Shakespeare’s 154 sonnets have become the interest of several generations of Russian translators. Overall, after their first appearance in the middle of the nineteenth century, at least thirty-five Russian translations of the complete sonnet collection have been produced so far, though mostly during the last three decades. The overall objective of the present thesis is to examine the evolution of Russian translations of Shakespeare’s sonnets over the years. The thesis is novel in that it offers an analysis of specific linguistic, literary and cultural challenges the numerous Russian translators have dealt with while translating the sonnets, as well as the strategies adopted in an effort to resolve them. In order to achieve the study objectives, several individual sonnets and a number of their Russian translations have been selected as a sample representing challenging areas that have been more closely investigated in four articles. The method of cross comparison has been applied throughout the study. Both the introductory part and the articles address certain problematic translation issues, such as the sonnets’ formal structure, the pronouns of address, grammatical gender, bawdy language, sexual puns, culture-specific items, and metaphors. The results provide evidence for seeing translation as a multi-layered and ever-changing process, which, apart from the pure linguistic tasks, combines historical, political and ideological aspects. The findings of the study suggest that translation competence, namely deep understanding of the context and its fundamental cultural and social features, motivates the translator’s interpretation of the contradictions and uncertainties of Shakespeare’s poems. Those include the sonnets genre, relation to Shakespeare’s biography, the order of the poems in the first 1609 Quarto. The analysis also identifies the ways in which the target language’s social and historical context have had an impact on the choices made by the translators. On the whole, the study’s results do not contradict Mikhail Gasparov’s model describing the pendulum-like movement from “free” to “literal” approaches through the history of Russian literary translation.

New states are often born in a volatile environment, in which the survival of the new country is uncertain. While analysis of the nationalizing new governments exists, research focuses mainly on domestic politics. I argue that the treatment of minority that remains in the new states is a function of the interaction of the dual threat posed by the minority itself domestically on one hand and the international threat coming from the mother state to protect its kin abroad on the other hand. Specifically, I argue that there is a curvilinear relationship between domestic and international threat and the extent of discrimination against the politically relevant minority. Most discrimination takes place when domestic and international threats are moderate because in this case there is a balance of power between the government, the minority, and the rump state. With time-series-cross-sectional (TSCS) data analysis this dissertation systematically tests the treatment of Russian and Serbian minorities in all post-Soviet and post-Yugoslav states between 1991 and 2006 and finds statistically significant results for the curvilinear hypothesis. Territorial concentration of the minority and the ratio of national capabilities between the mother and the seceded states prove to be especially important predictors of minority treatment. In addition, with most similar systems (MSS), most different systems (MDS) design methods, and directed case studies I apply the curvilinear hypothesis to the Russian minority in the Baltic States and the Central Asian Republics, and also to the Serb minority in the countries of the former Yugoslavia to present a detailed analysis.

The influence of existing musical trends is evident in almost every composer. Prokofiev entered the musical scene in Russia when Scriabin was the recognized leader in innovation. To understand fully the rapid popularity of Prokofiev one must be aware of the musical forces of his time, the circumstances leading up to them and their influence on Prokofiev. In the latter half of the nineteenth century there began a movement toward nationalism in music. Among the most important of these nationalistic countries were Bohemia and Russia. Composers deliberately drew their inspiration from the musical resources of their native country. From all that is known a native Russian music did not exist before the nineteenth century. The music enjoyed by the upper class and royalty had to be imported. In the eighteenth century this included Italian opera and in the beginning of the nineteenth century, French opera. Pianists such as Field, Mayer and von Henselt were popular as both teachers and performers.

Trends and patterns of cancer mortality in Kazakhstan in comparison with some selected European countries from 1986 to 2008 Abstract Cancer is the third leading cause of premature death in Kazakhstan. Every year more than thirty thousand Kazakhstani people are diagnosed with cancer. This master thesis tries to provide base for the cancer control programmes in Kazakhstan. It also analyses the changes of the mortality level and distribution by the most important groups of tumours for men and women. The most common types of cancer are lung, skin, breast and stomach. These four cancers combined account for over 44% of new cases of cancer. Lung cancer is the most common cancer in men accounting for nearly a quarter of cancer cases in men. Breast cancer is by far the most common cancer in women accounting for 20%. Cancer remains mainly a disease of older Kazakhstanis. The largest proportion of cancer deaths for both men and women were from lung cancer mainly caused by smoking. Deaths from cancers of the lung, stomach, breast and esophagus together accounted for almost a half (46%) of all cancer deaths. With an estimated ASMR 225.5 for males and 122.0 for females in 2008, cancer remains an important public health problem in Kazakhstan. The international comparison illustrates the differences in cancer mortality in...

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À la suite de la structuration de la politique de l’État russe envers ses émigrés, ainsi que d’une vague de protestation en Russie à la fin de l’année 2011, a émergé une nouvelle communauté politique russe en France. Celle-ci s’est progressivement construite autour des discours et des activités politiques des migrants russes en direction de leur pays d'origine. Les motivations de ces migrants sont à rechercher dans leurs sentiments d’appartenance à la Russie. Deux figures idéal-typiques clés se sont révélées au cours de notre recherche : d'une part, le « compatriote », défini par les autorités russes qui prônent l'unité de leurs ressortissants disséminés à travers le monde et en appellent à dépasser les clivages du passé et, d'autre part, l’ « expatriote », qui refuse d'être représenté par l'État russe et rejette la définition « officielle » de ses sentiments d'appartenance ; d'un côté donc, le compatriote, retrouvant la fierté d'être et de se dire Russe ; de l'autre, l'expatriote, traversé par le sentiment d'être Russe malgré lui et de devoir assumer, en la transformant, cette condition. Bien qu'ayant des conceptions fort différentes, et souvent contradictoires, de ce que devrait être la Russie, le compatriote et l'expatriote ne peuvent être opposés de manière binaire dans la mesure où ils ne cessent d'interagir et échangent même parfois leurs positions respectives. Le lieu de ces interactions, c'est la communauté politique russe en tant qu'arène de discours et de pratiques politiques en recomposition permanente. / Following the structuring of the Russian State policy towards its emigrants and a wave of protest in Russia at the end of 2011, a Russian political community emerged in France. It was progressively constructed through discourses and political activities of Russian immigrants towards their country of origin. The motivations of these migrants are to be found in their sentiments of belonging to Russia. Two ideal-typical figures have been revealed throughout the research process: the “compatriot”, defined by the Russian authorities that preach for the unity of Russian people disseminated around the world and call them to go beyond the divisions of the past, and the “expatriot” who refuses to be represented by the Russian State and rejects the “official” definition of his sense of belonging; on the one hand, there is the compatriot who retrieves the pride to be and to call himself Russian; on the other hand, there is the expatriot who feels Russian despite himself and has to assume this condition while transforming it. Even if their conceptions of what Russia should be are really different and often contradictory, the compatriot and the expatriot could not be opposed in binary terms, as they do not stop interacting and sometimes even exchange their respective positions. The location of these interactions is the Russian political community qua an arena of discourses and political practices in permanent reconstruction.

A dissertação é composta por duas partes que dialogam entre si. Na primeira, propõe-se uma tradução poética comentada do poema Pro Eto /Πpo Эmo (Sobre Isto) (1923), de Vladímir Maiakóvski, diretamente do russo para o português brasileiro, inédita no Brasil. A segunda parte dedica-se à apresentação e análise dos elementos fundamentais do poema, seja no tocante às imagens e tema, seja nos aspectos formais de sua composição. O poema, escrito entre dezembro de 1922 e fevereiro de 1923, possui 1.813 versos e foi publicado pela primeira vez na edição de estreia da revista LEF, criada e dirigida por Maiakóvski. A despeito da animosidade da crítica, muitos o consideraram a obra mais bem trabalhada do poeta, inclusive ele mesmo. O poema defende um novo amor condizente com a revolução e a nova sociedade, critica o individualismo da família tradicional e o filistinismo pequeno burguês. A revolução reflete-se nas imagens e formas empregadas na composição que tornam Sobre Isto a súmula da poética de Maiakóvski. À luz das teorias formalistas de Ossip Brik, Nikolai Khardjiev, Vladímir Trenin, Roman Jakobson, Kristina Pomorska, e da própria concepção poética de Maiakóvski, o estudo pretende mostrar como som e sentido fundem-se para revolucionar a abordagem do amor na literatura e como a oficina poética de Maiakóvski se encontra plenamente realizada nesta obra. / The monograph is composed by two interconnected parts. The first one proposes a poetic annotated translation of the poem About This (1923), by Vladimir Mayakovsky, from Russian into Brazilian Portuguese, unpublished in Brazil yet. The aim of the second part is to present and analyze the fundamental elements of the poem, be it in terms of imagery and subject, be it concerning the formal compositional aspects. The poem was writen between December 1922 and February 1923. It has 1,813 verses and was published for the first time in the premiere edition of the journal LEF, created and directed by Mayakovsky. Despite of the animosity of the critics, many considered it to be the most well developed work of the poet, including himself. The poem defends a new love befitting the revolution and the new society, it criticizes the individualism of the traditional family and the petty bourgeois philistinism. The revolution is reflected in the imagery and compositional formal aspects employed, which makes About This a summary of Mayakovsky\'s poetics. In the light of the formalist theories of Ossip Brik, Nikolai Khardjiev, Vladimir Trenin, Roman Jakobson, Kristina Pomorska, and Mayakovsky\'s own poetic conception, the present study aims at demonstrating how sound and sense merge to revolutionize the approach of love in literature and how Mayakovsky\'s poetical workshop is completely accomplished in this oeuvre.

Classical reception, suppressed under Stalin, returned to Soviet poetry during the Thaw (c. 1953-63), and through the many political upheavals of the late twentieth century it has remained a prominent trend in contemporary Russian poetry. This thesis explores classical reception in the oeuvres of Elena Shvarts, Il’ia Kutik, and Polina Barskova, whose poetry spans from 1963 to the present. They form part of – and serve as case studies for – the wider trend of late- and post-Soviet poetic engagement with classical antiquity. This phenomenon has been studied in the cases of Thaw poets Iosif Brodskii and, to a lesser extent, Aleksandr Kushner, but investigations have not extended beyond these figures to the succeeding Stagnation and post-Soviet poets. Shvarts, Kutik, and Barskova come from different generations and different poetic schools, and have very different poetic styles. They share a sustained and playful engagement with the literature and history of Ancient Greece and Rome, which is often in dialogue with earlier Russian receptions of classical antiquity. Their classical reception is frequently intended to ‘estrange’ Soviet/Russian contexts, thus making antiquity an ‘alter ego’ of Russia. This objective is facilitated – and inspired – by the Russian literary tradition. Since its inception Russian literature has set classical antiquity before itself as a model, imitating its literary forms and emulating its characters. This long-standing analogy between Russia and the classical world underpins Shvarts, Kutik, and Barskova’s evocations of classical antiquity as Russia’s alter ego. The utility of the classical alter ego lies precisely in its alterity: as well as a vehicle for veiled dissidence, as with Aesopian speech, it can be a more extreme, or fun, or ideal reality. Inherent in Shvarts, Kutik, and Barskova’s recourse to classical reception as alter ego is a desire to connect with Europe, from which Russians were palpably divided for much of the twentieth century – the Mandel’shtamian ‘yearning for world culture’. It stems also from their desire to connect with pre-Soviet (classically receptive) Russian literature. The thesis begins with a history of classical reception in Russian literature from Russia’s first contact with the classical world up to the present. Such a history is crucial to understanding contemporary poets’ classical reception, as so many of their references to classical antiquity are refracted through Russian intertexts. The chapters on Shvarts, Kutik, and Barskova examine the entire oeuvre (to date) of each poet, selecting key poems and themes for close analysis. This is conducted alongside the intertexts (quotations from classical texts are given in English only, except where the original language has demonstrably informed reception). As well as literary contexts, historical and personal contexts are considered. Interviews conducted by the author with both living poets (Kutik and Barskova) inform the analysis. This thesis contends that the pervasive classical reception evident in Russian poetry from 1953 to the present responds to the series of ontological crises Russia was precipitated into by the upheavals of the twentieth century. With the loosening of Socialist Realism’s control over literature after Stalin, Russian poets resume Russia’s poetic tradition of using classical antiquity as an alter ego, both to heighten portrayals of Russia, and to imagine another, alternate, Russia.

This thesis investigates how students are prepared for work in schools in the context of post-communism in Russia. It aims to gain an understanding of what theories and processes constitute preparation for work in Russian schools. In the light of how they have changed as a result of the fall of communism in 1991, the thesis seeks to explore the ways in which students are prepared to enter the world of work. The socio-cultural and activity theory is employed to explore the relationship between students’ engagement in pedagogic practices and macro historical transformations in Russia that have affected it. <br /> The methodology includes a documentary analysis of teacher-training textbooks, which were used in the 1970s, 1980s and 1990s and a case study of preparation for work in a secondary school in Perm, Russia, which involved a group of thirty teachers and thirty students. Biographical interviews were conducted with thirty individuals who lived through the economic and social transformations caused by the events of 1991. <br /> The analysis of the data demonstrates that preparation for work in Russian schools is a combination of two pedagogic processes – vospitanie, which refers to the overall up-bringing of children, and ‘professional orientation’, which provides career guidance. The literature review and documentary analysis have revealed that the events of 1991 have influenced the ideological underpinning of vospitanie and professional orientation, especially in terms of humanisation of pedagogic processes. However, with regard to the conceptual framework, vospitanie and professional orientation have remained relatively intact. These pedagogic concepts emphasise a dialogic relationship between students and teachers. The case study analysis shows that the teachers’ conceptualisation of vospitanie and professional orientation reflect the findings from the documentary analysis, but the teachers have interpreted the theory in the ways that reflect their various, historically formed views of preparation for work. Some of these views, expressed by the teachers who were trained in the Soviet time, do not support the new humanistic approach advocated in the literature; instead, the focus is on differentiation by ability and on academic achievement. Combined with the fact that the case study school does not offer practical vocational experience, this provides some explanation of why only those students who receive support from outside the school are better prepared than others to overcome the challenges of the new market economy. Those students who do not receive relevant support outside the school are developing dispositions towards employment, which are less likely to help them progress in the context of the market economy.

This dissertation investigates nineteenth-century narrative representations of the Cossacks—multi-ethnic warrior communities from the historical borderlands of empire, known for military strength, pillage, and revelry—as contested historical figures in modern identity politics. Rather than projecting today’s political borders into the past and proceeding from the claim that the Cossacks are either Russian or Ukrainian, this comparative project analyzes the nineteenth-century narratives that transform pre-national Cossack history into national patrimony. Following the Romantic era debates about national identity in the Russian empire, during which the Cossacks become part of both Ukrainian and Russian national self-definition, this dissertation focuses on the role of historical narrative in these burgeoning political projects. Drawing on Alexander Pushkin’s Poltava (1828), Nikolai Gogol’s Taras Bulba (1835, 1842), and Taras Shevchenko’s Haidamaky (1842), this dissertation traces the relationship between Cossack history, the poet-historian, and possible national futures in Ukrainian and Russian Romantic literature. In the age of empire, these literary representations shaped the emerging Ukrainian and Russian nations, conceptualized national belonging in terms of the domestic family unit, and reimagined the genealogical relationship between Ukrainian and Russian history. Uniting the national “we” in its readership, these Romantic texts prioritize the poet-historian’s creative, generative power and their ability to discover, legitimate, and project the nation into the future. This framework shifts the focus away from the political nation-state to emphasize the unifying power of shared narrative history and the figurative, future-oriented, and narrative genesis of national imaginaries.