Thesis (Ph. D.)--Florida State University, 2005. / Advisor: Dr. Tricia Young, Florida State University, College of Arts and Sciences, Interdisciplinary Program in the Humanities. Title and description from dissertation home page (viewed June 9, 2005). Document formatted into pages; contains vii, 209 pages. Includes bibliographical references.

Thesis (Ph. D.)--University of Wisconsin--Madison, 1972. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliography.

The purpose of this study is to present in a concise form information concerning the extent and quality of Slovenian translations of Pushkin's poetry and prose. The author has investigated as fully as possible the renderings of all the known Slovenian translators of Pushkin, who were active during the second half of the nineteenth century. Particular attention has been focused on the authorship of the published translations, collection of full bibliographical data and evaluation of the quality of the Slovenian renderings. A brief survey of the contents of the chapters will show broadly how the author has approached this task. Chapter I provides a short descriptive history of translation, explores in general terms the traditional and customary approach to translation and reviews the commonly accepted criteria and agreed upon principles governing translation. Furthermore, a brief comparative evaluation of existing resemblances and diversities of the Russian and Slovenian languages has been included. Chapter II provides a historical review of the Slovene-Russian cultural contacts, which date back to the sixteenth century, and then discusses the socio-cultural development of the Slovenian nation in the nineteenth century, taking especially into account the influence of the Slavophiles and Russophiles on the development of the Slovenian literature. Chapter III is devoted to the examination of the existing Slovenian renderings of Pushkin's poetry and prose; it provides short sketches of their authors, analyses the available bibliographical data, compares some of the renderings with the original texts, examines their language and attempts to assess their poetic failings or merits. Finally, added is a list of articles about Pushkin and translations which appeared in the Slovenian periodical publications. / Arts, Faculty of / Central Eastern Northern European Studies, Department of / Graduate

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Divided into six chapters, our thesis examines the translation of Evgenyi Onegin, a novel in verse by Aleksandr Pushkin, in France and Japan in the 20th century. In Chapter 1, we introduce our methodological approach, including the eight elements of our translation analysis: the by-who, the who, the what, the for-who, the when, the why, the where, and the how. In Chapter 2, after a brief biography of the Russian poet, we examine his central work Evgenyi Onegin, and its unique structuro-phono-semantic synthesis. The first French mention of Pushkin was in the 19th century, and the 'transfer-related discourse' of that period is the focus of Chapter 3, particularly its creation of the myth of the poet's untranslatability, which would influence translators of the Pushkinian novel into the 20 th century. In Chapter 4, we examine the 11 French translations produced between 1902 and 1996. Because the Japanese discovery of foreign literature---and Pushkin---was the product of political changes during the Meiji period (1868-1912), it is paramount that we examine the pivotal role of 19 th century ideological discourse in which translation is viewed as a means and a condition for the country's modernization. Finally, in Chapter 6, we turn our attention to the 8 Japanese translations of the Pushkinian work produced between 1921 and 1996. Our aim is to demonstrate how the spatio-temporal change influenced the view of translation in general, and translations of Pushkin in particular.

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This Master's Thesis presents and analyses the problems involved in the transfer1 of the name and the works of Alexandre Pushkin in nineteenth century France. Pushkin, Russia's national poet and its most revered author, is little known in France, where his works are often considered untranslatable. The reasons for this phenomenon lie in the first non-translational transfers of Pushkin, followed by the first attempts of translational transfers that came only to raise the existing stereotypes into dogmas, which were reinforced by the theoretical thoughts on the art of translation developed by the translating subjects of the time. The present study analyses the influence of the para-text and of empiricism on the transfer, reception and perception of Pushkin and his works, as they evolved in the course of nineteenth century France. / 1"Translation" in French. For a definition see A. Berman, Pour une critique des traductions: John Donne (Gallimard, 1995), p. 17.

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This thesis examines the major works of two outstanding European poets, Lord Byron and Alexander Pushkin, with a view to estimating the extent of their literary and personal affinity. The study begins with a survey of biographical highlights which are relevant to the interpretation of the works of the two poets. Next, the thesis demonstrates that Byron's "Oriental Tales" and Pushkin's "Southern Poems," as well as their major works, play a prominent role in the comparison of their poetic characterizations. In the examination of style, attention is limited to Byron's Don Juan and Pushkin's Evgeny Onegin, since they are regarded as the masterpieces of their respective authors. An appraisal of the continuing fame of both poets closes the study.

Painted in 1937 as part of the centenary celebration of the death of Alexander Pushkin, Nikolai Ulyanov's A. S. Pushkin and his Wife, N. N. Pushkina at the Imperial Ball has been lauded as the quintessential example of Soviet history painting. Modern scholars have followed the lead of Soviet critics, who praised the painting for its insight into the psychology of the brilliant poet repressed by the tyrannical tsarist regime. According to this interpretation, Soviet viewers in the 1930s were to ponder on the tragedy of Pushkin's demise and rejoice that the victory of Socialism had freed them from such repression. However, this thesis suggests that Ulyanov embedded a secondary, subversive message in his masterpiece. Through careful manipulation of Pushkin's complex semiotic significance, Socialist Realist dialectics, and the Aesopian method, Ulyanov crafted an image that could be celebrated for its adherence to Soviet ideology, while simultaneously suggesting to those who detected his clues that artistic repression had not ended with the revolution. In this subversive reading, Ulyanov's masterwork becomes a psychological self-portrait of an artist living under Stalinist oppression during the Great Terror.