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Duas coletâneas das novelas Noites em uma granja perto de Dikanka, de Nikolai Gógol (1809-1852), publicadas entre 1831 e 1832 e chamadas pelos pesquisadores de ucranianas, formaram o primeiro livro que trouxe o então jovem escritor à fama na sociedade literária russa. A obra, além de apresentar ao público o ainda pouco conhecido material etnográfico, ganhou destaque por formar uma complexa síntese das várias camadas literárias e culturais, colocando Noites dentro do sistema de várias oposições (romantismo/realismo; cristianismo/paganismo; catolicismo/ortodoxia, russo/europeu), sujeito à discussão até nossos dias. Nesta dissertação, discute-se a possível conexão das obras de Nikolai Gógol, em especial as suas novelas ucranianas, com a poética do romance gótico inglês, gênero popular e difundido na Rússia no início do século XIX. Tal circunstância proporcionou o vasto uso e adaptação dos procedimentos típicos góticos pelos autores russos na época gogoliana. Para mostrar isso, são procurados e analisados os traços recorrentes do gênero em questão, que mostram a evolução e a transformação do gótico em um novo território e na poética de Gógol em particular. Compõe, ainda, o volume desta dissertação a tradução de duas novelas gogolianas A noite da véspera do dia de Ivan Kupala (Vêtcher nakanune Ivana Kupala) e Uma noite de maio, ou uma moça afogada (Máiskaia notch, ili utóplennitsa). O critério de seleção dos textos em questão foi a presença marcante dos traços da tradição gótica. / Two collections of tales Evenings on a farm near Dikanka, by Nikolai Gogol (1809-1852), published between 1831 and 1832 and named by the researchers Ukrainian, formed the first book that brought a then young writer to fame in the Russian literary society. The work, aside from introducing to the public the yet little known ethnographic material, was highlighted for forming a complex synthesis of different cultural and literary layers, putting the Evenings into a system of various oppositions (romanticism/realism, Christianity/paganism, catholicism/orthodoxy, Russian/European), subject to a discussion until nowadays. This dissertation discusses a possible connection of Gogols works, especially his Ukrainian tales, with the poetics of English gothic romance, a popular and diffused genre in Russia in the beginning of the XIXth century. That circumstance conditioned the widespread use and adaptation of typical Gothic devices by the Russian authors during the gogolian era. To prove that, our work researches and analyses the recurrent traces of the genre in question, that show the evolution and transformation of Gothic in the new territory in general and in Gogols poetics in particular. This dissertation also presents the translation into Portuguese of two Gogols tales St. Johns Eve (Vecher nakanune Ivana Kupala) and May Night, or The Drowned Maiden (Mayskaya noch, ili Utoplennitsa). The selection criteria was the most outstanding presence of the Gothic traces in these texts.

Duas coletâneas das novelas Noites em uma granja perto de Dikanka, de Nikolai Gógol (1809-1852), publicadas entre 1831 e 1832 e chamadas pelos pesquisadores de ucranianas, formaram o primeiro livro que trouxe o então jovem escritor à fama na sociedade literária russa. A obra, além de apresentar ao público o ainda pouco conhecido material etnográfico, ganhou destaque por formar uma complexa síntese das várias camadas literárias e culturais, colocando Noites dentro do sistema de várias oposições (romantismo/realismo; cristianismo/paganismo; catolicismo/ortodoxia, russo/europeu), sujeito à discussão até nossos dias. Nesta dissertação, discute-se a possível conexão das obras de Nikolai Gógol, em especial as suas novelas ucranianas, com a poética do romance gótico inglês, gênero popular e difundido na Rússia no início do século XIX. Tal circunstância proporcionou o vasto uso e adaptação dos procedimentos típicos góticos pelos autores russos na época gogoliana. Para mostrar isso, são procurados e analisados os traços recorrentes do gênero em questão, que mostram a evolução e a transformação do gótico em um novo território e na poética de Gógol em particular. Compõe, ainda, o volume desta dissertação a tradução de duas novelas gogolianas A noite da véspera do dia de Ivan Kupala (Vêtcher nakanune Ivana Kupala) e Uma noite de maio, ou uma moça afogada (Máiskaia notch, ili utóplennitsa). O critério de seleção dos textos em questão foi a presença marcante dos traços da tradição gótica. / Two collections of tales Evenings on a farm near Dikanka, by Nikolai Gogol (1809-1852), published between 1831 and 1832 and named by the researchers Ukrainian, formed the first book that brought a then young writer to fame in the Russian literary society. The work, aside from introducing to the public the yet little known ethnographic material, was highlighted for forming a complex synthesis of different cultural and literary layers, putting the Evenings into a system of various oppositions (romanticism/realism, Christianity/paganism, catholicism/orthodoxy, Russian/European), subject to a discussion until nowadays. This dissertation discusses a possible connection of Gogols works, especially his Ukrainian tales, with the poetics of English gothic romance, a popular and diffused genre in Russia in the beginning of the XIXth century. That circumstance conditioned the widespread use and adaptation of typical Gothic devices by the Russian authors during the gogolian era. To prove that, our work researches and analyses the recurrent traces of the genre in question, that show the evolution and transformation of Gothic in the new territory in general and in Gogols poetics in particular. This dissertation also presents the translation into Portuguese of two Gogols tales St. Johns Eve (Vecher nakanune Ivana Kupala) and May Night, or The Drowned Maiden (Mayskaya noch, ili Utoplennitsa). The selection criteria was the most outstanding presence of the Gothic traces in these texts.

Dieses Buch verdankt sein Entstehen zwei Gründen. Zunächst ist es die Absicht, die an versteckter Stelle befindlichen Urkunden und Aktenabschriften des historischen Pfarrarchivs St. Nikolai der Fachwelt zugänglich zu machen. Außerdem möge diese Urkundensammlung dazu beitragen, die überregionale Bedeutung der Stadt Geithain weiter aufzuhellen und ihren Platz in der Landesgeschichte zu festigen. Insofern richtet sich das Buch sowohl an den interessierten Historiker als auch an den gebildeten Laien. Es enthält eine Fülle von Ereignissen zur Stadt- und Landesgeschichte der Mark Meißen bzw. des Herzogtums Sachsen vom 12. bis zur Mitte des 16. Jahrhunderts, die in der Mehrzahl bisher noch nicht im Druck vorliegen.

Dieses Buch verdankt sein Entstehen zwei Gründen. Zunächst ist es die Absicht, die an versteckter Stelle befindlichen Urkunden und Aktenabschriften des historischen Pfarrarchivs St. Nikolai der Fachwelt zugänglich zu machen. Außerdem möge diese Urkundensammlung dazu beitragen, die überregionale Bedeutung der Stadt Geithain weiter aufzuhellen und ihren Platz in der Landesgeschichte zu festigen. Insofern richtet sich das Buch sowohl an den interessierten Historiker als auch an den gebildeten Laien. Es enthält eine Fülle von Ereignissen zur Stadt- und Landesgeschichte der Mark Meißen bzw. des Herzogtums Sachsen vom 12. bis zur Mitte des 16. Jahrhunderts, die in der Mehrzahl bisher noch nicht im Druck vorliegen.

Unter den Genres des russischen Musiktheaters hat die komische Oper die längste Tradition. Entstanden in den siebziger Jahren des 18. Jahrhunderts, blieb sie bis ins erste Drittel des 19. Jahrhunderts hinein die einzige professionelle musiktheatralische Gattung. Nationale Genrekennzeichen sind das Lyrische, das Phantastische und das Satirische sowie die Vermischung dieser Züge, wie man sie beispielsweise in der Mainacht von Rimski-Korsakow, in Wakula der Schmied von Tschaikowsky und in der Hochzeit von Mussorgski findet, um nur einige herausragende Beispiele des 19. Jahrhunderts zu nennen. Diese genrespezifischen Eigenschaften wurden im 20. Jahrhundert größtenteils beibehalten. Neben den bekannten Werken Igor Strawinskys, Sergei Prokofjews und Dmitri Schostakowitschs stellen die Opern Nikolai Tscherepnins in der ersten Jahrhunderthälfte einen interessanten Sonderweg dar.

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As the Russian government enacted the Great Reforms of the 1850s and 1860s, Siberian students in St. Petersburg at the time came to the realization that urban, judicial, and land reforms had to take place in Siberia in order for the region to develop. Starting with meetings of the Siberian Circle in the capital, regionalists strove to elevate Siberia’s socio-political position within the Russian Empire. Regionalists believed that the Russian government envisioned Siberia exclusively as a place of exile and hard labor, as a territory for natural resources, and as a region unworthy of any real development. The chief theorists of regionalism, Grigorii Nikolaevich Potanin and Nikolai Mikhailovich Iadrintsev, sought to reconceptualize the relationship between European Russia and Siberia while publicizing regional needs. For regionalists, ending the system of Siberian exile, fostering the development of education, and pushing Siberia’s political and economic development would make Siberia a vital and vibrant region of the empire and end Siberia’s traditionally subservient status. Forces constantly pushed regionalism, as regionalists found their movement shaped, in turn, by the Russian state, Siberian realities, revolutionary forces, and civil war. Regionalists struggled to come to terms with their desire to see Siberia included in the Russian Empire in meaningful ways even as the government treated the region as an economic, political, and cultural afterthought. While regionalists endeavored to construct viable alternatives for regional development, evolving reality did as much, if not more, to shape regionalism, pushing its adherents in new and surprising directions, sometimes against their will.

Nikolai Karlovich Medtner (1880-1951) was a Russian composer, pianist and pedagogue. While active during the period of Modernism, he was one of the last descendants of the nineteenth-century tradition. Without a doubt, Medtner was considered one of the most brilliant successors of the Russian piano school, though his compositions did not particularly bring him a great deal of popularity in his time. Nonetheless, his unique style of writing has always attracted a small circle of musicians and admirers, and more recently, there has been a remarkable resurgence of interest in Medtner’s music. In the 2000s, several recent prizewinners of the International Tchaikovsky Competition – Daniil Trifonov, Dmitry Masleev, and Lucas Debargue – have shown their special interest in Medtner’s music, and this has drawn public attention to Medtner’s major piano works. However, discussions regarding performance practice and interpretation in playing Medtner have only recently begun. Although dissertations focused on Medtner’s music began to appear in the 1960s, primary sources have been examined by only a limited number of scholars, due to geographic and linguistic barriers. This dissertation aims to formulate and answer performance practice issues to develop a practical approach to learning and performing Medtner’s piano compositions. Since the primary sources related to op. 38 are comparatively abundant, and the work contains several pieces of contrasting character, Forgotten Melodies can serve as a good model for developing an informed approach to interpreting Medtner’s piano music. Analyses of three major types of material are provided to trace the chronological development of ideas in op. 38: sound recordings of Medtner’s own playing; written records by the composer and his student; and the score Medtner had on which he noted down his ideas. In addition to Medtner’s publication The Muse and the Fashion, unpublished diaries and essays found at the Medtner Archive (‘Fond Metnera’) of the Glinka National Museum of Musical Culture (Moscow, Russia) have also been examined.

This research illustrates the performer-researcher's artistic process of reaching an understanding of music through performance, and explores how an effort to understand music at the instrument and in the context of music-making could influence our critical evaluation of the music. ​Engaged in the process of learning music, I seek to document my artistic practices as a reflective practitioner: to open up the performer-researcher's workspace, communicate the performativity of the music, and reveal my embodied doing-thinking as a performer. By involving in the performer-researcher's physical and intellectual trajectory, the focus of musicological research could be shifted from the study of music as writing to a practice-based study that communicates and values music as performance. ​This shift provides a chance to rethink musical works at the piano and place the music in a context in which music can be understood, communicated, and valued through performance. This has the potential to shed light on the performative value of music, and may challenge the existing critique of musical works by emphasising the centrality of musical performance in the realm of music research, perhaps revealing what has been neglected by the text and outcome-focused approaches to music. I believe this could lead us to assess musical works in a different value system by considering the music in and as performance.