesis, University of Oregon, 2017. http://hdl.handle.net/1794/22705.
Testo completoAbstract (sommario):
This dissertation investigates nineteenth-century narrative representations of the Cossacks—multi-ethnic warrior communities from the historical borderlands of empire, known for military strength, pillage, and revelry—as contested historical figures in modern identity politics. Rather than projecting today’s political borders into the past and proceeding from the claim that the Cossacks are either Russian or Ukrainian, this comparative project analyzes the nineteenth-century narratives that transform pre-national Cossack history into national patrimony. Following the Romantic era debates about national identity in the Russian empire, during which the Cossacks become part of both Ukrainian and Russian national self-definition, this dissertation focuses on the role of historical narrative in these burgeoning political projects. Drawing on Alexander Pushkin’s Poltava (1828), Nikolai Gogol’s Taras Bulba (1835, 1842), and Taras Shevchenko’s Haidamaky (1842), this dissertation traces the relationship between Cossack history, the poet-historian, and possible national futures in Ukrainian and Russian Romantic literature. In the age of empire, these literary representations shaped the emerging Ukrainian and Russian nations, conceptualized national belonging in terms of the domestic family unit, and reimagined the genealogical relationship between Ukrainian and Russian history. Uniting the national “we” in its readership, these Romantic texts prioritize the poet-historian’s creative, generative power and their ability to discover, legitimate, and project the nation into the future. This framework shifts the focus away from the political nation-state to emphasize the unifying power of shared narrative history and the figurative, future-oriented, and narrative genesis of national imaginaries.
29
Gribble, Lyubomira Parpulova. "Russian verse parody 1815-1870 : literary and social functions /". The Ohio State University, 1990. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487678444258622.
Testo completo
30
Mikaelyan, Yulia. "Serguei Dovlátov: texto de cultura na literatura russa contemporânea". Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/8/8155/tde-14122016-110500/.
Testo completoAbstract (sommario):
O presente trabalho tem como objetivo traduzir para português brasileiro e fazer uma análise semiótica da novela Parque cultural (1983), do escritor russo Serguei Dovlátov. Além disso, pretendemos apresentar aos leitores e pesquisadores brasileiros os traços fundamentais da obra deste, que é um dos principais prosadores russos da segunda metade do séc. XX e um dos maiores representantes da Terceira Onda de emigração russa. Uma das especificidades do método artístico de Dovlátov consiste em uma forte vinculação de sua obra com fatos da cultura, literatura e história da Rússia e da União Soviética. Essa característica permite-nos analisar seus textos como textos de cultura, segundo a concepção semiótica de Iú. Lótman. Na novela Parque cultural, espelham-se tais fenômenos da cultura soviética, como o mito soviético do poeta Aleksándr Púchkin, considerado símbolo da cultura, a existência na União Soviética de duas culturas paralelas (a oficial e a não oficial), o fenômeno da massiva emigração dos anos 1970, entre outros. A tradução da novela Parque cultural (título em russo, Zapoviédnik) para o português do Brasil, com notas e comentários, constitui parte integrante deste trabalho. Praticamente toda a obra de Dovlátov é humorística, e a transmissão dos elementos de humor e marcas culturais, presentes no texto, foi um dos desafios dessa tradução.This work is aimed at translating the novel Pushkin Hills by Sergei Dovlatov into Brazilian Portuguese (the title in Russian is Zapoviednik, and the title in Portuguese is Parque Cultural, 1983) and analyze this text from a semiotic point of view. We furthermore intend to present the basic features of Dovlatovs work, who is considered to be one of the leading Russian prose writers of the second half of the XX century and one of the greatest representatives of the Third Wave of Russian Emigration, to readers and Brazilian researchers. One of the features of Dovlatovs artistic methods lies in the close connection of his work with the culture, literature and history of Russia and the Soviet Union. This feature allows us to analyze his texts as cultural texts, according to Yuri Lotmans semiotic concept. The themes of the novel Pushkin Hills reflect such phenomena of Soviet culture as, among others, the \"Soviet\" myth of the poet Aleksandr Pushkin, who is considered to be a symbol of culture, the existence in the Soviet Union of two parallel cultures (official and unofficial), the massive emigration of the 1970s. The translation of the novel into Brazilian Portuguese, with notes and comments, is an integral part of this work. Almost all of Dovlatov\'s work is humorous, and conveying elements of humor and cultural references in the text was one of the challenges of this translation.
31
Cliffe, Alan. "Of Earth And Sky: Lev Tolstoy As Poet And Prophet". Cleveland, Ohio : Cleveland State University, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=csu1232032249.
Testo completoAbstract (sommario):
Thesis (M.A.)--Cleveland State University, 2008.Abstract. Title from PDF t.p. (viewed on Apr. 16, 2009). Includes bibliographical references (p. 48-50). Available online via the OhioLINK ETD Center. Also available in print.
32
Urso, Graziela Schneider. "A face russa de Nabokóv: poética e tradução". Universidade de São Paulo, 2010. http://www.teses.usp.br/teses/disponiveis/8/8155/tde-30042010-122536/.
Testo completoAbstract (sommario):
Embora o nome Nabókov remeta tão-somente a escritor norte-americano, criador de Lolita, raro se lembra de sua origem russa. Nem os leitores, nem a crítica literária brasileira associam Nabókov à literatura russa, apesar de ter-se consagrado primeiramente como autor russo e por mais de 20 anos ter escrito nessa língua, com a qual ele se identifica tanto como escritor, tradutor e autotradutor, quanto como professor e teórico. A presente dissertação é o primeiro trabalho a trazer tradução direta do russo da coletânea de contos Primavera em Fialta (1956), obra-prima do momento russo de Nabókov, inédita no Brasil. Propõe-se a adentrar o arcabouço nabokoviano, delinear sua poética e traçado distintivo, ressaltando seus procedimentos estilísticos e lingüísticos. Finalmente, objetiva-se observar o processo tradutório de Nabókov, suscitando questões atreladas às mudanças de paisagem e língua literária e investigando a relação entre escritura, tradução e identidade cultural e artística.Although Nabokov is usually best remembered as the North-American author of Lolita, his Russian origins are rarely mentioned. Brazilian readers and literary critics never think of linking Nabokov with Russian literature, even though he was first known as a Russian writer, for over two decades, and even though he identified himself as such, as well as being a translator, self-translator, teacher and theoretician. This master thesis is the first one to offer a direct translation from Russian into Portuguese of Spring in Fialta (1956), a remarkable collection of short stories from Nabokov s Russian period, considered a masterpiece, never yet published in Brazil. It will also describe Nabokov´s poetics and stylistic peculiarities, as well as the linguistic process at work in the short stories. This work aims at studying Nabokov´s translation process, raising issues linked with the changes in his literary landscape and language, and observing the relation between writing, translation, as well as cultural and artistic identity.
33
Janzen, Rick. "Peace and the Russian-Mennonite novel to Rudy Wiebe". Theological Research Exchange Network (TREN), 1986. http://www.tren.com.
Testo completo
34
Zamboni, Paola Fernandes. "Mascarada, Uma Jornada Fascinante da Peça de Liérmontov Aos Palcos De Meyerhold". Universidade de São Paulo, 2013. http://www.teses.usp.br/teses/disponiveis/8/8155/tde-05062013-131315/.
Testo completoAbstract (sommario):
Mikhail Yurevitch Liermontov (18141841) viveu em período marcado por grande comoção social, uma época de transição na vida e na sociedade Russa. Foi nesse contexto que Liérmontov escreveu a peça Mascarada, uma crítica à sociedade e aos hábitos fúteis e mesquinhos de sua época. Vsévolod Emilevitch Meyerhold (1874 1940) estreou a sua Mascarada em 25 de fevereiro de 1917 em meio a revolução que viria a derrubar a monarquia e a velha Rússia. Depois quase seis anos e ensaios e preparações, figurinos, objetos de cena e cenários criados especialmente para a peça estavam prontos para o que viria ser ao mesmo tempo o fim de uma era e o nascimento de um novo teatro. A presente dissertação se propõe a analisar Mascarada desde a sua gênese no romantismo de Liérmontov até a espetacular montagem de 1917 e seus desdobramentos no teatro.Mikhail Yurevitch Lermontov (1814-1841) lived in a period marked by great social upheaval, a time of transition in life and in Russian society. It was within this context that Lermontov wrote the play Masquerade, a critique of society and the petty and trivial habits of his time. Vsevolod Emilevitch Meyerhold (1874-1940) premiered his Masquerade on February 25, 1917 in the midst of a revolution that would overthrow the monarchy and transform the old Russia. After almost six years of preparations and rehearsals, the costumes, props and scenery created especially for the piece were ready for what would be both the end of an era and the birth of a new kind of theatre. This dissertation aims to analyze the Masquerade from its genesis in the romanticism of Lermontov to the spectacular production of 1917 and its effect on theatre.
35
Mooney, Susan. "Drawing bridges : publicprivate worlds in Russian women's fiction". Thesis, McGill University, 1991. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=60561.
Testo completoAbstract (sommario):
This thesis questions how Russian women's identity is attached to the textual use of public/private spaces in contemporary literature by Russian women writers by drawing from feminist theories. I. Grekova and N. Baranskaia portray female protagonists in their everyday lives, public and private worlds overlapping. While these heroines create stable support systems with other women, male figures enter as interruptive forces in women's lives. Hospital settings in several works by Russian women allow comparisons between women's fictional hospital experiences and those of Muscovite women interviewed. In L. Petrushevskaia's stories, women protagonists' identities are linked to the uncertain quality of locale and the tenuous relationships which transpire in it. Russian women's identity expressed in fiction may change as the self-perceptions of a younger generation of Russian women writers evolve toward a new, gendered concept of self.
36
Zhukov, Andrei. "Shaaban Robert in the Russian language". Universitätsbibliothek Leipzig, 2012. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-97835.
Testo completoAbstract (sommario):
Marehemu Shaaban Robert is well-known in Russia not only among specialists, but also in the circles of the reading public at large. It was in Russian (the only European language) in which Shaaban Robert´s prose writings were translated for the first time for the general reader. The creative work of Shaaban Robert occupies a special place in the scientific research of Russian scholars. They regard him as a philosopher, a distinguished public figure, a founder of modern literature in Kiswahili who connects centuries-old traditions of Swahili oral and written literature with the demands of modern times. Affirming new social ideals and expressing views of the new intellectual elite, Shaaban Robert, through his literary works, directly participated in the development of the political and philosophical ideas of his country.
37
VIRBAN, Floarea. "The new discursive formation of literature under communist rule : from the silver age to socialist realism". Doctoral thesis, European University Institute, 2007. http://hdl.handle.net/1814/6998.
Testo completoAbstract (sommario):
Defence date: 15 June 2007Examining Board: Prof. Dr. Edward Arfon Rees (EUI) ; Prof. Dr. Martin Van Gelderen (EUI) ; Prof. Dr. Gian Piero Piretto (Milan University) ; Prof. Dr. Vera Tolz (Manchester University)
PDF of thesis uploaded from the Library digital archive of EUI PhD theses
The primary aim of this thesis is to question how, and the extent to which, the implementation of Communist rule in Russia influenced the new discursive formation of literature. The latter refers to the complex process of continuous transformation of the literary discourse due to the interaction of a heterogeneous set of factors (such as theories, works, institutions, practices, policies, agents, instruments and many others). This transformation concerns not only those trends, theories, policies, or practices, which emerged from within the Marxist-Bolshevik framework and culminated with the appearance of Socialist Realism, but also those which developed outside of this framework and, thus, ‘ignored’, challenged or opposed it. Moreover, it considers those shifts which occurred because of the tension created between these two challenging paradigms, as well as due to a continuous striving for mutual accommodation. In chronological terms, the analysis broadly deals with the years between the 1890s and the 1930s, while focusing more specifically on the 1920s- 1930s. This study attempts to go beyond the ‘orthodox’ analysis of the literary discourse, by transcending literary studies. Such a strategy has a dual purpose. On the one hand it intends to present a deeper understanding of the literary phenomenon, by seeing it in connection with a cultural and intellectual tradition, as well as part of a defined historical reality. On the other hand, it aims to contribute to the study of this tradition and of the historical context of the literary discourse being analysed. Broadly, this analysis aims to show the way in which the political power of the Communist ideology was challenged by the strength of the literary world.
38
Sabbag, Kerry Ann. "Can "slava" and salvation coexist? : the fame text in nineteenth-century Russian literature /". View online version; access limited to Brown University users, 2005. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:3174668.
Testo completo
39
Moore, Rick. "Representations of Revolution and Revolutionaries in Early Twentieth Century Russian Literature". Thesis, University of Oregon, 2014. http://hdl.handle.net/1794/18373.
Testo completoAbstract (sommario):
The representation of Revolution and revolutionaries develops as one of the main themes in Russian literary texts of the nineteenth and early twentieth centuries. It would not be an overstatement to say that most active writers during this time referred to these themes in their works. These themes developed in consort with the historical and political developments occurring within the country. The literature of the twentieth century led to a culmination in the understanding of this complex topic. This thesis will present an analysis of several types of Revolutionary characters and their concepts of what Revolution is and should be. It will present an overview of Revolution's origin and development as a background of early twentieth century Russian literary works. The close reading of the selected twentieth century works will be discussed within the body of this thesis. In particular we will review Alexander Blok's poem The Twelve, Isaac Babel's collection of stories Red Cavalry, Vladimir Zazubrin's The Chip: A Story about a Chip and About Her, and Boris Savinkov's Pale Horse.
40
Silva, Gabriela Soares da. "A constelação de capriuro, de Fazil Iskander: tradução e comentário". Universidade de São Paulo, 2012. http://www.teses.usp.br/teses/disponiveis/8/8155/tde-05072012-135750/.
Testo completoAbstract (sommario):
Fazil Iskander (1929- ) é um dos mais representativos escritores soviéticos remanescentes da geração do degelo. Devido ao desconhecimento deste autor no Brasil, este trabalho consiste na tradução da novela que lhe deu notoriedade, precedida por uma apresentação e comentário: Sozvezdie Kozlotura, em português, A constelação do capriuro, de 1966. Apesar de pertencer à tradição satírica russa, junto a nomes como Nikolai Gógol e Mikhail Bulgákov, a prosa de Iskander carrega as singularidades da sua origem não-russa. A sua terra natal, a Abkházia, com a sua história e costumes, além de reverberarem na obra do autor, entrecruzam-se com a cultura russo-soviética numa relação complexa que dá às suas narrativas um caráter único. Neste trabalho, foram analisados os elementos que tornam a sátira de Iskander tão inovadora.Fazil Iskander (1929- ) is one of the most representative remaining writers of the Thaw Generation. Due to the lack of recognition of this author in Brazil, the present dissertation consists in the translation of the short-novel that has made him internationally renowned, preceded by a presentation and commentary: Sozvezdie Kozlotura from 1966, or A constelação do Capriuro in Portuguese. Though the prose of Iskander belongs to the Russian satire tradition, along with names like Nikolai Gogol and Mikhail Bulgakov, it carries the singularities of his non-Russian origin. His motherland, Abkhazia, with its proper history and customs, besides reverberating on his works, entwines itself with the Russian-soviet culture in a complex and tense relationship that gives these narratives their unique nature. In this research, it is analyzed the characteristics that make the satire of Iskander so innovative.
41
Sundkvist, Luis. "Turgenev and the question of the Russian artist". Thesis, University of Cambridge, 2010. https://www.repository.cam.ac.uk/handle/1810/228706.
Testo completoAbstract (sommario):
This thesis is concerned with the thoughts of the Russian writer Ivan Turgenev (1818-83) on the development of the arts in his native country and the specific problems facing the Russian artist. It starts by considering the state of the creative arts in Russia in the early nineteenth century and suggests why even towards the end of his life Turgenev still had some misgivings as to whether painting and music had become a real necessity for Russian society in the same way that literature clearly had. A re-appraisal of "On the Eve" (1860) then follows, indicating how the young sculptor Shubin in this novel acts as the author's alter ego in a number of respects, in particular by reflecting Turgenev's views on heroism and tragedy. The change in Shubin's attitude towards Insarov, whom the sculptor at first tries to belittle before eventually comparing him to the noble Brutus in Shakespeare's "Julius Caesar", can be said to anticipate Turgenev's own feelings about Bazarov in "Fathers and Children" (1862) and the way that this 'nihilist' attained the stature of a true tragic hero. In this chapter, too, the clichéd notion of Turgenev's alleged affinity with Schopenhauer is firmly challenged - an issue that is taken up again later on in the discussion of "Phantoms" (1864) and "Enough!" (1865). Other aspects of Turgenev's portrayal of Shubin are used to introduce the remaining chapters, where the problems of dilettantism, originality, nationalism and Slavophilism - among the most acute problems which Russian artists had to contend with in Turgenev's eyes - are explored through various works of his, especially the novel "Smoke" (1867), as well as by reference to his observations of such contemporaries as Glinka, the painter Ivanov, Tolstoi, and the composers of the 'Mighty Handful'. The springboard for the final chapter on the tragic fate befalling so many Russian artists is once again Shubin, whose voluntary exile in Rome at the end of the novel allows for certain parallels to be drawn with Gogol'. Despite Turgenev's own 'absenteeism' from Russia, for which he was much reproached, it is emphasized in the conclusion that healways remained devoted to the cause of Russia's civic and cultural development, especially in the realm of the arts, whose national, and at the same time universal, value he upheld so compellingly in his Pushkin speech of 1880.
42
Pasholok, Maria. "Imaginary interiors : representing domestic spaces in 1910s and 1920s Russian film and literature". Thesis, University of Oxford, 2015. https://ora.ox.ac.uk/objects/uuid:c9d47ca1-6164-48fb-99f1-67ef37c77c4a.
Testo completoAbstract (sommario):
This thesis is an exploration of the ways in which a number of important Russian writers and filmmakers of the 1910s and 1920s appropriated domestic interiors as structural, visual and literary metaphors. My focus is on the artistic articulation of the closed space of the Russian domestic interior, in particular as it surfaced in the narratives of the modernist literature and cinema of the time and became an essential metaphor of its age. In my discussion I take issue with two standard ways of understanding domestic space in existing literature. I argue that representations of home spaces in early twentiethcentury Russian culture mount a challenge to the conventional view of the home as a place of safety and stability. I also argue that, at this point, the traditional approach to the room and the domestic space as a fixed closed structure is assailed by representations that see domestic space as kinetic. The importance of the 'room in motion' means that I address cinematic as well as literary representations of domestic space, and show that even literary representation borrow cinematic techniques. My different chapters constitute case studies of various separate, but complementary, aspects of the representation of home space. The first chapter shows how domestic space in reflected in the poetical language of Anna Akhmatova. The second chapter focuses on the parallel exploration of rooms and a child's consciousness in Kotik Letaev by Andrei Belyi. The third chapter discovers the philosophy of a room built by Sigizmund Krzhizhanovskii in his short stories of the 1920s. The next three chapters focus on interiors of three different cinematic genres. The fourth chapter looks closely at films created by Evgenii Bauer, showing the director's innovative techniques of framing and set-design. The fifth chapter explores the film Tret'ia Meshchanskaia by Abram Room, focusing on the director's employment of the room as a structural device of the film. The last chapter analyses two lyrical comedies by Boris Barnet to show the comic effect produced by the empty room and domestic objects in his films, and also focuses on the image of staircase. In conclusion, I speculate that the representation of interior spaces in the period in question goes beyond genre, medium, and narrative structure and becomes an important and culturally dynamic motif of the time.
43
Laukkonėn, Taisija. "(Post)Soviet Russian Poetry in Lithuania: Strategies of Literary Praxis". Doctoral thesis, Lithuanian Academic Libraries Network (LABT), 2012. http://vddb.laba.lt/obj/LT-eLABa-0001:E.02~2012~D_20121107_090949-43853.
Testo completoAbstract (sommario):
This dissertation makes use of Pierre Bourdieu’s and Pascale Casanova’s theoretical work to analyse the hitherto unexplored Soviet and post-Soviet Russian literature in Lithuania through the methodological lens of the sociology of literature. The research focuses on the poetry that dominated the literary scene within the specified time frame. The Russian literature of Lithuania is examined as a partly independent segment of the literary field, whose characteristics unfold through its relationships with the national fields of Lithuanian and Russian literature as well as the global space of literature. The structure and development of this segment and its relations to the national literary fields are analysed by way of exploring the individual and collective strategies of the agents of this segment. The publications which represent the different poles in the literary field tend to emphasise the minority or diasporic identity associated with this segment: during the Soviet times – Literary Lithuania, a journal-almanach censored by the Soviet ideology and the Samisdat almanach For One’s Own; after the fall of the Soviet Union – Vinius, a journal published by the Lithuanian Writers’ Union and the online project The Indoeuropean Dictation. The individual strategies of the poets of different generations, which are interpreted as respectively stories of failure (Jurij Dubasov, Jurij Grigorjev, Mikhail Didusenko) and success (Jurij Kobrin, Georgij Jefremov, Lena Eltang) reveal not... [to full text]Disertacijoje iš literatūros sociologijos perspektyvos, remiantis Pierre’o Bourdieu ir Pascale Casanovos darbais, tiriama iki šiol nenagrinėta Lietuvos rusų literatūra sovietmečiu bei posovietmečiu. Susitelkiama į poeziją, kuri aptariamu laikotarpiu vyrauja kiekybiškai. Lietuvos rusų literatūra laikoma iš dalies savarankišku literatūros lauko segmentu, kurio ypatybės išryškėja santykiuose su nacionaliniais lietuvių ir rusų literatūros laukais bei tarptautine literatūros erdve. Segmento struktūra, raida ir ryšiai su nacionaliniais laukais atskleidžiami analizuojant individualias bei kolektyvines lauko dalyvių strategijas. Pastarųjų polinkis pabrėžti mažumos ar diasporos tapatybę aiškėja iš skirtingus lauko polius reprezentuojančių leidinių: sovietmečiu – cenzūruoto almanacho-žurnalo Literatūrinė Lietuva ir savilaidos almanacho Saviems; posovietmečiu – Lietuvos rašytojų sąjungos žurnalo Vilnius ir interneto projekto Indoeuropietiškasis diktantas. Individualios skirtingų kartų poetų strategijos, interpretuojamos kaip pralaimėjimo (Jurijus Dubasovas, Jurijus Grigorjevas, Michailas Didusenko) ir sėkmės siužetai (Jurijus Kobrinas, Georgijus Jefremovas, Lena Eltang), atskleidžia ne tik užimtas padėtis, bet ir segmento galimybių erdvės ypatumus. Sovietmečiu galimybių erdvė buvo apribota vienakrypčio literatūrinio tarpininkavimo vaidmeniu. Atgimimo laikotarpiu ir ypač atkūrus Nepriklausomybę padėčių repertuaras platėjo, tačiau istoriškai sąlygota segmento struktūra buvo nepalanki... [toliau žr. visą tekstą]
44
Goodwin, Elena. "'Dobraia Staraia Angliia' in Russian perception : literary representations of Englishness in translated children's literature in Soviet and Post-Soviet Russia". Thesis, University of Exeter, 2016. http://hdl.handle.net/10871/26074.
Testo completoAbstract (sommario):
This thesis explores Englishness and its representation in translated children’s literature in Russia during the Soviet period (from 1917 until 1991) and the post-Soviet period (from 1992 until 2015). It focuses on Russian translations of English children’s classics published between the late-Victorian period and the Second World War. It studies how Russian translations of English children’s literature construct literary portrayals of Englishness in varied socio-cultural and historical contexts. It investigates the complex processes involved in re-creating national specificities of English literary texts in Russian culture. The Anglo-centric essence of Englishness – or ‘dobraia staraia Angliia’ [good old England] – is expressed to a greater degree in the classics of English children’s literature. It is this particular idealised Englishness that is represented in the Russian translations. This thesis demonstrates that various manifestations of Englishness are modified in Russian translations and that the degree of modification varies according to changes in the political climate in Russia. A significant role is played by ideology – of a prevailing political nature during in the Soviet Union and a commercial ideology in post-Soviet Russia. The first chapter lays the theoretical foundation for the whole thesis and outlines the methodology adopted. Chapters 2 and 3 set out the contextual background for understanding Englishness by focusing on the question of Englishness perceived from English and Russian perspectives, and discussing the main tendencies of representing Englishness in both cultures. Chapter 4 presents the historical background by highlighting the political and cultural circumstances in which Russian translations were made. The second half of the thesis (chapters five, six and seven) focuses on the analysis of the representation of Englishness in Russian translations. Chapter 5 discusses which English children’s books, published between the late-Victorian period and the Second World War, were selected for translation and at what point between 1918 and 2015. Chapters 6 and 7 present the case studies in this thesis. These provide an analysis of how different manifestations of Englishness were translated and, taking into account the Soviet and post-Soviet historical contexts, examine why they were translated in certain ways.
45
Powell, Jonathan Anthony. "After Scriabin : six composers and the development of Russian music". Thesis, University of Cambridge, 1999. https://www.repository.cam.ac.uk/handle/1810/251478.
Testo completo
46
Fraser, Hugh. "The role of the designated confidant in Russian neoclassicist tragedy". Thesis, University of Ottawa (Canada), 1985. http://hdl.handle.net/10393/4836.
Testo completo
47
Mei, Letícia Pedreira. "Sobre isto: síntese da poética de Maiakóvski". Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/8/8155/tde-29092015-164134/.
Testo completoAbstract (sommario):
A dissertação é composta por duas partes que dialogam entre si. Na primeira, propõe-se uma tradução poética comentada do poema Pro Eto /Πpo Эmo (Sobre Isto) (1923), de Vladímir Maiakóvski, diretamente do russo para o português brasileiro, inédita no Brasil. A segunda parte dedica-se à apresentação e análise dos elementos fundamentais do poema, seja no tocante às imagens e tema, seja nos aspectos formais de sua composição. O poema, escrito entre dezembro de 1922 e fevereiro de 1923, possui 1.813 versos e foi publicado pela primeira vez na edição de estreia da revista LEF, criada e dirigida por Maiakóvski. A despeito da animosidade da crítica, muitos o consideraram a obra mais bem trabalhada do poeta, inclusive ele mesmo. O poema defende um novo amor condizente com a revolução e a nova sociedade, critica o individualismo da família tradicional e o filistinismo pequeno burguês. A revolução reflete-se nas imagens e formas empregadas na composição que tornam Sobre Isto a súmula da poética de Maiakóvski. À luz das teorias formalistas de Ossip Brik, Nikolai Khardjiev, Vladímir Trenin, Roman Jakobson, Kristina Pomorska, e da própria concepção poética de Maiakóvski, o estudo pretende mostrar como som e sentido fundem-se para revolucionar a abordagem do amor na literatura e como a oficina poética de Maiakóvski se encontra plenamente realizada nesta obra.The monograph is composed by two interconnected parts. The first one proposes a poetic annotated translation of the poem About This (1923), by Vladimir Mayakovsky, from Russian into Brazilian Portuguese, unpublished in Brazil yet. The aim of the second part is to present and analyze the fundamental elements of the poem, be it in terms of imagery and subject, be it concerning the formal compositional aspects. The poem was writen between December 1922 and February 1923. It has 1,813 verses and was published for the first time in the premiere edition of the journal LEF, created and directed by Mayakovsky. Despite of the animosity of the critics, many considered it to be the most well developed work of the poet, including himself. The poem defends a new love befitting the revolution and the new society, it criticizes the individualism of the traditional family and the petty bourgeois philistinism. The revolution is reflected in the imagery and compositional formal aspects employed, which makes About This a summary of Mayakovsky\'s poetics. In the light of the formalist theories of Ossip Brik, Nikolai Khardjiev, Vladimir Trenin, Roman Jakobson, Kristina Pomorska, and Mayakovsky\'s own poetic conception, the present study aims at demonstrating how sound and sense merge to revolutionize the approach of love in literature and how Mayakovsky\'s poetical workshop is completely accomplished in this oeuvre.
48
Clark, Rhonda (Rhonda Ingold). "The Communist Party and Soviet Literature". Thesis, University of North Texas, 1994. https://digital.library.unt.edu/ark:/67531/metadc500452/.
Testo completoAbstract (sommario):
The Communist Party's control of Soviet literature gradually evolved from the 1920s and reached its height in the 1940s. The amount of control exerted over Soviet literature reflected the strengthening power of the Communist Party. Sources used in this thesis include speeches, articles, and resolutions of leaders in the Communist Party, novels produced by Soviet authors from the 1920s through the 1940s, and analyses of leading critics of Soviet literature and Soviet history. The thesis is structured around the political and literary developments during the periods of 1917-1924, 1924-1932, 1932-1941, and 1946-1949. The conclusion is that the Communist Party seized control of Soviet literature to disseminate Party policy, minimize dissent, and produce propaganda, not to provide an outlet for creative talent.
49
Barber, Sarah. "The depiction of prostitution in nineteenth and early- twentieth-century Russian literature". Thesis, Keele University, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.431374.
Testo completoAbstract (sommario):
In this thesis the depictions of prostitution produced in Russia from 1860-1914 are the paramount focus; a number of issues surrounding this subject are also discussed in some detail. The intention is to examine the motivations of the authors concerned, as well as the images they created, and to compare these images with those produced by other authors, including non-Russians, and also with real-life prostitution in this period The introduction is concerned firstly with the problem of defining the terms of the title, particularly `prostitution'; a term loaded with social and moral connotations. This leads on to a discussion of the history of prostitution from ancient times, though focussing on the nineteenth century, first in the West, and then, in greater detail, in Russia. In the latter stages of the introduction and also Chapter One the theme of prostitution in literature is addressed a: number of French and English portrayals are discussed inorder to highlight prevalent attitudes and ideas towards prostitution in Western literary circles, and an overview is given of prostitution as a theme in Russian literature from the late eighteenth century up to 1900. In this section a number of general trends are illustrated. In Chapters Two-Five four authors who made significant contributions to this theme are examined in greater detail: Vsevolod Garshin, Leonid Andreev, Aleksandr Kuprin, and Volodymyr Vynnychenko. In Chapter Six a number of works by female authors are discussedin ordert o offer an alternative perspective on the issue.The images of prostitution produced are discussed with reference to their authors' opinions on prostitution, and also to other issues they sought to highlight through these depictions. Comparisons and are drawn throughout, and in this way the carious attitudes and opinions surrounding the issue of prostitution are traced throughout the period in question.
50
Jabboury, Huda Albert. "Constance Garnett, Alymer Maude, S.S. Koteliansky : Russian literature in England 1900-1930". Thesis, University of Sheffield, 1992. http://etheses.whiterose.ac.uk/6015/.
Testo completoAbstract (sommario):
This thesis is concerned with the lives and works of three translators who made Russian literature available for the British public. It is an attempt to account for the role these translators played in arousing interest in the classics of Russia. The translations of Constance Garnett, Aylmer Maude and S. S. Koteliansky were responsible for making Russian literature feature in the intellectual life of the British culture during the first decades of this century. The relation of my work to these initiatives is described in the Introduction. Chapter One deals with England's discovery of the Russian novel through translations and its consequences that led to the spread of the "Russian cult. " This took place during the first two decades of the twentieth century which witnessed great interest in Russian literature. The British public was introduced to the major treasures of the Russian classics, and what is more, to a handful of the new generation of Russian authors. In registering the response of the literary figures of the day on reading these translations and a survey of serious periodicals, evidence is established for the cult status of Russian writing. Chapter Two throws light on the life and work of one of the most eminent of translators, Constance Garnett. The chapter surveys the wide range of Russian authors she presented, with particular emphasis on her translation of Chekhov, and the impact of her translations in the establishment of the writer's reputation in England. Chapter Three focuses on Maude's career as a translator and accounts for his greatest achievement, the accomplishment of the Centenary Edition of Tolstoy's works. Other aspects of Maude's activities are drawn upon, particularly, the fact that he was a disciple of Tolstoy. Attention is also paid to his status as an authority on Tolstoy. Chapter Four is devoted to S. S. Koteliansky and his achievements. Koteliansky's prestigious position in the English literary life, in addition to his being a supplier of new material in the field of Russian translations are stressed. The collaboration of a handful of the literary figures in the production of his translations is looked upon as further proof to the presence of the Russian cult. The thesis concludes with an account of archive materials relevant to its field.