The subject matter of my study is representations of Russia in Anglo-American and Russian spy novels, mysteries, and action thrillers of the 1990s. Especially suitable for representing the world split between good and evil, these genres played a prominent role in constructing the image of the other during the Cold War. Crime fiction then is an important source for grasping the changes in representing Russia after the Cold War. My hypothesis is that despite the changes in the political roles of Russia and the United States, the end of the Cold War and the demise of the Soviet Union continued to have a significant impact on popular fiction about Russia in the 1990s. A comparative perspective on depictions of Russia in the 1990s is particularly suitable in regard to American and Russian popular cultures because during the Cold War, Soviet and American identities were formed in view of the other. A comparative approach to the study of Russian popular fiction is additionally justified by the role that the idea of the West had played in Russian cultural history starting from the early eighteenth century. Reflection on depictions of Russia in crime fiction by writers coming from the two formerly antagonistic cultures poses the problem of representation in its relationship to time, history, politics, popular culture, and genre. The methods used in this dissertation derive from the field of cultural studies, history, and structuralist poetics. A combination of structuralist readings and social theory allows me to uncover the ways in which popular detective genres changed in response to the sentiments of nostalgia and anxiety about repressed or lost identities, the sentiments that were typical of the 1990s. My study of Anglo-American and Russian spy novels, mysteries, and action thrillers contributes to our understanding of the ways American and Russian cultures invent and reinvent themselves after a significant historical rupture, how they mobilize the past for making sense of the present. Drawing on readings of literature and culture by such scholars as Mikhail Bakhtin, Tzvetan Todorov, Siegfried Kracauer, Andreas Huyssen, Fredric Jameson, and Svetlana Boym, I show that differences in Anglo-American and Russian representations of Russia are a result of cultural asymmetries and cultural chronotopes in the United States and in Russia. I argue that Russian and American crime fiction of the 1990s re-writes Russia in the light of cultural memory, nostalgia, and historical sensibilities after the end of the Cold War and the fall of the Soviet Union. Memories of the Cold War and coming to terms with the end of the Cold War played a defining role in depicting Russia by Anglo-American detective authors of the 1990s; this role is clear from the genre changes in Anglo-American thrillers about Russia. Similarly, reconsideration of Russian history became an essential characteristic in the development of the new Russian detektiv.

This dissertation is about American Red Cross and YMCA work in revolutionary and civil war Russia. It focuses on the most significant phases of these organizations’ efforts in terms of the numbers of personnel involved and the funds expended: Moscow and Petrograd, 1917–18; northern Russia during the Allied military intervention, 1918–19; and Siberia and the Russian Far East, from 1918 through the early 1920s. By drawing on dozens of often underused archival collections this study is able to discuss these “constructive efforts” in much fuller detail than have existing works. The activities of the Americans who worked in Russia, rather than those who made policy from afar, are of primary interest. The concern here, beyond the what, where, and who, is why: Why did American relief or social service work occur? The answers, of which there are several, include a desire to provide assistance to suffering populations. But the humanitarian impulse was often not the one that carried the day when decisions about policy and practice were taken. Military concerns were important, especially while the Great War still raged on the western front, and while Allied and American soldiers fought Russian Bolsheviks. American relief workers also saw themselves as contributing directly to relations between Russia and Russians on the one hand, and the United States, the Allies, and the American people on the other. They were moved to carry out their work because they saw the importance of it for the present and future of relations between the two countries. Americans in Russia also took advantage of the presence of soldiers, civilian refugees, and former prisoners of war from a variety of European countries to spread the good word about all things American. Ultimately, Americans viewed revolutionary Russia through the lens of modernization. With American help, the future could be bright. With the right leadership in place to oversee their education, honest, hardworking, and intellectually curious peasants (as they were described by contemporary observers) could be turned into modern citizens. The Russian project failed to achieve its promise, but for a time Americans retained their optimism about Russia’s future.

This dissertation is about American Red Cross and YMCA work in revolutionary and civil war Russia. It focuses on the most significant phases of these organizations’ efforts in terms of the numbers of personnel involved and the funds expended: Moscow and Petrograd, 1917–18; northern Russia during the Allied military intervention, 1918–19; and Siberia and the Russian Far East, from 1918 through the early 1920s. By drawing on dozens of often underused archival collections this study is able to discuss these “constructive efforts” in much fuller detail than have existing works. The activities of the Americans who worked in Russia, rather than those who made policy from afar, are of primary interest. The concern here, beyond the what, where, and who, is why: Why did American relief or social service work occur? The answers, of which there are several, include a desire to provide assistance to suffering populations. But the humanitarian impulse was often not the one that carried the day when decisions about policy and practice were taken. Military concerns were important, especially while the Great War still raged on the western front, and while Allied and American soldiers fought Russian Bolsheviks. American relief workers also saw themselves as contributing directly to relations between Russia and Russians on the one hand, and the United States, the Allies, and the American people on the other. They were moved to carry out their work because they saw the importance of it for the present and future of relations between the two countries. Americans in Russia also took advantage of the presence of soldiers, civilian refugees, and former prisoners of war from a variety of European countries to spread the good word about all things American. Ultimately, Americans viewed revolutionary Russia through the lens of modernization. With American help, the future could be bright. With the right leadership in place to oversee their education, honest, hardworking, and intellectually curious peasants (as they were described by contemporary observers) could be turned into modern citizens. The Russian project failed to achieve its promise, but for a time Americans retained their optimism about Russia’s future.

Ce travail est consacré à la poésie en langue russe écrite sur le territoire d'Israël à partir de la fin des années 80 du XX siècle. La période marquée correspond à la quatrième, la dernière et la plus grande vague d'émigration russe qui est devenue possible grâce à la perestroïka. La poésie russophone israélienne reproduit tous les genres, les prosodies et les sujets principaux de la poésie russe et en même temps elle est capable de profiter de sa présence au Proche Orient, afin d'introduire dans la littérature russe des sujets et des styles nouveaux. Durant la période envisagée, un nombre important de textes poétiques en russe est apparu en Israël. Avec cela, les interprétations critiques et philologiques restent très rares. Notre but était de remplir cette lacune avec le premier panorama décrivant le statut de la poésie russophone en Israël et énumérant ses traits et ses succès principaux. Nous commençons ce travail par la comparaison de la diaspora littéraire russe israélienne avec les diasporas littéraires les plus connues dans la littérature mondiale et avec la diaspora russe en dehors d'Israël. Ensuite nous essayons d'analyser les conditions sociologiques, idéologiques et philosophiques existantes pour la littérature en langue russe en Israël. La partie principale de la thèse contient l'analyse d'œuvres de poètes contemporains russophones israéliens. Une attention particulière est accordée à la poésie spécifiquement israélienne, c'est-À-Dire, aux textes poétiques en langue russe qui n'auraient pu être écrits qu'en Israël. / The present thesis is an overview of the poetry written in Russian on Israeli territory from the late 80s of the XX century. The specified period corresponds to the fourth, the last and the biggest wave of Russian emigration that became possible thanks to perestroika. Russian poetic texts in Israel reproduce all genres, prosodies and subjects of the Russian poetry in general, but their Israeli origin enriches them with new themes and new styles. So far, the significant number of Russian poetic texts that appeared during the period specified above did not receive much critical analysis or philological interpretation. Our goal is to fill this gap, giving the first panorama of the Russian poetical diaspora in Israel and highlighting its main features and achievements. This wide and varied amount of texts requires a differentiated approach. Therefore we begin this work by comparing the Russian literary diaspora in Israel with the most famous diasporas in world literature and the Russian diaspora outside Israel. After this we analyze the sociological, ideological and philosophical circumstances stimulating the Russian poetry in Israel. The principal part of the thesis contains the analysis of the texts of contemporary Russian Israeli poets. Particular attention is given to the specifically Israeli Russian poetry, that is to say, the poetic texts in Russian that could be written only in Israel.

O presente trabalho tem como objetivo traduzir para português brasileiro e fazer uma análise semiótica da novela Parque cultural (1983), do escritor russo Serguei Dovlátov. Além disso, pretendemos apresentar aos leitores e pesquisadores brasileiros os traços fundamentais da obra deste, que é um dos principais prosadores russos da segunda metade do séc. XX e um dos maiores representantes da Terceira Onda de emigração russa. Uma das especificidades do método artístico de Dovlátov consiste em uma forte vinculação de sua obra com fatos da cultura, literatura e história da Rússia e da União Soviética. Essa característica permite-nos analisar seus textos como textos de cultura, segundo a concepção semiótica de Iú. Lótman. Na novela Parque cultural, espelham-se tais fenômenos da cultura soviética, como o mito soviético do poeta Aleksándr Púchkin, considerado símbolo da cultura, a existência na União Soviética de duas culturas paralelas (a oficial e a não oficial), o fenômeno da massiva emigração dos anos 1970, entre outros. A tradução da novela Parque cultural (título em russo, Zapoviédnik) para o português do Brasil, com notas e comentários, constitui parte integrante deste trabalho. Praticamente toda a obra de Dovlátov é humorística, e a transmissão dos elementos de humor e marcas culturais, presentes no texto, foi um dos desafios dessa tradução. / This work is aimed at translating the novel Pushkin Hills by Sergei Dovlatov into Brazilian Portuguese (the title in Russian is Zapoviednik, and the title in Portuguese is Parque Cultural, 1983) and analyze this text from a semiotic point of view. We furthermore intend to present the basic features of Dovlatovs work, who is considered to be one of the leading Russian prose writers of the second half of the XX century and one of the greatest representatives of the Third Wave of Russian Emigration, to readers and Brazilian researchers. One of the features of Dovlatovs artistic methods lies in the close connection of his work with the culture, literature and history of Russia and the Soviet Union. This feature allows us to analyze his texts as cultural texts, according to Yuri Lotmans semiotic concept. The themes of the novel Pushkin Hills reflect such phenomena of Soviet culture as, among others, the \"Soviet\" myth of the poet Aleksandr Pushkin, who is considered to be a symbol of culture, the existence in the Soviet Union of two parallel cultures (official and unofficial), the massive emigration of the 1970s. The translation of the novel into Brazilian Portuguese, with notes and comments, is an integral part of this work. Almost all of Dovlatov\'s work is humorous, and conveying elements of humor and cultural references in the text was one of the challenges of this translation.

Embora o nome Nabókov remeta tão-somente a escritor norte-americano, criador de Lolita, raro se lembra de sua origem russa. Nem os leitores, nem a crítica literária brasileira associam Nabókov à literatura russa, apesar de ter-se consagrado primeiramente como autor russo e por mais de 20 anos ter escrito nessa língua, com a qual ele se identifica tanto como escritor, tradutor e autotradutor, quanto como professor e teórico. A presente dissertação é o primeiro trabalho a trazer tradução direta do russo da coletânea de contos Primavera em Fialta (1956), obra-prima do momento russo de Nabókov, inédita no Brasil. Propõe-se a adentrar o arcabouço nabokoviano, delinear sua poética e traçado distintivo, ressaltando seus procedimentos estilísticos e lingüísticos. Finalmente, objetiva-se observar o processo tradutório de Nabókov, suscitando questões atreladas às mudanças de paisagem e língua literária e investigando a relação entre escritura, tradução e identidade cultural e artística. / Although Nabokov is usually best remembered as the North-American author of Lolita, his Russian origins are rarely mentioned. Brazilian readers and literary critics never think of linking Nabokov with Russian literature, even though he was first known as a Russian writer, for over two decades, and even though he identified himself as such, as well as being a translator, self-translator, teacher and theoretician. This master thesis is the first one to offer a direct translation from Russian into Portuguese of Spring in Fialta (1956), a remarkable collection of short stories from Nabokov s Russian period, considered a masterpiece, never yet published in Brazil. It will also describe Nabokov´s poetics and stylistic peculiarities, as well as the linguistic process at work in the short stories. This work aims at studying Nabokov´s translation process, raising issues linked with the changes in his literary landscape and language, and observing the relation between writing, translation, as well as cultural and artistic identity.

The subject matter of my study is representations of Russia in Anglo-American and Russian spy novels, mysteries, and action thrillers of the 1990s. Especially suitable for representing the world split between good and evil, these genres played a prominent role in constructing the image of the other during the Cold War. Crime fiction then is an important source for grasping the changes in representing Russia after the Cold War. My hypothesis is that despite the changes in the political roles of Russia and the United States, the end of the Cold War and the demise of the Soviet Union continued to have a significant impact on popular fiction about Russia in the 1990s. A comparative perspective on depictions of Russia in the 1990s is particularly suitable in regard to American and Russian popular cultures because during the Cold War, Soviet and American identities were formed in view of the other. A comparative approach to the study of Russian popular fiction is additionally justified by the role that the idea of the West had played in Russian cultural history starting from the early eighteenth century. Reflection on depictions of Russia in crime fiction by writers coming from the two formerly antagonistic cultures poses the problem of representation in its relationship to time, history, politics, popular culture, and genre. The methods used in this dissertation derive from the field of cultural studies, history, and structuralist poetics. A combination of structuralist readings and social theory allows me to uncover the ways in which popular detective genres changed in response to the sentiments of nostalgia and anxiety about repressed or lost identities, the sentiments that were typical of the 1990s. My study of Anglo-American and Russian spy novels, mysteries, and action thrillers contributes to our understanding of the ways American and Russian cultures invent and reinvent themselves after a significant historical rupture, how they mobilize the past for making sense of the present. Drawing on readings of literature and culture by such scholars as Mikhail Bakhtin, Tzvetan Todorov, Siegfried Kracauer, Andreas Huyssen, Fredric Jameson, and Svetlana Boym, I show that differences in Anglo-American and Russian representations of Russia are a result of cultural asymmetries and cultural chronotopes in the United States and in Russia. I argue that Russian and American crime fiction of the 1990s re-writes Russia in the light of cultural memory, nostalgia, and historical sensibilities after the end of the Cold War and the fall of the Soviet Union. Memories of the Cold War and coming to terms with the end of the Cold War played a defining role in depicting Russia by Anglo-American detective authors of the 1990s; this role is clear from the genre changes in Anglo-American thrillers about Russia. Similarly, reconsideration of Russian history became an essential characteristic in the development of the new Russian detektiv. / Arts, Faculty of / English, Department of / Graduate

La large utilisation du sleng (сленг) est l’une des évolutions les plus notables du russe contemporain. Son emploi sur Internet est d’autant plus remarquable qu’il permet de traiter de thèmes actuels, qui ne sont pas forcément intégrés dans la langue standard. À ce titre il devient impératif d’étudier le sleng en tant qu’élément constitutif de la langue russe. N’ayant pas de définition claire du sleng, nous analysons ce terme, en mettant en évidence sa place spécifique, notamment, par rapport au žargon, à l’argo et au dialekt. La particularité essentielle du sleng réside dans sa diffusion généralisée à de larges ensembles russophones, indépendamment de leur niveau socio-culturel. L’examen du contexte de l’utilisation du sleng sur Internet, selon la vision de Catherine Kerbrat-Orecchioni du schéma des fonctions de Roman Jakobson, démontre que le locuteur du sleng est un internaute russophone moyen qui en fait un usage quotidien. Enfin, la typologie du sleng selon le schéma des fonctions de Jakobson nous permet de structurer les éléments selon le rôle qu’ils jouent dans la communication en ligne et nous donne une vision globale de la place du sleng sur Internet et dans le russe contemporain en général. Nous constatons que les fonctions référentielle, expressive et poétique témoignent d’un niveau de la richesse du contenu élevé, tandis que d’autres fonctions sont présentées de façon moindre. Ce fait prouve que le sleng s’appuie sur la langue standard et l’enrichit sans vraiment s’y opposer ou chercher de la recréer.La présente thèse a ainsi l’ambition de poser quelques jalons théoriques permettant, par la suite, d’aborder d’autres problématiques liées au sleng russe. / The large usage of sleng (transliteration from сленг) is one of the important characteristics of modern Russian. Its employment is even more evident on the Internet, as it allows to describe the subjects of the modern life that are not covered by the standard language. It is thus essential to study sleng as an important element of Russian language.As the clear definition of sleng does not yet exist, we analyse this term, showing its specific role in comparison to other terms, such as žargon, argo and dialekt. The main particularity of sleng is its general usage by wide ranges of Russian speakers without distinction of their social or cultural level.The study of the context of the sleng usage on the Internet, according to the vision of Catherine Kerbrat-Orecchioni of the Jakobson's functions of language, shows that a sleng speaker is a standard Russian Internet user, who uses sleng on a daily basis.Finally, the typology of sleng based on the Jakobson's functions of language allows us to structure elements following the role they play in Internet communication and offers us the global vision of the place that takes sleng on the Internet and more generally in modern Russian. We establish that referential, emotive and poetic functions are highly represented in sleng, whereas other functions attest just a minimal content volume in sleng. This fact proves that the sleng relies on the standard language and enriches it without opposing to it or trying to recreate it.The goal of the present thesis is to create a theoretical basis that will help future studies of other subjects related to the Russian sleng.

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