Alexander Pushkin devoted the last five years of his life to research in the imperial archives in St. Petersburg publishing a number of works dealing with such historical figures as Peter the Great, Catherine the Great, Boris Godunov, and the rebel leaders Mazepa and Pugachev. This thesis examines Pushkin's historiographical methodology and conclusions and considers Pushkin's writings from the viewpoint of the historian rather than the literary critic. It offers a chronological study of the four fictional and non-fictional works in which Pushkin analysed major figures and events in Russian history and traces the importance he attributed to them for the development of the Russian national consciousness. The themes of rebellion against the state and political legitimacy predominate in this investigation and shed light on how Pushkin's study of history reinforced and, in some instances altered, his own fundamental political and social beliefs.

Tese (doutorado)—Universidade de Brasília, Instituto de Psicologia, Programa de Pós-Graduação em Psicologia Clínica e Cultura, 2010. / Submitted by Albânia Cézar de Melo (albania@bce.unb.br) on 2011-02-17T18:11:51Z No. of bitstreams: 1 2010_FaustoCalacaGalvaoCastro.pdf: 2507803 bytes, checksum: 0808e9688995f33c830ecd679403f95e (MD5) / Rejected by Guimaraes Jacqueline(jacqueline.guimaraes@bce.unb.br), reason: on 2011-02-18T12:11:26Z (GMT) / Submitted by Albânia Cézar de Melo (albania@bce.unb.br) on 2011-02-18T13:05:03Z No. of bitstreams: 1 2010_FaustoCalacaGalvaoCastro.pdf: 2503008 bytes, checksum: 98e577f38c3e10baba22c4657344e300 (MD5) / Approved for entry into archive by Guimaraes Jacqueline(jacqueline.guimaraes@bce.unb.br) on 2011-02-24T11:49:22Z (GMT) No. of bitstreams: 1 2010_FaustoCalacaGalvaoCastro.pdf: 2503008 bytes, checksum: 98e577f38c3e10baba22c4657344e300 (MD5) / Made available in DSpace on 2011-02-24T11:49:22Z (GMT). No. of bitstreams: 1 2010_FaustoCalacaGalvaoCastro.pdf: 2503008 bytes, checksum: 98e577f38c3e10baba22c4657344e300 (MD5) / Esta tese analisa o universo do “dandismo” em La Comédie humaine de Honoré de Balzac, tendo como instrumental teórico a noção de “cuidado de si” segundo Michel Foucault. O trabalho se inscreve no debate sobre os processos de subjetivação por meio de estudos literários privilegiando o ponto de vista da leitura sociocrítica. Partimos do pressuposto de que nossa subjetividade é criada pelo texto literário e, essencialmente, pelo ato da leitura. Em Balzac, tanto identificamos os indícios de “ensaios de subjetivação”, assim como, a partir de uma abordagem foucaultiana, ensaiamos na obra balzaquiana uma leitura enviesada que suscita a noção de subjetivação. O procedimento envolve a análise das cenas dos dândis balzaquianos que, por sua vez, são plenas de dramatização do cuidado que o sujeito exerce de si sobre si e de suas reflexões sobre suas significações políticas e psicológicas. Estudando o dandismo como um processo dinâmico de construção do sujeito em sociedade, sustentamos a tese de que o dandismo balzaquiano é uma representação romanesca de um dos momentos do “cuidado de si” na história da cultura ocidental. O dandismo balzaquiano é uma forma de vida que se constitui no universo de La Comédie humaine e que assinala o processo de transformação da sociedade e dos indivíduos. Ao final deste trabalho, reconhecemos o dândi como uma dramatização de um herói moderno movido pela ilusão de que é possível construir para si-mesmo uma forma desejada de vida. ______________________________________________________________________________ ABSTRACT / This thesis analyses the universe of dandyism in La Comédie humaine, by Honoré de Balzac, with the instrumental theoretical notion of “the care of the self” according to Michel Foucault. This work is part of the debate on the subjective processes in the literary studies and it emphasizes the point of view of social-critical reading. The starting point of our thought is that our subjectivity is created by the literary text and, essentially, by the act of reading. In Balzac we either identify the evidences of “subjectivation essays” or, based on a Foucauldian approach, we try to perform a reading of Balzac’s work that creates the notion of subjectivation. This procedure involves the analysis of scenes from the dandies, which ones dramatize the subject self-care and his reflections on his political and psychological meanings. We assume that the dandyism in Balzac’s work is a romantic representation of “the care of the self” moment, in the history of Western culture, by the study of dandyism as a dynamic process of constructing the subject in society. Dandyism is a way of life that constitutes the universe of La Comédie humaine and it shows the change process of individuals and of the society. At the end of this study, we recognize the dandy as a dramatization of a modern hero who lives thinking that is possible to make for himself a desired form of life.

The purpose of this study is to present in a concise form information concerning the extent and quality of Slovenian translations of Pushkin's poetry and prose. The author has investigated as fully as possible the renderings of all the known Slovenian translators of Pushkin, who were active during the second half of the nineteenth century. Particular attention has been focused on the authorship of the published translations, collection of full bibliographical data and evaluation of the quality of the Slovenian renderings. A brief survey of the contents of the chapters will show broadly how the author has approached this task. Chapter I provides a short descriptive history of translation, explores in general terms the traditional and customary approach to translation and reviews the commonly accepted criteria and agreed upon principles governing translation. Furthermore, a brief comparative evaluation of existing resemblances and diversities of the Russian and Slovenian languages has been included. Chapter II provides a historical review of the Slovene-Russian cultural contacts, which date back to the sixteenth century, and then discusses the socio-cultural development of the Slovenian nation in the nineteenth century, taking especially into account the influence of the Slavophiles and Russophiles on the development of the Slovenian literature. Chapter III is devoted to the examination of the existing Slovenian renderings of Pushkin's poetry and prose; it provides short sketches of their authors, analyses the available bibliographical data, compares some of the renderings with the original texts, examines their language and attempts to assess their poetic failings or merits. Finally, added is a list of articles about Pushkin and translations which appeared in the Slovenian periodical publications. / Arts, Faculty of / Central Eastern Northern European Studies, Department of / Graduate

Honoré de Balzac filled the imaginary world of his Comédie humaine with a vast array of characters of all ages, types and social classes. Although, in general, the girls among them play a secondary role, they nevertheless form a group which is not only interesting, but which receives a special form of attention from its creator. In Balzac's view, the typical girl (who is also his ideal) is sweet, pure and docile, and most of the girls he depicts fall into this category, although they often combine with these passive traits a surprising degree of will-power. They are nearly all extremely beautiful; their every word and gesture is filled with the natural charm of youth and innocence. They live in a narrowly restricted world, always under the watchful eye of their mothers or guardians, carefully sheltered from the corrupting influences of the real world outside their small circle of family and acquaintances. Their days are spent doing needlework, helping with household chores and going for walks, well chaperoned, of course. These girls and their monotonous lives are, in themselves, of limited interest for Balzac. Their real importance lies in their future, when, as wives and mothers, they will assume a meaningful function in society, and it is therefore their preparation for this future role which is of primary concern to the novelist. In his opinion, the usual training which girls receive in feminine accomplishments and rudimentary knowledge is far from being an adequate and worthwhile education. Their heads are filled with useless information while, at the same time, all the realities of life, the things they most urgently need to know about society, human nature and especially the opposite sex, are carefully hidden from them in the name of decency and propriety. Completely naive and ignorant, they are then exposed without protection to the problems and dangers of life, all too often with the result that they fall an easy prey to the first handsome man they meet or, what is a far worse disaster, they prove to be unhappy and therefore unfaithful wives. Among the girls of the Comédie humaine, it is only those few who, belonging to enlightened families and taught not only high principles but also some of the basic facts of life, are able to achieve successful marriages and happy lives. Because passion, according to Balzac's theories, is the basic force behind all human behaviour, it is only when love enters the lives of these girls that they really begin to develop as individuals. The discovery of love is, for them, a sudden revelation, an awakening to the true meaning of life and of their own destinies. Love gives Eugénie Grandet the courage to stand up to her tyrannical father; it fills Ursule Mirouët with the strength and determination needed to achieve the marriage she desires; it inspires in Rosalie de Watteville a diabolical cunning by which she manipulates all those around her, prevents a marriage and affects the outcome of an election. For Balzac, the more a woman has experienced passion, the more attractive and interesting she becomes, and it is primarily for this reason that the girls in the Comédie humaine , still on the threshold of life, play a less important role than the more mature feminine characters. / Arts, Faculty of / French, Hispanic, and Italian Studies, Department of / Graduate

Orientador: Paulo Roberto Ottoni / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-04T01:56:18Z (GMT). No. of bitstreams: 1 Esqueda_MarileideDias_D.pdf: 995307 bytes, checksum: d5f0cd871449f2dff2fbe381ab5a5b51 (MD5) Previous issue date: 2004 / Resumo: Proponho, neste estudo, analisar algumas das notas de rodapé de Paulo Rónai na tradução para a língua portuguesa da obra A Comédia Humana de Honoré de Balzac, com o intuito de discutir que Rónai, na tentativa de traduzir os trocadilhos balzaquianos que chama de intraduzíveis, sofre o double bind, aquilo que sobra, que resta a ser traduzido. O problema do ¿intraduzível¿, declarado nas notas de tradução de Rónai, mostra sua irredutibilidade perante o idiomático da língua em sua atividade tradutória. O intraduzível para Rónai configura-se no momento mais complicado de sua argumentação teórico-prática, é aquilo que o perturba no processo tradutório. Nesse sentido, a partir das questões abordadas por Jacques Derrida, reflito sobre a questão dos limites entre texto e texto traduzido. Trata-se de tentar construir uma ponte entre a questão das notas de tradução de Rónai e a desconstrução, uma vez que Derrida expõe que é na nota que o intraduzível se multiplica, promovendo a disseminação de uma língua em outra língua. O tradutor Rónai, por assim dizer, é levado a participar do jogo do intraduzível, do double bind, sofrendo os limites das línguas / Abstract: The main purpose of this work is to analyze Paulo Rónai¿s footnotes in the translation to Portuguese language of the work of Honoré de Balzac, La Comédie Humaine, aiming to discuss that Rónai, trying to translate balzaquian¿s puns which he calls untranslatable, suffers the double bind, the remainder to be translated. The problem of the ¿untranslatable¿ declared in Rónai¿s translation footnotes shows his irreducibility before the idiomatic of the language in his translating activity. The untranslatable in Rónai¿s point of view figures out in the most complicated moment of his theoretical-practical activity, it is what bothers him in the translating process. Therefore, based on Jacques Derrida¿s approach, I discuss the limits between text and translated text. I aim to build a bridge between the discussion concerning translation footnotes and deconstruction, once Derrida argues that it is in the translation footnote process that the untranslatable expands, promoting the dissemination from one language to another. The translator Paulo Rónai participates in the untranslatable play, in the double bind play, suffering the limits of the languages / Doutorado / Tradução / Doutor em Linguística Aplicada

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Mémoire numérisé par la Direction des bibliothèques de l'Université de Montréal.

Mémoire numérisé par la Direction des bibliothèques de l'Université de Montréal.

A Thesis Submitted to the Faculty of A rts, University of the Witwatersrand, Johannesburg, for the Degree of Doctor of Philosophy. Johannesburg, January 1973 / The purpose of th is thesis is to correct the widespread misconception th a t children and adolescents are of small Importance in the world of Balzac's Comedie humaine. My method of procedure was not the traditional one. Instead of making'individual characters the focal point of my study, I culled relevant information from the Com&die humaine and then proceeded to group related concepts. Afterwards I consulted Balzac's private correspondence, the Oeuvres de Jeunesse, the Oeuvres diverses and various editions of his works,as well as lite ra ry and social criticism . The present thesis consists o f an Introduction, eight Chapters and a Conclusion. I t is divided into two parts. Part I is concerned with the child and the adolescent per s e . Part II outlines Balzac's view of th e ir growth and development. Chapter I aims to show that Balzac was not only a pioneer in the history of the French novel, but also a pioneer of the treatment of the child therein. Chapter II studies those characteristics which he considered typical of the child personality. They tend to be clinical rath er than lite ra ry , although there is inevitably some overlap and even co n flic t. Chapter III examines types of children mentioned in the Comddie humaine. Personal considerations motivated Balzac to place most emphasis on the only child, the s p o ilt child and, obliquely, the adopted child who then had minimal Importance in French Law. Nevertheless an appearance is made by all types known a t the time to lite ra tu re , society and the law, although not a ll are dissected.