This thesis is the first extensive study devoted to the generic originality of Iurii Tynianov’s representation of Pushkin in his two historical novels, Pushkin (1935-1943) and the abandoned The Gannibals (1932). Chapter 1 contextualises Tynianov’s contribution to the current debates on the novel’s demise, ‘large’ form and the worthy protagonist. The conditions giving rise to contemporary interest in the genres of biography and the historical novel are delineated and the critical issues surrounding these are examined; Tynianov’s concern to secularise the rigid monolith of an all but sanctified ‘state-sponsored Pushkin’ and the difficulties of the task are also reviewed. Chapter 2 shifts the examination of Pushkin as a historical novel to its study within the generic framework of the Bildungs, Erziehungs and Künstlerromane with their particular problematics which allowed Tynianov to grapple with a cluster of moral, philosophical and educational issues, and to explore the formative influences on the protagonist’s identity as a poet. Chapter 3 explores the concept of history underlying Tynianov’s interpretation of the characters and events and the historiographical practices he employed in his analyses of the factors that shaped Pushkin’s own historical thinking. Chapter 4 investigates Tynianov’s scepticism about Abram Gannibal’s and A. Pushkin’s mythopoeia which reveals itself in Tynianov’s subversively ironical and playful use of myth in both novels. The Conclusion assesses Tynianov’s contribution to the 20th century fictional Pushkiniana and reflects on his innovative transgeneric historical novel which broke the normative restrictions of the genre, elevated it to the level of ‘serious’ literature and made it conducive to stylistic experimentation.

Este trabalho propõe um estudo e a tradução direta dos ensaios escritos por Anna Akhmátova sobre a vida e a obra do escritor Alexander Púchkin. Tomar-se-á como bibliografia fundamental, portanto, o volume 6 da C (Coleção Completa) da autora. Tais ensaios têm o objetivo de preencher uma lacuna presente tanto nos estudos futuros sobre a poética de Anna Akhmátova quanto de Aleksandr Púchkin. Para tanto, a análise da obra também será contemplada, bem como o aprofundamento da vida e obra dos escritores à luz dos recursos teóricos e interpretativos oferecidos por Mikhail Bakhtin, Dominique Combe e Luiz Costa Lima. / This work proposes a study and translation of the essas written by Anna Akhmatova about Pushkins life and work. The Akhmatovas volume 6 of the C (Complete Works) will become the main bibliography. These essays have the objective to fill the void of future works not only about Anna Akhmatovas poetics but also Pushkins. For this purpose, a work analysis will be considered, as well as the deepening of the writers life and work in the light of theoretical and interpretative resources offered by Mikhail Bakhtin, Dominique Combe e Luiz Costa Lima.

This dissertation traces the development of Alexander Pushkin's sense of the tragic in the context of Russian and European Romanticism. Pushkin was a self-proclaimed skeptic in matters of literature: though deeply influenced by Romantic poets and theorists, he never subscribed to any one school or creed, experimenting in a range of genres to express his changing tragic vision. Many of his works move seamlessly between the closed world of traditional tragedy and the open world of Romantic tragic drama; and yet, they follow neither the cathartic program prescribed by Aristotle nor the redemptive mythologies of the Romantics. My study explains Pushkin's idiosyncratic approach to tragedy by re-situating his works within their literary, historical, and philosophical contexts. In my readings of The Gypsies, Boris Godunov, and The Little Tragedies, I connect Pushkin's works to those of a range of European writers, including Shakespeare, Racine, Rousseau, Goethe, Schiller, the Marquis de Sade, and Hugo; and I examine such topics as tragedy and the tragic, the sublime and the grotesque, the relationship between literature and history, irony and tragic ritual. While I ground my work in traditional Russian philology, I use recent Western scholarship to help frame my study theoretically. In particular, I aim to contribute to the ongoing debate between scholars who claim that Romanticism marked "the death of tragedy" and those who see the change less as a death than as a redefinition.

Este trabalho propõe um estudo e a tradução direta dos ensaios escritos por Anna Akhmátova sobre a vida e a obra do escritor Alexander Púchkin. Tomar-se-á como bibliografia fundamental, portanto, o volume 6 da C (Coleção Completa) da autora. Tais ensaios têm o objetivo de preencher uma lacuna presente tanto nos estudos futuros sobre a poética de Anna Akhmátova quanto de Aleksandr Púchkin. Para tanto, a análise da obra também será contemplada, bem como o aprofundamento da vida e obra dos escritores à luz dos recursos teóricos e interpretativos oferecidos por Mikhail Bakhtin, Dominique Combe e Luiz Costa Lima. / This work proposes a study and translation of the essas written by Anna Akhmatova about Pushkins life and work. The Akhmatovas volume 6 of the C (Complete Works) will become the main bibliography. These essays have the objective to fill the void of future works not only about Anna Akhmatovas poetics but also Pushkins. For this purpose, a work analysis will be considered, as well as the deepening of the writers life and work in the light of theoretical and interpretative resources offered by Mikhail Bakhtin, Dominique Combe e Luiz Costa Lima.

A presente pesquisa tem como objetivo apresentar ao leitor as traduções, feitas pela primeira vez para a língua portuguesa diretamente dos originais, em russo, de textos selecionados de Aleksander Serguêievitch Púchkin, publicados em sua revista literária \"O Contemporâneo\", durante a década de 1830. Além disso, o trabalho traça um panorama histórico prévio ao surgimento do periódico, bem como uma análise do momento histórico de sua fundação - rico em jornais e revistas literárias - e o legado deixado por \"O Contemporâneo\", dando subsídios para o entendimento das razões históricas e pessoais para sua realização. / This work aims to present the translations of selected essays and articles, for the very first time straight from the originals in russian directly to portuguese, published by Alexander Sergeyevich Pushkin on his literary magazine \"The Contemporary\" during the 1830 decade. Besides that this research traces an historical overview of the preceding decades, as well as analysis of the specific moment of publication of \"The Contemporary\", rich in literary and magazine newspapers. There is also a drilldown of its legacy, providing the reader with subsides to the fully understanding of Pushkin´s personal and literary motivations.

This dissertation examines commemoration of Russian poet Aleksandr Sergeevich Pushkin from the late Soviet period to the present, as a study of the nature and function of literary commemoration in a time of social, political, and economic instability. Since its inception in the late nineteenth century, the Pushkin cult has been Russia’s largest-scale government-sanctioned literary cult, showing remarkable endurance through the transitions from imperial to Soviet rule and then from Soviet to capitalist rule. In the post-Soviet context, Pushkin-related commemoration and the resulting debates address a key question in Russian culture: can old literary “heroes” continue to play a central role in national identity in a society that no longer grants central political importance to literature? If they do retain a broader political and social significance, how are they used to navigate nostalgia, on one hand, and a sense of cultural exhaustion, on the other? Scrutiny of the Pushkin myth today demonstrates how postmodernism and irony have been turned to the re-stabilization of an authoritative discourse about identity, which nonetheless continuously provokes parody and satire. I also examine the recently formed “cult” of Sergei Dovlatov (1941-1990), a late Soviet prose writer who was unable to publish his work at home and immigrated to the US, under government pressure, in 1979. Pushkin is central to Russia’s image of Dovlatov, who spent time working as a tour guide at the Pushkin estate museum in Pskov oblast in the 1970s and wrote a satirical novel about the experience, which I analyze alongside real-life accounts of the estate museum. Dovlatov achieved huge posthumous popularity in Russia almost immediately after his death, and is now the object of a distinctively post-Soviet literary cult, which I discuss in relation to the evolving Pushkin cult. In this way, I illuminate the peculiarities of Russian writer cults during a period when the social status of literature declined dramatically. I conclude that the Dovlatov cult serves as a vehicle for a carefully circumscribed variety of Soviet nostalgia, one that admits the many failings of the Soviet Union while also recalling many of its aspects with fondness and regret. As with Pushkin, the Dovlatov cult is used to create the impression of reconciliation among discordant political epochs and ideologies. My study of the Pushkin and Dovlatov cults is organized around two types of literary commemoration, both of which have deep roots in European culture: the jubilee, or anniversary celebration, and the literary house museum. I begin with a detailed study of the almost-forgotten 1999 Pushkin jubilee, the first large-scale post-Soviet Pushkin celebration. My analysis of the jubilee and the reactions it provoked from the press and the intelligentsia shows that while the jubilee was widely derided, it unintentionally united diverse factions of the press and intelligentsia, who banded together to defend Pushkin against exploitation by Russia’s new political elite. However, many writers also saw the jubilee as a confirmation that the possibilities of Russian literature had been exhausted: I explore some literary responses to this fear in my second chapter. I then move to Pushkin house museums, showing how they express different aspects of the Pushkin myth and Russian “national idea.” I show how the recently founded Dovlatov House museum, like the Dovlatov cult more broadly, parodies the Pushkin cult while also reinforcing many of the basic practices and purposes of Pushkin worship.

A presente pesquisa tem como objetivo apresentar ao leitor as traduções, feitas pela primeira vez para a língua portuguesa diretamente dos originais, em russo, de textos selecionados de Aleksander Serguêievitch Púchkin, publicados em sua revista literária \"O Contemporâneo\", durante a década de 1830. Além disso, o trabalho traça um panorama histórico prévio ao surgimento do periódico, bem como uma análise do momento histórico de sua fundação - rico em jornais e revistas literárias - e o legado deixado por \"O Contemporâneo\", dando subsídios para o entendimento das razões históricas e pessoais para sua realização. / This work aims to present the translations of selected essays and articles, for the very first time straight from the originals in russian directly to portuguese, published by Alexander Sergeyevich Pushkin on his literary magazine \"The Contemporary\" during the 1830 decade. Besides that this research traces an historical overview of the preceding decades, as well as analysis of the specific moment of publication of \"The Contemporary\", rich in literary and magazine newspapers. There is also a drilldown of its legacy, providing the reader with subsides to the fully understanding of Pushkin´s personal and literary motivations.

No description available.

No description available.

Este trabalho é composto pela tradução anotada do ensaio (Meu Púchkin, 1937), da poeta russa Marina Tsvetáieva, bem como por uma apresentação da obra em prosa da autora, de um modo geral, e do ensaio Meu Púchkin, em particular. Para tanto apontaremos seus principais procedimentos compositivos à luz de Mikhail Bakhtin, Tzvetan Todorov, Elisabeth Burgos, entre outros. / This research is composed by twou parts: a commented translation of the russian poet Marina Tsvetayevas essay (My Pushkin, 1937) and a presentation of her prose literary production, in a general way, as well as a particular focus on My Pushkin essay. To accomplish this task, the main compositive procedures have been pointed out in the light of Mikhail Bakhtin, Tzvetan Todorov, Elisabeth Burgos and other authors view.