The essential objective of this study was to reveal the degree to which one man, Nicholas Muraviev, was instrumental in bringing about Russia's annexation of The Amur basin, as well as the territory that became the Maritime Province of Siberia. Introductory chapters provide: a) a background summary of Muraviev's education and of his career prior to his service in Siberia and b) a brief historical survey of the area in which his achievements raised Russia to the position of a Far Eastern Power. The main body of the study comprises an analytical narrative of Muraviev's activities during the decade that culminated in the Chinese capitulation at Aigun in 1858. Closing chapters explain the factors that turned the newly acquired territories into a burden for the Russian Government until it decided to build the trans-Siberian railway, and set forth some conclusions regarding the historical significance of Muraviev's role as Russia's pro-consul in Eastern Siberia. Extensive use was made of the prime single source of information on Muraviev's life, Ivan Barsukov's Graf N. N. Muraviev-Amurskii, po ego pismam, ofitsialnym dokumentam, razskazam sovremmenikov it pechatnym istochnikam (materialy d1ia biografii). Also of significant assistance was the bibliography contained in J. L. Sullivan's doctoral dissertation, Count N. N. Muraviev-Amurskii, a full-scale biography. Sullivan's dissertation preceded two important works bearing on the Muraviev period in Siberia and drawn on extensively in the present study; R. K. I. Quested's The Expansion of Russia in East Asia, 1858-1860, and P. I. Kabanov's Amurskii Vopross. Among other particularly valuable sources was P. V. Schumacher's long article, K istorii priobretenia Amurai. Snoshenias Kitaem s 1848 po 1860 g.” contained in Russki Arkhiv, which, together with Russkaia Starina and Krasny Arkhiv, also contain numerous other documents, memoirs and contemporary accounts that were consulted. Of signal value, too, among the special studies, surveys and reference works consulted was the introductory chapter of Andrew Malozemoff's " Russian Far Eastern Policy, 1881-1904. A complete selected bibliography is included. The research undertaken for this study has led to the conclusion that had it not been for Muraviev's imagination and ingenuity, his willingness, on occasion, to flout authority and his dedication and extraordinary stamina, the annexation to Eastern Siberia of almost 400,000 square miles of territory might never have taken place. Muraviev was sometimes impatient, perhaps sometimes insufficiently impressed by broader politico-military considerations that dictated what he regarded as an inexcusably over-cautious attitude toward Russo-Chinese relations in St. Petersburg. He also tended to exaggerate the immediate benefits that would accrue to Russia once she acted boldly on the Amur. Yet the salient fact remains that it was the intensity with which he pursued his idee fixe, both with words and actions, the years of his methodical preparation, with minimal support from the Russian Government, that made it possible for that Government to nullify the Treaty of Nerchinsk and to extend the Russian Empire's realms on the Pacific's shores down to the Korean frontier. It took important external factors, such as the Crimean War, and the resulting replacement of Muraviev's nemesis, Nesselrode, and his clique, with more capable and far sighted officials, to bring Muraviev's plans to fruition. But to say this is simply to say that the authorities in St. Petersburg, viewing the confluence of events on the international scene, finally recognized that in Muraviev they had the right man at the right place at the right time.

This dissertation examines the renovation of the modernist stage, from the beginning of the twentieth century to the late 1930s, via a retrieval of three artistic forms that had marginal importance in the commercial theatre of the nineteenth century. These three paths are the tradition of the commedia dell’arte, puppetry and marionettes, and, finally, what I denominate mysterium, following Elinor Fuch’s terminology in The Death of Character. This dissertation covers the temporal span of the first three decades of the twentieth century and, at the same time, analyzes modernist theatre in connection with the history of Western drama since the consolidation of the bourgeois institution of theatre around the late eighteenth century. The Theatrical Pendulum: Paths of Innovation in the Modernist Stage studies the renovation of the bourgeois institution of theatre by means of the rediscovery of artistic forms previously relegated to a peripheral status in the capitalist system of artistic production and distribution. In their dramatic works, Nikolai Evreinov, Josef and Karel Čapek, Massimo Bontempelli, and Federico García Lorca present fictional actors, playwrights and directors who resist the fact that their work be evaluated as just another commodity. These dramatists collaborate with the commercial stage of their time, instead of adopting the radical stance that characterized avant-garde movements such as Italian futurism and Dadaism. Yet they also question the illusionist fourth wall separating stage and audience in order to denounce the subjection of the modernist artist to the expectations of bourgeois spectators. Jan Mukařovský’s concept of practical function in art is central to understanding the didactic nature of the dramatic texts studied in this dissertation. By claiming the importance of Mukařovský’s phenomenological structuralism, I propose a new reading of the theoretical legacy of the Prague School in conjunction with recent contributions in the field of theatre studies by Elinor Fuchs, Martin Puchner and other scholars whose work will be discussed here.

This dissertation examines the renovation of the modernist stage, from the beginning of the twentieth century to the late 1930s, via a retrieval of three artistic forms that had marginal importance in the commercial theatre of the nineteenth century. These three paths are the tradition of the commedia dell’arte, puppetry and marionettes, and, finally, what I denominate mysterium, following Elinor Fuch’s terminology in The Death of Character. This dissertation covers the temporal span of the first three decades of the twentieth century and, at the same time, analyzes modernist theatre in connection with the history of Western drama since the consolidation of the bourgeois institution of theatre around the late eighteenth century. The Theatrical Pendulum: Paths of Innovation in the Modernist Stage studies the renovation of the bourgeois institution of theatre by means of the rediscovery of artistic forms previously relegated to a peripheral status in the capitalist system of artistic production and distribution. In their dramatic works, Nikolai Evreinov, Josef and Karel Čapek, Massimo Bontempelli, and Federico García Lorca present fictional actors, playwrights and directors who resist the fact that their work be evaluated as just another commodity. These dramatists collaborate with the commercial stage of their time, instead of adopting the radical stance that characterized avant-garde movements such as Italian futurism and Dadaism. Yet they also question the illusionist fourth wall separating stage and audience in order to denounce the subjection of the modernist artist to the expectations of bourgeois spectators. Jan Mukařovský’s concept of practical function in art is central to understanding the didactic nature of the dramatic texts studied in this dissertation. By claiming the importance of Mukařovský’s phenomenological structuralism, I propose a new reading of the theoretical legacy of the Prague School in conjunction with recent contributions in the field of theatre studies by Elinor Fuchs, Martin Puchner and other scholars whose work will be discussed here.

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I detta examensarbete analyseras den ryska kompositören Nikolai Medtners Sonata Reminiscenza Op. 38 no. 1 från ett harmoniskt, motiviskt och strukturellt perspektiv. Denna analys innefattar också reflektioner kring några av författarens interpretationsmässiga val. Syftet med studien är att undersöka hur styckets form och harmonik kopplar det samman såväl med den klassiska kompositionskonstens regler som med Medtners artistiska/poetiska mål. Studiens resultat påvisar att verket är såväl kompositionstekniskt fulländat som känslomässigt rikligt. Sonatformen är på ett sofistikerat vis implementerad i verkets struktur och återfinns som en integrerad del i musikens narrativ.

Originally presented as the author's Thesis (doctoral)--Universität Tübingen, 1999. / Includes bibliographical references (v. 1, p. 467-478) and indexes.

Originally presented as the author's Thesis (doctoral)--Universität Tübingen, 1999. / Includes bibliographical references (v. 1, p. 467-478) and indexes.

El objetivo de esta investigación es la construcción de una herramienta didáctica con sistematización metodológica para la formación de directores de teatro. Contempla estrategias para el aprendizaje de las habilidades y el desarrollo de competencias necesarias para el ejercicio de la dirección teatral y su compromiso con la recepción del espectador. Para la construcción de esta metodología capitalizamos los saberes teóricos y empíricos obtenidos tanto desde nuestros propios procesos de creación, del ejercicio de la docencia del teatro y del aporte de formación recibido en el cursado del Magíster en Artes con Mención en Dirección Teatral. El trabajo de campo se realizó desde la observación y la experimentación sobre el objeto y el sujeto de estudio, es decir, del proceso de creación de la puesta en escena y su relación con la experiencia convivial en la representación teatral y el rol del director definiendo su especificidad. Como resultado concretamos la construcción de un instrumento facilitador del aprendizaje de la dirección teatral, conformado por un conjunto de procedimientos cuya aplicación estimula la teatralidad y favorecen la construcción de una curva de atención sostenida del espectador. La presente Tesis de Magíster es una investigación aplicada cuyo propósito y motivación están centrado en su aplicación y su evolución a futuro

Submitted by Automa??o e Estat?stica (sst@bczm.ufrn.br) on 2016-12-29T15:47:57Z No. of bitstreams: 1 RebekaCarocaSeixas_TESE.pdf: 3019371 bytes, checksum: 3d7f704e0d4e50eccec9a9564c1c0632 (MD5) / Approved for entry into archive by Arlan Eloi Leite Silva (eloihistoriador@yahoo.com.br) on 2016-12-29T20:36:16Z (GMT) No. of bitstreams: 1 RebekaCarocaSeixas_TESE.pdf: 3019371 bytes, checksum: 3d7f704e0d4e50eccec9a9564c1c0632 (MD5) / Made available in DSpace on 2016-12-29T20:36:16Z (GMT). No. of bitstreams: 1 RebekaCarocaSeixas_TESE.pdf: 3019371 bytes, checksum: 3d7f704e0d4e50eccec9a9564c1c0632 (MD5) Previous issue date: 2016-04-29 / Esta pesquisa ? produto de uma reflex?o te?rica sobre a obra dramat?rgica do escritor russo Nikolai G?gol e os modos pelos quais as suas experi?ncias iniciais e o contexto hist?rico foram determinantes, n?o apenas para constru??o de uma identidade no seu trabalho como autor, mas tamb?m, para as diferentes formas de concep??o e constru??o da obra dram?tica que surgem no contexto do teatro moderno. O trabalho se det?m ? an?lise da trilogia metadramat?rgica gogoliana que compreende as seguintes pe?as: O inspetor geral (1836), ? sa?da do teatro depois da representa??o de uma nova com?dia (1842) e Desenlace de O inspetor geral (1846). Dessa forma, s?o de interesse particular para esse trabalho, os conceitos de metadramaturgia e escrita perform?tica, os quais ser?o basilares para a an?lise da obra do dramaturgo. O estudo sobre a metadramaturgia ser? trabalhado a partir da an?lise da metalinguagem e do metateatro para que, assim, possamos compreender como se estrutura a ideia de metadramaturgia e como esse conceito pode ser utilizado na an?lise de obras dramat?rgicas. O conceito de escrita perform?tica compreende o estudo da obra a partir do vi?s performativo, ao entender o autor e o leitor/espectador como protagonistas desta rela??o. A partir dos estudos desses dois conceitos, de metadramaturgia e de escrita perform?tica, poder-se-? compreender, mais profundamente, os diferentes aspectos da obra do autor, principalmente, no que se refere ? atualidade de sua escrita. / This research is a result of a theoretical reflection about on the work of Russian writer dramaturgical Nikolai G?gol and the ways in which his initial experiments were crucial not only on what concerns the building of own work identity, but also the construction of the various forms of conception and creation of work dramaturgical and the way they have influenced modern theatre. The work holds the analysis of gogoliana metadramaturgical trilogy and comprising the following plays: The inspector general (1836), Leaving the theater after the performance of a new comedy (1842) and Denouement of The inspector general (1846). As such, are of particular interest to this work, the concepts of metadramaturgy and writing performatic are fundamental to the analysis of the playwright's work. The study on metadramaturgy will be worked from the analysis of de metalanguage and metatheatre so that we can understand how to structure the idea of metadramaturgy and how this concept can be used in the analysis of dramaturgical works. The idea of writing performatic includes the study of the work from the performative bias, to understand the author and the reader/viewer as protagonists of this relationship. From the studies of these two concepts, metadramaturgy and writing performatic, shall be able to understand more deeply the different aspects of the author's work, particularly in terms of past the relevance of his writing.

abstract: This dissertation presents a multifaceted examination of the complex sociopolitical contexts of contemporary popular and classical music in Russia. By attending to the competing expectations of Russian creators, government officials, impresarios, critics, and listeners, it examines how contemporary musical artists have navigated the shifting nationalistic and popular moods of the past two decades. I argue that popular music artists Olga Kormukhina and Polina Gagarina, composer Rodion Shchedrin, and the Mariinsky Theater have transformed the works of past artists, including Viktor Tsoi and Nikolai Leskov, updating them according to a popular demand for patriotic works that the Russian state has cultivated through its media outlets and official pronouncements on cultural policy. Other rock musicians (Konstantin Kinchev and the band Bi-2) have also transformed their political identities to match the present-day demands and expectations of either Russian officialdom or their particular Russian audiences. With the exception of Bi-2 (an ambiguous counterexample), all of these transformations have led to greater associations with nationalistic sentiments or fervent support for state agendas in the contemporary geopolitical arena. Exploring the wide variety of styles and genres in this dissertation required a methodological versatility involving archival research, reception history, the analysis of musical scores and sound recordings, an examination of prose and poetic texts, and close study of visual imagery in music videos and onstage. The approach to reception history is the most groundbreaking, for it considers a wide range of digital sources, including blogs and social media comment threads, and makes use of language partner apps to augment the pool of informants, allowing conversation with Russians living outside the limited geographical range (St. Petersburg and Moscow) considered by previous studies. This holistic approach to contemporary reception history helps us to better understand how Russian audiences from diverse regions perceive these ongoing transformations. / Dissertation/Thesis / Doctoral Dissertation Music 2020