<p>Russian realist writer Ivan Turgenev wrote Fathers and Sons in 1861, the middle of the politically, socially and ideologically eventful nineteenth century. While the turbulent historical moment is certainly reflected in the imagined landscape of the novel, Turgenev's text is first and foremost a literary work with implications that extend beyond the moment of its conception. Through allusions to the classical pastoral and juxtaposition of social and economic hardship, Turgenev creates a disconcerting ironic pastoral, or Russian Arcadia, that is marked by tension between a discordant ideal and reality. Resolution can be achieved in two ways that mirror nature's duality: one may become brutal, nihilistic and destructive, or one may strive for harmony and endure with the earth. By contemplation of one's own nature and the limits imposed by culture and nature itself, Turgenev demonstrates that the individual can come to this harmony, or an adaptive equilibrium that is characterized by balance, stability, and enjoyment of sensory experience. </p> <p>Turgenev's ironic pastoral, his concern with human brutality and the madness attendant upon it, the recognition of boundaries, and the sensory as an enduring mode of experience and communication are revisited and reworked by Ukrainian-Canadians in the twentieth century. The 1987 anthology, Yarmarok: Ukrainian writing in Canada since the Second World War, represents one of the most comprehensive collections of Ukrainian-Canadian writing in English and brings together both accomplished and previously unpublished writers that include: Mykola Ponedilok, Ruth Andrishak, Wasyl Sofroniw Levytsky, Stefania Hurko, Oleh Zujewskyj, Dennis Gruending, Maara Haas, and Bob Wakulich. These writers draw upon personal and family history and memory, which are haunted by the revolution Turgenev anticipated in Fathers and Sons, to relate their Arcadias, and the equilibriums they envision for individuals striving for balance within the limits imposed by the Canadianizing environment.</p> / Thesis / Master of Arts (MA)

L’objet de cette thèse est d’exposer l’influence que le contact prolongé d’Ivan Tourguéniev avec la culture étrangère a pu produire sur l’évolution de son identité culturelle.Enraciné dans la Russie du début du XIXe siècle où il naquit et passa son enfance, Tourguéniev bénéficia d’une éducation « dans l’air du temps », c’est-à-dire réservant à l’élément étranger une place prépondérante. Au moment où l’identité culturelle initiale de Tourguéniev était en formation, la société russe en était, elle aussi, à ses premiers balbutiements vers la découverte de sa propre authenticité nationale. Plus tard, l’écrivain ressentira avec force le décalage existant entre sa propre identité multiculturelle et les désirs d’affirmation de « russité » de sa patrie d’origine. Sous l’impulsion des nombreux événements politiques et sociaux en Russie et en Europe au XIXe siècle, Tourguéniev fut  amené à changer fréquemment de pays, optant en définitive pour un établissement complet de domicile en Europe, d’abord en Allemagne et ensuite en France, ce qui ne fit qu’exacerber, au fil du temps, la pluralité de son identité culturelle. Le propos de cette thèse est de suivre, pas à pas et au travers de ses écrits et ses œuvres, les modifications que subit l'identité culturelle d'Ivan Tourgueniev à différentes étapes de vie, à travers l’évolution de la figure de l’Autre et les fluctuations du sentiment d’appartenance éprouvé par l'écrivain. / The purpose of this dissertation is to define the influence exerted by prolonged contacts with foreign cultures on Ivan Turgenev’s cultural identity. Turgenev was born and raised in early 19th century Russia, enjoying an education that was in line with the spirit of the time, where foreign culture and language held great importance. As Ivan Turgenev was building his initial cultural identity, Russian society as a whole had only just started gaining consciousness of its own national genuineness. Later in his life, the writer realized the extent of the gap between his own multicultural identity and his homeland’s wish to affirm its “Russianness”. As a consequence of the numerous political and social events that took place in 19th century Europe and Russia, Turgenev travelled extensively and finally chose to settle in Europe, first in Germany, then in France. The plurality of his cultural identity was profoundly deepened as a result.Throughout this dissertation and based on his writings, the variations in Turgenev’s image of the Others and in his Sense of Belonging, shall allow us to closely follow the changes in the writer’s cultural identity, step by step and at various stages in his life.

Esta pesquisa tem como objetivo realizar uma tradução do original em russo da novela Diário de um homem supérfluo, de Ivan Turguêniev, e analisar o modo como o escritor procurou retratar a primeira personagem da literatura russa a ser denominada homem supérfluo. Procurar-se-á demonstrar que o autor não se limitou a reproduzir no narrador as características clássicas desse tipo literário, mas inovou ao adicionar outras e retirar algumas tidas como essenciais, criando uma figura que viria a dar um novo significado ao termo homem supérfluo. / This research aims to carry out a direct translation from the Russian novella Diary of a superfluous man, by Ivan Turgenev, and examine how the writer sought to portray the first character of the Russian literature to be termed a \"superfluous man\". It is intended to demonstrate that the author not only was able to reproduce in the narrator the classic features of this literary subject, but also to innovate, by adding other characteristics and even removing those considered essential ones, creating thus a figure that would give a new meaning to the term \"superfluous man\".

Esta pesquisa tem como objetivo realizar uma tradução do original em russo da novela Diário de um homem supérfluo, de Ivan Turguêniev, e analisar o modo como o escritor procurou retratar a primeira personagem da literatura russa a ser denominada homem supérfluo. Procurar-se-á demonstrar que o autor não se limitou a reproduzir no narrador as características clássicas desse tipo literário, mas inovou ao adicionar outras e retirar algumas tidas como essenciais, criando uma figura que viria a dar um novo significado ao termo homem supérfluo. / This research aims to carry out a direct translation from the Russian novella Diary of a superfluous man, by Ivan Turgenev, and examine how the writer sought to portray the first character of the Russian literature to be termed a \"superfluous man\". It is intended to demonstrate that the author not only was able to reproduce in the narrator the classic features of this literary subject, but also to innovate, by adding other characteristics and even removing those considered essential ones, creating thus a figure that would give a new meaning to the term \"superfluous man\".

Este trabalho é composto pela tradução da novela O rei Lear da estepe, de Ivan Turguêniev, publicada em 1870, seguida de um breve comentário sobre a influência do dramaturgo inglês William Shakespeare na literatura russa. Em seguida há um estudo sobre o skaz literário presente na novela e da estilização, um recurso estilístico teorizado por Mikhail Bakhtin e Yuri Tyniánov. Assim como a paródia, a estilização é também a recriação de uma obra consagrada, mas, ao contrário daquela, não possui efeito cômico e sim concordância de sentido com o texto no qual foi inspirada. Por fim, há um apontamento sobre a existência de elementos do folclore russo no texto e comentários sobre a tradução baseados em cotejos com versões francesa, inglesa e portuguesa. / This research consist of a translation of Ivan Turgenevs novel The King Lear of the steppes, published in 1870, followed by a brief commentary on the influence of the English playwrighter William Shakespeare in Russian literature. Then there is a study of the literary skaz present in the novel and styling, a stylistic feature theorized by Mikhail Bakhtin and Yury Tynyanov. Like the parody, the styling is also a recreation of a consecrated work, but rather that it does not have comic effect, but agree with the text direction in which it was inspired. Finally, there is a note about the existence of elements of Russian folklore in the text and comments on the translation based on comparison with French, English and Portuguese versions.

Em 1909, no palco do Teatro de Arte de Moscou, o afamado diretor russo Konstantin Stanislávski realiza a montagem da peça de Ivan Turguêniev Um mês no campo. Além de ser uma brilhante interpretação de obra clássica da literatura russa de um autor pouco difundido nesse país, o espetáculo marca o início da elaboração dos primeiros elementos do sistema Stanislávski, que definiria novas possibilidades para a arte do ator, momento decisivo na sua trajetória teatral. Esta dissertação apresenta o processo de montagem do espetáculo, reflete os primeiros germes do sistema Stanislávski e analisa as abordagens interpretativas do encenador na poética dramática da peça Um mês no campo. / In 1909, on the stage of Moscow Art Theatre, the acclaimed Russian director Konstantin Stanislavsky staged Ivan Turgenev s play, A Month in the Country. This performance was a decisive moment in his theatrical trajectory. Besides being a brilliant interpretation of a classic work of the Russian literature written by an author not widely known in this country, it was the starting point of development of the first elements of Stanislavskys \"system\", which would define new possibilities for the art of the actor. This dissertation presents the creation process of the spectacle, reflects on the first seeds of Stanislavskys \"system\" and analyses the directors interpretive approaches to the poetic drama of A Month in the Country.

Em 1909, no palco do Teatro de Arte de Moscou, o afamado diretor russo Konstantin Stanislávski realiza a montagem da peça de Ivan Turguêniev Um mês no campo. Além de ser uma brilhante interpretação de obra clássica da literatura russa de um autor pouco difundido nesse país, o espetáculo marca o início da elaboração dos primeiros elementos do sistema Stanislávski, que definiria novas possibilidades para a arte do ator, momento decisivo na sua trajetória teatral. Esta dissertação apresenta o processo de montagem do espetáculo, reflete os primeiros germes do sistema Stanislávski e analisa as abordagens interpretativas do encenador na poética dramática da peça Um mês no campo. / In 1909, on the stage of Moscow Art Theatre, the acclaimed Russian director Konstantin Stanislavsky staged Ivan Turgenev s play, A Month in the Country. This performance was a decisive moment in his theatrical trajectory. Besides being a brilliant interpretation of a classic work of the Russian literature written by an author not widely known in this country, it was the starting point of development of the first elements of Stanislavskys \"system\", which would define new possibilities for the art of the actor. This dissertation presents the creation process of the spectacle, reflects on the first seeds of Stanislavskys \"system\" and analyses the directors interpretive approaches to the poetic drama of A Month in the Country.

Este trabalho é composto pela tradução da novela O rei Lear da estepe, de Ivan Turguêniev, publicada em 1870, seguida de um breve comentário sobre a influência do dramaturgo inglês William Shakespeare na literatura russa. Em seguida há um estudo sobre o skaz literário presente na novela e da estilização, um recurso estilístico teorizado por Mikhail Bakhtin e Yuri Tyniánov. Assim como a paródia, a estilização é também a recriação de uma obra consagrada, mas, ao contrário daquela, não possui efeito cômico e sim concordância de sentido com o texto no qual foi inspirada. Por fim, há um apontamento sobre a existência de elementos do folclore russo no texto e comentários sobre a tradução baseados em cotejos com versões francesa, inglesa e portuguesa. / This research consist of a translation of Ivan Turgenevs novel The King Lear of the steppes, published in 1870, followed by a brief commentary on the influence of the English playwrighter William Shakespeare in Russian literature. Then there is a study of the literary skaz present in the novel and styling, a stylistic feature theorized by Mikhail Bakhtin and Yury Tynyanov. Like the parody, the styling is also a recreation of a consecrated work, but rather that it does not have comic effect, but agree with the text direction in which it was inspired. Finally, there is a note about the existence of elements of Russian folklore in the text and comments on the translation based on comparison with French, English and Portuguese versions.