In his short essay about Chopin (1945), Pasternak poses the question:What does realism in music mean?The answer to this question is far from obvious. And certainly the answer given byPasternak, in which he points to Chopin, together with Bach, as one of the great realistsin music; realist, that is, in the same meaning of the word as was Lev Tolstoj  - this answer can of course be disputed. But perhaps even more interesting than theanswer is the question, what it was in Chopin's music that for Pasternak made it into analmost paradigmatic example of realism, not only in music, but in art in general?To try to get an understanding of the possible motives behind such a view, we need totake a closer look at the biography of Boris Pasternak, the development of his views ofart and music in particular, his philosophical view of reality (the possible lastinginfluence from Hermann Cohen and the Marburg school), his idea of realism in generaland his relationship to the ruling idea of socialist realism. In particular, analyzingPasternak's view of realism, as it is expressed in Lejtenant Shmidt (1927), and theviews expounded in Shopen (1945) we will try to discern the development - if any -that has taken place in the 18 years that separate these two works. Other works byPasternak that are central to getting closer to understand his views on realism are Neskol'ko polozhenij (1922), Okhrannaja gramota (1931), which is a kind ofminiature autobiography, as is also Ljudi i polozhenija (1956), equally important.

Le concept de rationalisation du parlementarisme fait aujourd’hui partie des concepts marquants du droit public français. Tout semble avoir été dit sur les techniques de rationalisation consacrées par la constitution de 1958. Pourtant, force est de constater que le concept de rationalisation reste mal connu. Inventé à la fin des années vingt par le juriste d’origine ukrainienne Boris Mirkine-Guetzévitch pour décrire la dynamique de constitutionnalisation à l’œuvre dans les nouveaux Etats d’Europe centrale et orientale au lendemain de la Première Guerre mondiale, le concept de rationalisation du parlementarisme dérive du concept général de rationalisation du pouvoir qui renvoie à l’idée d’une société entièrement régie par le droit. Quelles sont les sources d’inspiration du concept de rationalisation ? Comment se traduit son implantation et son évolution dans la pensée constitutionnelle française des années trente à nos jours ? « Dépoussiérer » le concept de rationalisation du pouvoir implique d’identifier ses soubassements théoriques et de déterminer sa portée idéologique. L’étude de l’acclimatation du concept mirkinien (ainsi que de son idéologie sous-jacente et de ses techniques de réalisation) permet de souligner les adaptations et les réinterprétations dont il a été l’objet en accord avec la pensée juridique dominante et les grandes orientations du droit positif. / The concept of rationalization of parliamentarism is nowadays part of the significant concepts of the French public Law. Everything seems to be said about the techniques of rationalization established by the constitution in 1958. However, we are forced to notice that the rationalization concept remains badly knows. Invented at the end of the twenties by the jurist Boris Mirkine-Guetzévitch to describe the dynamic of constitutionalization in action in the new eastern and central Europe states, just afeter the first World war, the concept of rationalization of parlementarism results from the general concept of rationalization of the authority which refers to the idea of a society entirely ruled by law. What are the sources of inspiration of the rationalization concept? How are converged its presence and its development int the french constitutional thought from the thirties up to now? To dust the concept of rationalization of the authority implies to identify its theorical basis and determine its ideological impact. The study of the acclimatatization of the mirkinian concept (as well as its underlying ideology and its techniques of realization) allows to underline the adaptations and reinterpretations it has been the subject in harmony with the main juridical thought and the great trends of positive law.

The aim of this Master Thesis is to present annotated translation of the text from the historical documentary by trilogy author Vitalij Shentalinskij "Raby Svobody". In the commentary attention was paid not only to problems at various language levels, but also to cultural and the other influences. The theoretical part, which is based on Czech and Slovakian theoretical works of Jiri Levy and Anton Popovic, could also help to facilitate deeper understanding the role of the translator and alternative ways of how the translator can de- duce a solution to particular translation problems. Key words: translation, translation problems, cultural facts, Boris Pilnyak, Soviet Union, repressions

Liev Nikoláevitch Tolstói, escritor russo célebre em todo o mundo por seus romances, escreveu além de uma volumosa obra artística, um diário que foi redigido durante 63 anos. O conjunto das anotações pessoais de Tolstói ocupa 13 dos 90 volumes das obras completas do autor. O presente trabalho, propõe uma análise do primeiro volume desse diário, do período 1847 1854, que consideramos como etapa de formação filosófica e estética do grande escritor. A partir da análise dos conceitos de literatura não ficcional e do gênero de diário, examinamos a singularidade do diário de Tolstói dentro da variedade de diário de escritores. Mostramos que o diário de Tolstói além de servir de laboratório artístico para seu autor, evidencia a organicidade existente entre pensamento e realização artística em diversas etapas da criação tolstoiana. Para tanto, apresentamos uma aproximação às novelas Os cossacos e Khadji-Murát, estabelecendo vínculos entre essas obras e o diário do autor russo. / Leo Tolstoy, famous Russian writer known worldwide for his novels, also kept a diary for 63 years. The whole set of his personal notes occupies 13 out of the 90 volumes of his complete work. The present work, proposes an analysis of the first volume of his diary, written during the period 1847-1854, which is considered as the philosophical and aesthetical formation stage of the great writer. Taking the concepts of non-fiction and diary genre, we examine the singularity of Tolstoy\'s Diary amongst the variety of writers\' diaries. We sustain as well, that Tolstoy\'s diary has served not only as an artistic laboratory for him, but it also makes evident the seamlessness between thought and artistic realization in different phases of Tolstoy\'s creation. In order to do so, we present a study of the novels The Cossacks and Jadji Murat, in which we establish links between those works and the Diary of the Russian author.

Entre 1922 e 1936, os poetas russos Marina Tsvetáieva e Boris Pasternak mantiveram intensa correspondência, na qual discutem suas ideias a respeito de arte, poesia, se dedicam poemas, falam sobre a vida cotidiana. Exilada, Tsvetáieva despontava como uma das principais vozes de poetas emigrados, primeiro em Praga e depois em Paris. Já Pasternak continuou nos círculos literários de Moscou. No verão de 1926, os dois poetas também trocaram cartas com Rainer Maria Rilke. Este trabalho propõe uma tradução do russo para o português das cartas entre Tsvetáieva e Pasternak desde o começo, em meados 1922, até 1926, momento da morte de Rilke. Além da tradução, esta tese discute a trajetória de ambos os poetas no sistema literário da época com base nos trabalhos de Catherine Cipiela, Olga Zaslavsky e Lazar Fleishman, entre outros, e procura contextualizar as discussões travadas e situá-las no formato epistolar. Por fim, são abordadas as questões de tradução e da linguagem de ambos, com base, entre outros, no estudo de Aurora Bernardini sobre a tradução da obra lírica de Tsvetáieva. / Between 1922 and 1936, Russian poets Marina Tsvetáieva and Boris Pasternak kept an intense correspondence exchanging ideas about art and poetry, dedicating poems to each other and discussing their everyday lives. Living in exile, first in Prague and then in Paris, Tsvetáieva emerged as one of the main voices among emigré poets, while Pasternak remained in Moscow, as a member of the literary circles of the new capital city. In the summer of 1926, both poets also exchanged letters with Rainer Maria Rilke. This thesis presents a translation from the Russian to Portuguese of the letters exchanged by Tsvetáieva and Pasternak from the beginning of their correspondence, by mid-1922, to the end of 1926, the time of Rilkes death. It discusses the trajectory of both poets in their times literary system based on the works of Catherine Cipiela, Olga Zaslavsky and Lazar Fleishman, among others , and puts in context such discussions, placing them in the frame of the epistolary format. The issues of translation and language of both poets are also addressed, based, amongst others, on the work of Aurora Bernardini about the translation of Tsvetáievas lyric works.

L’animal, c’est d’abord un mouvement, une animation. Chez Vian celle-ci se présente sous bien des formes, comme dans les dessins animés. Dans son œuvre, réels ou fictifs, issus de l’imagination confinant aux êtres hybrides et aux monstres, les animaux prennent vie, partageant régulièrement les événements de l’existence des personnages humains. Avec eux le lecteur est pris dans une farandole d’animaux, allant des surprises-parties à la maladie et à la mort. Compagnons, ils vont jusqu’à acquérir le statut de personnage, adoptant même des caractéristiques et comportements propres aux hommes… Ils sont à la fois matière de l’œuvre et son langage, des « animots », à l’origine du jeu et du canular, parfois jusqu’au burlesque. Nonobstant ils révèlent une observation, une connaissance scientifique chère à l’ingénieur de l’Afnor, qui rejette cependant la norme par l’invention multiple de néologismes, de calembours et d’images. Il fait « swinguer la langue », sur un air éclaté par le rythme du jazz, poussant ainsi à bouts rimés bien des conventions, sans aller tout à fait jusqu’au surréalisme et à l’Oulipo de l’ami Raymond Queneau. Le satrape Vian est plein de fantaisie….Sa gidouille devient corne d’abondance animalière. Fable nouvelle ? Les ani-maux parlent du monde, en révèlent les cruautés et violences : monde en guerre, racisme, sadisme. De là s’installe un langage allant jusqu’à l’absurde, qui tourne à vide. Néanmoins, la poésie, comme un coup d’éclat, instant magique, traduit une innocence enfantine sur la beauté du monde, parmi lequel les animaux règnent. Ultime provocation ? En fait Vian révèle constamment à travers les animaux le paradoxe de l’homme et de l’œuvre. Entre une farandole gaie et un rythme de jazz hérité des hommes noirs, il est partagé entre un cri de bête écorchée et un chant éphémère, comme un « baiser d’escargot ». Avec ce cri qui résonne sur la toile, ou sur sa trompinette, Vian imprime sa patte à tous les arts et en voulant mettre des mots à travers les « animots/animaux », il louvoie entre un homme de feinte et un créateur de fiction. / The animal is foremost a movement, an animation. With Vian, the latter comes in many forms, like in cartoons. In his work, whether real or fictious, born from the imagination confining to hybrid beings and monsters, animals come to life, often sharing the life events of human characters. With them the reader is taken in a farandole of animals, going from celebrations to illness and death. Companions, they even gain a character status, adopting characteristics and behaviours specific to men... They are both the work's material and its language, "animots" originator of the game and the hoax, sometimes up to the burlesque. Notwithstanding they reveal an eye, a scientific knowledge dear to the Afnor engineer who nevertheless rejects the standard with the multiple inventions of neologisms, puns and images. He makes the language "swing" on a melody blown up by jazz rhythm, thus pushing to rimed limits many conventions, without extending to surrealism and friendly Raymond Queneau's Oulipo. Vian the satrap is fanciful... His "gidouille" turns into a wildlife horn of abundance. New fable? « Ani-maux » talk about the world, revealing its cruelties and violences : world at war, racism, sadism. From there sets up a language going up to the absurd, running idle. Nevertheless, poetry, like a stunning blow, a magical moment, shows a childish innocence over the world’s beauty among which animals reign. Final provocation? Actually, through animals Vian constantly reveals the paradox between the man and his work. Between a cheerful farandole and a jazz rhythm inherited from black men, he is torn between the scream of a skinned beast and an ephemeral chant, like a “snail kiss”. With this scream resonating on the canvass, or on his “trompinette”, Vian prints his hand to every arts and by willingly putting words across the “animots/animals”, he weaves between a man of diversion and a creator of fictions.

Dder Briefwechsel gilt als Tatsache der Kultur seiner Zeit, als die Quelle einer Ganzheitsevolution der Weltanschauung, der Erkenntnis des Zeitalters durch die Persönlichkeit und der Persönlichkeit durch die Ereignisse des Zeitalters. Es ist gerade die derartige kulturhistorische und quellenkundliche Einmaligkeit im Sinn der geschichtlichen Zeit, die den Briefwechsel zwischen den herausragenden Meistern des 20. Jahrhunderts, Reinhold Glier und Boris Lyatoschinski, kennzeichnet, die durch eine mehr als 40-jährigen Freundschaft zwischen Lehrer und Schüler verbunden waren.

Modest Musorgsky completed two versions of his opera Boris Godunov between 1869 and 1874, with significant changes in the second version. The second version adds a concluding lament by the fool character that serves as a warning to the people of Russia beyond the scope of the opera. The use of a fool is significant in Russian history and this connection is made between the opera and other arts of nineteenth-century Russia. These changes are, musically, rather small, but historically and socially, significant. The importance of the people as a functioning character in the opera has precedence in art and literature in Russia in the second half of the nineteenth-century and is related to the Populist movement. Most importantly, the change in endings between the two versions alters the entire meaning of the composition. This study suggests that this is a political statement on the part of the composer.

The development of a new individual from the fertilized oocyte can ultimately be seen as the consequence of the establishment and maintenance of specific patterns of gene expression. Although regulation of gene activity occurs at different levels, cellular specialization and differentiation are the results of developmental cues that essentially take place at the transcriptional level. The involvement of epigenetics in this process has become increasingly clear during the last decade. Imprinted genes constitute an excellent example as monoallelic expression seems to reflect differential epigenetic marks on the two alleles. This is the case of the imprinted H19 and Igf2 genes were the monoallelic expression is coordinated through a differentially methylated region (hypermethylated on the paternal allele), known as ICR (imprinted control region). In the mouse the ICR harbours four binding sites for the methylation sensitive insulator protein CTCF. Previous studies with episomal constructs had shown that this region behaved as an insulator and that CTCF is required for the insulator activity of the H19 ICR This thesis establish a clear link between the insulator function and the chromatin structure at the H19 ICR and indicates that the precise allocation of the CTCF target sites in the linker regions can play a critical role in this process. The importance of the CTCF interaction at the ICR was also confirmed in vivo using a mouse model that showed how intact CTCF target sites are needed to manifest insulator activity and methylation protection. We have investigated the role of CTCF and a related protein BORIS in establishing the maternal to paternal imprint transition in chromatin structure at the H19/Igf2 locus in the male germline. This thesis also describe the development of a new technique for the localization of chromatin associated factors and modifications with higher sensitivity and resolution compared to existing approaches.

This thesis investigates the two major problems of poverty and corruption in post-Soviet Russia, by comparing Boris Yeltsin&rsquo / s and Vladimir Putin&rsquo / s terms of office. In order to do that, political and economic circumstances during these two presidents&rsquo / eras, the reasons of these two problems, and the consequences of certain policies adapted by these two presidents are focused on. The main argument of the thesis is to analyze interactively the certain conditions of poverty and corruption in the Russian Federation under the presidencies of both Yeltsin and Putin.