The purpose of the present thesis is to analyze the personality picture of Tsar Ivan the Terrible and his government in Stalin's Russia with regard to the transformation that occurred in spirit of the party ideology. The interpretation of historical facts of Ivan's period in the present work is depicted not only in historiography but also in artistic production, and it aims to express the way professional works, novels, dramas, and films are used for political propaganda. Powered by TCPDF (www.tcpdf.org)

Cette thèse étudie le statut du dessin dans l'œuvre de Sergueï M. Eisenstein, à partir de l’étude des rapports entre dessin et montage, entre dessin et mise en scène et de l’examen de la nature intermédiale de l’œuvre d’Eisenstein. Dans le système de ce réalisateur le dessin est au cœur de son processus créatif et devient un milieu-médium à l’intérieur duquel des transferts, passages, transportations de formes, d’images et d’idées sont possibles. Eisenstein s’intéresse au dessin, à la fois, comme processus et comme méthode visuelle universelle de la créativité.On constate l’analogie entre la structure globale du film Ivan le Terrible et les axes essentiels de sa réflexion théorique, en particulier les principes de sa méthode créatrice (la pars pro toto, le MLB, la plasmaticité et le montage). Subordonnée à une architectonique spatio-temporelle rigoureuse, la structure du film est en même temps une structure ouverte, vivante en évolution perpétuelle, et cela tant à l’étape de sa conception qu’au niveau de sa perception et de sa post-analyse.Les analyses conduites dans cette thèse sur la production graphique d’Eisenstein, et à partir de celles-ci sur l’ensemble de ces travaux et de ces concepts, démontrent clairement la corrélation entre la structure de l’œuvre d’Eisenstein, en particulier pour celle du film Ivan le Terrible, et le fondement de son processus de pensée créative, processus qui traduit son propre rythme intérieur et la structure de sa conscience, les deux donnant l’impulsion à son expression artistique. Le dessin devient pour Eisenstein le milieu de réflexion sur lequel il s’appuie pour exposer la problématique du médium, mais aussi celle de l’histoire du cinéma en son lien avec l’histoire des médiums expressifs. Les dessins préparatoires constituent le médium visuel d’élaboration, de vérification et de mise en pratique de ses concepts théoriques dans une situation réelle de création de film.Eisenstein a ainsi constitué, à travers ce projet transversal et intermédial du film, un dispositif sphérique d’écriture de la méthode et de l’histoire générale du cinéma, en réalisant ainsi un modèle du « livre sphérique ». / This thesis studies the status of drawing in the work of Sergei M. Eisenstein, based on the study of the relationship between drawing and montage, between drawing and staging and the examination of the intermedial nature of Eisenstein’s work. In the system of this film director, the drawing is at the heart of his creative process and becomes an environment-medium in which transfers, passages, transportations of shapes, images and ideas are made possible. Eisenstein is interested in drawing, both as a process and as a universal visual method of creativity. An analogy exists between the overall structure of the film Ivan the Terrible and the essential axes of his theoretical reflection, in particular the principles of his creative method (pars pro toto, MLB, plasmaticity and montage). Subordinated to a rigorous spatial and temporal architectonics, the structure of the film is at the same time an open, living structure, in perpetual evolution, this as much at the stage of its conception as at the level of its perception and its post-analysis.The analyzes led in this thesis on the graphic production of Eisenstein, and from them on all his works and concepts, clearly demonstrate the correlation between the structure of the work of Eisenstein, and in particular that of the film Ivan the Terrible, and the foundation of his creative thought process, a process that reflects his own inner rhythm and the structure of his consciousness, both giving an impetus to his artistic expression. Drawing becomes for Eisenstein the medium of reflection on which he relies to develop the problematic of the medium, but also the one of history of cinema in its connection with the history of expressive mediums. The preparatory drawings constitute the visual medium of elaboration, verification and putting into practice of his theoretical concepts in a real situation of film creation.Eisenstein thus constituted, through this transversal and intermedial film project, a spherical system of writing of the method and the general history of the cinema, thus realizing the model of the "spherical book".

Тема данной диссертации – «Падение и возрождение “града и мира” в литературе XV-XVII вв.», сама работа посвящена осмыслению темы падения городов на материале «Повести о разорении Рязани», «Повести о взятии Царьграда» и «Казанской истории». В рамках исследования были выделены общие и особенные мотивы, использующиеся в соответствии с авторским целеполаганием, соотнесена сюжетная составляющая памятников в соответствии с проблемами исторических ситуаций. Для более полного понимания вопроса были изучены некоторые аспекты урбанистики, что позволило увидеть своеобразие средневекового взгляда на город, а также были привлечены тексты Священного писания для более полного понимания всех смыслов, вкладываемых средневековым человеком в понятие города. / The topic of this dissertation is "The fall and rebirth of the "city and the world" in the literature of the XV–XVII centuries", the work itself is devoted to understanding the theme of the fall of cities on the material of "The Tale of the destruction of Ryazan", "The Tale of the capture of Tsargrad" and "Kazan History". Within the framework of the study, general and special motives used in accordance with the author's goal-setting were identified, the plot component of monuments was correlated in accordance with the problems of historical situations. For a more complete understanding of the issue, some aspects of urbanism were studied, which made it possible to see the uniqueness of the medieval view of the city, and the texts of the Holy Bible were also involved for a more complete understanding of all the meanings put by a medieval person into the concept of a city.