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.

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.

Ce travail s'inscrit dans la continuité des travaux de recherche menés au laboratoire Géoressources (Ecole des Mines de Nancy) et à l'INERIS depuis plusieurs années. Il concerne l’évaluation de la vulnérabilité des ouvrages situés dans des zones de mouvement de terrains d’origine naturelle ou anthropique. L’objectif de la thèse est de développer un modèle analytique permettant l’évaluation du tassement différentiel d’un ouvrage soumis à un mouvement de terrain et de calculer le taux de transmission de ces mouvements en fonction de la rigidité relative de l’ouvrage. Le modèle d’interaction sol-structure développé, tient compte de l’influence des contraintes de cisaillement dans le bâti et le terrain et d’un comportement poste-rupture du sol grâce à l’introduction d’une limite de plasticité. Le sol a été modélisé par les éléments de Pasternak afin de prendre en compte l'influence des déformations de cisaillement dans le sol, alors que le bâtiment est modélisé par la poutre d'Euler-Bernoulli et par la poutre de Timoshenko. L’existence potentielle d’un vide (décollement) sous le bâtiment a également été prise en compte dans le modèle analytique développé. Le taux de transmission des mouvements en champ libre du terrain au bâtiment a été calculé et présenté en fonction de la rigidité relative en flexion du bâtiment par rapport au terrain. Pour valider le développement entrepris, les résultats du modèle analytique ont été comparés aux résultats de modèles existants, analytiques, numériques et expérimentaux développés principalement par l'Université de Cambridge. Les résultats obtenus sont très satisfaisants et permettant de confirmer la robustesse du modèle analytique développé / This work is a continuation of the research work conducted in the Géoressources Laboratory and INERIS since several years. It concerns the assessment of the vulnerability of masonry structures influenced by natural or induced ground movements. The origins of the movement are may be, mining subsidence, tunneling, and shrinkage-swelling of clayed ground. The objective of the thesis is to develop an analytical model to evaluate the differential settlement of a structure in relation to the free field ground movement and given a set of phenomena: soil-structure interaction, influence of shear deformations in the structure and the ground, influence of non- linearities induced by the ground yielding. The soil was modeled by Pasternak elements to take into account the influence of shear deformations in the soil, while the building is modeled by the Euler-Bernoulli beam and by the beam of Timoshenko. The possibility of having a gap under the building was also taken into account. The deflection transmission ratio is then calculated and plotted according to are lative stiffness ratio which depend on both the structure and the soil stiffness A numerical model is also developed and results are compared with those of the analytical model. Other results of several numerical and experimental models principally developed at the University of Cambridge are also used for this comparison. Results show significant consistence between all these results. This demonstrates the significance of the analytical soil-structure model developed in this thesis

Although quite a few researchers have pointed to the significance of the childhood theme in Tsvetaeva’s work, no systematic analysis of her work has been done from this perspective. Nor have her childhood reminiscences been treated as a thematically consistent whole, but have rather been read as instances of the poet’s prose in general. The present study examines Marina Tsvetaeva’s memories of childhood in the context of her work and in the context of the cultural and political reality to which these reminiscences refer and in which they were written—i.e., Russia around the turn of the century and the Russian émigré world of 1930–1937. In the introductory investigation of the presence of the childhood theme in Tsvetaeva’s oeuvre, it is found that idealization of the naive, innocent state is a relatively constant feature and that the childhood memories can be read as a culmination of this set of motives. It is also stated that Tsvetaeva’s continuous striving in her poetry away from the world, out of time, is an integral part of the childhood thematics. This tendency is traced, in connection with the childhood theme, to the influence of writers of the late Russian Symbolist movement as well as to Boris Pasternak and Rainer Maria Rilke—all with roots in literary Romanticism. Childhood is moreover found to be something of a key theme that reveals fundamental differences in the relation to memory and language among the authors of Russian modernism. In Tsvetaeva' s case it is shown that her childhood memories contain the romantic essence of her aesthetics. The study also touches upon the symbolic and allegorical dimension of the texts—Tsvetaeva’s “otherspeak” in her prose. It is shown that the central scenes of these texts can be read as illustrations of an artistic and linguistic experience. In this regard the author’s narrative of childhood also appears to have been a suitable medium for articulating controversial aesthetic statements and taking a stand for an historical past and literary tradition that at the time seemed doomed to oblivion.

Zugl.: Frankfurt (Main), Univ., Diss., 2007

Akad. avhandling--Stockholm, 1994.

La tesi si occupa della prima prosa di Pasternak, concentrandosi sui racconti Čerta Apellesova, Pis’ma iz Tuly e Detstvo Ljuvers degli anni Dieci e su due testi esemplari della prosa narrativa degli anni Venti: Vozdušnye puti e Povest’. L’analisi dei testi muove da una visione d’insieme della creazione di Pasternak, attestata definitivamente dalla recente pubblicazione delle opere complete. La compresenza di prosa e poesia in tutta la produzione di Pasternak e la loro mescolanza nelle opere in prosa riconduce alla riflessione teorica destata dall’esperienza dell’arte come restituzione di una nuova visione della realtà, di cui questa prosa è insieme riflesso e analisi. Per questo la tesi è costituita da una parte generale sulla natura della prosa di Pasternak ricostruita a partire dalla critica e da un percorso sintetico attraverso le sue riflessioni teoriche e autobiografiche sull’arte, a cui fa seguito la lettura dei racconti. I primi tre esemplificano le caratteristiche della natura dell'arte come la sperimenta e la teorizza Pasternak e gli ultimi due, risalenti agli anni Venti, vedono l’introduzione della verifica di come l’arte come fedeltà alla vita si confronti con i problemi della storia contemporanea. / The present dissertation is dedicated to Pasternak's early prose with a focus on the tales Čerta Apellesova, Pis’ma iz Tuly e Detstvo Ljuvers of the 1910s and on two examples from his narrative prose of the 1920s: Vozdušnye puti e Povest’. The analysis of the texts is made following a global look on Pasternak's creation, as it was recently pointed out by the publication of his complete work. The simultaneous presence of prose and poetry in his whole production and their fusion in the prose texts is linked to his esthetical thought and to his experience of art as reflecting a new vision of reality. His prose is a realisation and at the same time an analysis of that new experience. The dissertation thus consists of a general section dedicated to the description of Pasternak's prose reconstructed from the critique and of a path through the author's theoretical and autobiographical writings on art followed by the tales reading. The first three of them exemplify the nature of art as Pasternak experienced and conceived it and the last two, written in the 1920s, introduce the confrontation of art's main assignment, its connection to life, with the challenges of contemporary history.

In this thesis, transverse vibration of a cracked beam on an elastic foundation and the effect of crack and foundation parameters on transverse vibration natural frequencies are studied. Analytical formulations are derived for a beam with rectangular cross section. The crack is an open type edge crack placed in the medium of the beam and it is uniform along the width of the beam. The cracked beam rests on an elastic foundation. The beam is modeled by two different beam theories, which are Euler-Bernoulli beam theory and Timoshenko beam theory. The effect of the crack is considered by representing the crack by rotational springs. The compliance of the spring that represents the crack is obtained by using fracture mechanics theories. Different foundation models are discussed / these models are Winkler Foundation, Pasternak Foundation, and generalized foundation. The equations of motion are derived by applying Newton&#039 / s 2nd law on an infinitesimal beam element. Non-dimensional parameters are introduced into equations of motion. The beam is separated into pieces at the crack location. By applying the compatibility conditions at the crack location and boundary conditions, characteristic equation whose roots give the non-dimensional natural frequencies is obtained. Numerical solutions are done for a beam with square cross sectional area. The effects of crack ratio, crack location and foundation parameters on transverse vibration natural frequencies are presented. It is observed that existence of crack reduces the natural frequencies. Also the elastic foundation increases the stiffness of the system thus the natural frequencies. The natural frequencies are also affected by the location of the crack.

(in English): This thesis deals with a version of Boris Pasternak's novel Doctor Zhivago, translated into Czech by Jan Zábrana and Jiří Kovtun. The aims of the thesis are: (1) to follow the journey of the original exile edition from Italy to communist Czechoslovakia, (2) to clarify how both translators contributed to the poetry part of the novel, (3) to outline Zábrana's translation method a comparison of chosen typewritten versions of the translation from various phases of its creation. The primary source of material for all the individual objectives is Zábrana's inheritance, which answers the question why Jiří Kovtun's name does not appear in the first Czech edition of Doctor Zhivago (1990), although he is listed along with Zábrana as the translator of the poetry part in the remaining three editions (2003, 2005, 2011). The original material from the inheritance as well as Marie Zábranová's testimony emphasize the sequence of events that influenced the creation of Zábrana's translation. The final analysis compares chosen typewritten versions of the novel's eighth chapter with the first Czech edition and describes how Zábrana worked. The thesis aims to be beneficial for the Czech history of translation and contribute to the current knowledge about the translation method of Jan Zábrana. Keywords Jan...

The diploma thesis deals with analytical description of vehicle - track dynamic interface. There are described basic analytical models which are subsequently extended in order to get a more precise description of dynamic phenomena. The aim is to compile a model that faithfully describes the dynamic phenomena in the track. These new compiled models are qualitatively compared with data obtained by measuring in the track.