Abstract The Russia in which Isaak Babel (1894-1940) wrote was one of deep seated anti-Semitic philosophies and prejudices, a place of pogroms and segregation. Literature of this era painted the Jew as a villainous, dishonest, and feeble minded foreign being within society. Traditionally, Russian literature used the Jew as a national scapegoat or a comical stock character ripe for ridicule. Babel’s contemporaries considered him to be a born writer with a gift for minimalism without the sacrifice of vivid description. His was an evocative style of brutal humanism, showing both character flaws and character virtues. The Odesskie rasskazy (Odessa Tales) epitomized this honest approach to human portrayal. The Jewish community of the Odesskie rasskazy boasted a variety of characters from all walks of life, rejecting the previously perpetuated stereotype. The Jew, as shown by Pushkin, Turgenev, Dostoyevsky, Gogol, and Chekhov, was simply a caricature. Such characters were restricted to the role of the fool, the thief, and the opportunist. When Babel first described the community, people, and culture of his native shtetl, the previous stereotype of the Russian Jew became an antiquated relic of the past. This thesis will explore some examples of earlier depiction of Jews in literature and the humanized image of Russian Jewry that Babel created in his Odesskie rasskazy. The analysis will discuss how these depictions created a new, three dimensional characterization of the Jew.

Este ensaio tem como objetivo apresentar uma leitura do livro O exército de cavalaria, do escritor Isaac Bábel (1894-1940). A leitura empreendida buscou investigar as relações dialéticas entre o texto ficcional e a História, uma vez que as narrativas de Bábel abordam a Campanha Russo-Polonesa, ocorrida entre 1920 e 1921. Ao mesmo tempo, as formas particulares de representação do heroico e do épico, que permitem compreender O exército de cavalaria como uma espécie de epopeia falhada, conduziram a uma reflexão a respeito do realismo babeliano e da possibilidade de caracterizar o seu livro como um romance. Nele, fragmentação, a organização não linear e episódica dos conflitos, a recusa à ordem cronológica e a variedade de narradores e vozes do texto parecem, todos, encenar a dificuldade de a forma romanesca tradicional incorporar esteticamente uma matéria contraditória e convulsa. / This essay aims to present a reading of the book Red Calvary, from Isaac Babel (1893 - 1940). The perusal undertaken sought to investigate the dialetic relations between History and fictional texts, once the Bábel\'s narratives approach the Russian-Polish Civil War, which occurred between 1920 and 1921. At the same time, the particular forms of representation of the heroic and of the epic allowed to understand Red Calvary as a kind of failed epic and conducted to a reflection about babelian realism and the possibility of characterizing his book as a novel. On the book, fragmentation, non-linear and episodic organization of conflicts, the refusal to chronological order and the variety of narrators and voices of the text seem to stage the difficulty of the romanesque traditional form to aesthethically incorporate the experience of the war and of the contradicting and convulse matter. Keywords: Isaac Babel; Modernism; Novel; Russian Literature; Sovietic Literature.

Le monde de la tour et de la ville de Babel représente dans sa lecture moderne l’univers monolithique de ceux qui parlent la même langue. L’altérité n’y a pas sa place. Quand le monde ordonné bascule dans la confusion et la folie, les babéliens se dispersent et les différences s’installent. La prise en compte par le « chercheur de tropismes » des liens entre même et autre, l’évaluation de la juste distance entre intégration au sein d’une communauté et solitude informe la dynamique de la création sarrautienne. L’hypersensible, figure de l’autre, expérimente toutes les formes de rejet et toutes les tentatives d’assimilation. La régression vers le monde indéterminé des origines où les rumeurs du monde ne l’atteignent pas, permettent au « chercheur de tropismes » de se faire pleinement créateur. La figure du créateur se décline dans les figures symétriques de l’enfant, du fou et du pauvre. L’humilité seule permet au créateur de percevoir la matière ténue de la création. La recherche explore les différentes modalités qui permettent la saisie de la multiplicité à travers notamment les différentes métamorphoses du monde qui bascule dans l’irréel et à travers les manifestations de la folie. L’œuvre explore la question essentielle de la résistance à l’oppression portée par les discours d’autorité. Cette recherche permet ainsi également de resituer la création sarrautienne dans un discours qui prend en compte, même de manière indirecte par le biais de l’imaginaire, la vie et les problèmes de la cité réelle. / In its modern reading, the world of the tower and city of Babel represents the monolithic world of those who speak the same language. The Otherness has no place within its boundaries. When the order of the world is thrown into confusion and madness, the babelians disperse and differences arise. The way the 'researcher of tropisms' takes into account the links between self and other, and considers the right distance between integration within a community and loneliness, helps to shape the sarrautian dynamics of creation. The hypersensitive character represents the other. He experiments all the forms of rejection and all the attempts at assimilation. Regression to the undetermined world of origins, the place where the whispers of the world are not heard, allows the 'researcher of tropisms' to be fully creative. The figure of the creator is symmetrical to the figure of the child, the madman and the poorman. Only humility allows the creator to collect the tenuous material of creation. The study explores the various ways that enable to capture the multiplicity especially through the various metamorphoses of the world when it falls into unreality and into madness. The work explores the fundamental question of resistance to oppression carried by the authoritative discourse. This research also allows to resituate the sarrautian creation in a speech that takes into account the life and problems of the real city, even indirectly through the imaginary.

This thesis deals with the simulation of a Babel routing protocol. The goal is to create implementation of simulation model for OMNeT++ simulator. The text includes a description of the protocol and basic principles of computer network simulation in OMNeT++ environment using an INET library. Furthermore, the text discussed existing implementations and submits a proposal of a simulation model, followed by description of its implementation. Finally, the correctness of created model is verified.

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The focus of this study is to investigate what images of Sweden are transmitted in the novel The road to Ithaca (1994), by the Uruguayan author Carlos Liscano. The study focuses on the first half part of the novel for this taking place in Stockholm, Sweden, in the early nineties. The aim is to investigate by what literary strategies and literary subgenres the images of Sweden are transmitted.    The theoretical framework applied derives from studies of the literary genre of the picaresque novel and its bufonesco mood, such as the literary strategies irony and laconism. For the analysis Mieke Bal´s concept of focalization and semantic axes are used.      The study shows that in Sweden there are parallel worlds to the official world of the welfare state; in the shadow side of society there are the metecos, unwanted residents: the undocumented and the mentally ill. Through a picaresque and ironic style, the author shows that Sweden is a neat, clean, but culturally hermetic society; almost perfect on the surface, but with a lot of hidden “trash” beneath.    The welfare state of Sweden seams benevolent in its integrative intention, but is, at the same time, blind, or even worse, disinterested in the new reality of the country; that of the welfare state in dissolution and Sweden as a Tower of Babel.

This dissertation examines the various ways Anglo-Saxon authors interpreted and adapted Genesis 10–11: the Table of Nations and the Tower of Babel narrative. Although Genesis 10–11 offered Christians of Late Antiquity and the Middle Ages a scripturally authorized understanding of the origins of ethnic and linguistic diversity of the world, its nature as an ancient Jewish text that deals with matters more suitable to its original audience than to its late antique and medieval readers allowed these later readers to transform the meaning of the text in order to give it a significance more fitting to their own times. In the first section of my dissertation, I treat the topos of the number 72, which becomes prominent when authors of Late Antiquity and the Middle Ages read it into the Table of Nations as the number of descendants of Noah’s three sons. My first chapter deals with the initial development of this topos in Christian and Jewish writings of Late Antiquity; my second chapter with the topos in the Latin writings of early Anglo-Saxons, from the biblical commentaries from the School of Canterbury to Alcuin; and my third chapter with the topos in the writings of later Anglo-Saxons, from King Alfred to the Old English texts of the eleventh century. In the second section of my dissertation, I treat the interpretations of the Tower of Babel as they form and are informed in Late Antiquity and Anglo-Saxon England. As in the first section, three chapters are presented: the first on the initial developments in Late Antiquity; the second on the continual development into the Latin authors of early Anglo-Saxon England; and the third on the mainly Old English authors of the later Anglo-Saxon period.

My Thesis body of work, The Mythos for the Mortal, presents visual interpretations of apocalyptic mythoi—past, present, and future. These works are both a conscious and unconscious response to childhood exposure to apocalyptic stories and form a visual record of social, political and religious interpretations of the apocalypse. The overarching theme of apocalypse (from the Greek word Apokalypsis, meaning ‘to unveil’ or ‘to reveal’) has allowed me to reconnect to my youth and heritage and has driven me to articulate more clearly a perspective regarding the future and what it will ‘reveal’ to us. I use the landscape as a stage to create narratives and metaphors expressing these ideas. These paintings and drawings are divided into four categories of apocalypse: historical, future, ecological, and personal.

This dissertation examines the various ways Anglo-Saxon authors interpreted and adapted Genesis 10–11: the Table of Nations and the Tower of Babel narrative. Although Genesis 10–11 offered Christians of Late Antiquity and the Middle Ages a scripturally authorized understanding of the origins of ethnic and linguistic diversity of the world, its nature as an ancient Jewish text that deals with matters more suitable to its original audience than to its late antique and medieval readers allowed these later readers to transform the meaning of the text in order to give it a significance more fitting to their own times. In the first section of my dissertation, I treat the topos of the number 72, which becomes prominent when authors of Late Antiquity and the Middle Ages read it into the Table of Nations as the number of descendants of Noah’s three sons. My first chapter deals with the initial development of this topos in Christian and Jewish writings of Late Antiquity; my second chapter with the topos in the Latin writings of early Anglo-Saxons, from the biblical commentaries from the School of Canterbury to Alcuin; and my third chapter with the topos in the writings of later Anglo-Saxons, from King Alfred to the Old English texts of the eleventh century. In the second section of my dissertation, I treat the interpretations of the Tower of Babel as they form and are informed in Late Antiquity and Anglo-Saxon England. As in the first section, three chapters are presented: the first on the initial developments in Late Antiquity; the second on the continual development into the Latin authors of early Anglo-Saxon England; and the third on the mainly Old English authors of the later Anglo-Saxon period.

This studyfocuses on the theory of intertextuality and on the most important approachesof Julia Kristeva, Gerard Genette and Ronald Barthestothis theory. It also examines the intertextual relationships in twoworksof Jorge Luis Borges:Pierre Menard, author of the Quixoteand The library of Babel. This studyconcludes that intertextual relations and issues are very often used in the works of Jorge Luis Borges. Analysis of histwoworks has shown the most obvious indicators of intertextuality such as allusions, quotations and references.