viii, 62 p. / Arkady and Boris Strugatsky are the most prolific Soviet science fiction writers, who focused, above all, on the social themes and with satire discussed the political and social agendas in the Soviet society. This thesis explores the contribution of the Brothers Strugatsky to the genre of Russian science fiction and looks into the main themes of their most famous novels. At the beginning, I present a short overview of the history of Russian science fiction. Further on, I explore the Brothers Strugatsky's role in the development of science fiction in the Soviet Union and single out the two phases of their literary career: utopian and anti-utopian. Furthermore, I examine the Strugatskys' most prominent novels and their main themes: human nature and Soviet bureaucracy. Finally, I analyze to what extent the Strugatskys' novels fit into the Soviet reality and how they shape the genre of science fiction in Russia. / Committee in charge: Susanna Lim, Chair; Yelaina Kripkov, Member; Katya Hokanson, Member

This thesis explores Englishness and its representation in translated children’s literature in Russia during the Soviet period (from 1917 until 1991) and the post-Soviet period (from 1992 until 2015). It focuses on Russian translations of English children’s classics published between the late-Victorian period and the Second World War. It studies how Russian translations of English children’s literature construct literary portrayals of Englishness in varied socio-cultural and historical contexts. It investigates the complex processes involved in re-creating national specificities of English literary texts in Russian culture. The Anglo-centric essence of Englishness – or ‘dobraia staraia Angliia’ [good old England] – is expressed to a greater degree in the classics of English children’s literature. It is this particular idealised Englishness that is represented in the Russian translations. This thesis demonstrates that various manifestations of Englishness are modified in Russian translations and that the degree of modification varies according to changes in the political climate in Russia. A significant role is played by ideology – of a prevailing political nature during in the Soviet Union and a commercial ideology in post-Soviet Russia. The first chapter lays the theoretical foundation for the whole thesis and outlines the methodology adopted. Chapters 2 and 3 set out the contextual background for understanding Englishness by focusing on the question of Englishness perceived from English and Russian perspectives, and discussing the main tendencies of representing Englishness in both cultures. Chapter 4 presents the historical background by highlighting the political and cultural circumstances in which Russian translations were made. The second half of the thesis (chapters five, six and seven) focuses on the analysis of the representation of Englishness in Russian translations. Chapter 5 discusses which English children’s books, published between the late-Victorian period and the Second World War, were selected for translation and at what point between 1918 and 2015. Chapters 6 and 7 present the case studies in this thesis. These provide an analysis of how different manifestations of Englishness were translated and, taking into account the Soviet and post-Soviet historical contexts, examine why they were translated in certain ways.

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.

Les représentants de la science juridique contemporaine ont maintes fois énoncé, depuis leurs chaires et dans les pages des publications scientifiques, le problème de la «quête par la Russie de sa nouvelle voie juridique » La cessation de l’existence de l’URSS en tant qu’État n’a fait que compliquer, à cet égard, le problème de l’identification collective du système juridique russe. Cependant, il convient de s’interroger sur la pertinence même de la question de l’étape initiale de la formation du système juridique de la Russie. N’aurait-on pas raison, à cet égard, de parler de son évolution plutôt que de son devenir ? Quel âge a ce système ? Des dizaines d’années ? Ou peut-être des centaines ? Que représente-t-il en soi à l’heure actuelle ? Et quels sont les paradigmes de son évolution au cours de la longue histoire de son existence ? Dans la thèse présenté, les réponses aux questions mentionnées seront données à travers le prisme d’une approche par l’auteur du problème de l’appréciation conceptuelle et formelle de la catégorie «système juridique ». / At their lecturing desk and in some scientific publications representatives of modern jurisprudence have repeatedly raised the issue of «Russia seeking its legal system » . When the USSR ceased to exist as a State, the problem of group identification of the Russian legal system has become even more complicated. However, it is worth considering whether the issue of the initial stage of the Russian legal system formation is in itself a right one ? Or should we focus on its development and less on its formation ? How old is this system ? Is it some decades old, or may be several hundred years old ? And what is it at the moment ? What are the paradigms of its evolution over the protracted historical period ? In the doctoral thesis below the answers to all these questions can be given through the prism of authentic approach of the author to the problems of conceptual and specific assessment of the legal system category.

This research is devoted to the circumstances of the emergence of Russian Orthodox Church Outside Russia (ROCOR). The introductory part briefly presents the position of the Russian Orthodox Church before and after the 1917 revolution, including splits that have been arisen in this historical period. In the next part are explored problems of emergence of Russian church emigration ň, its main centers, as well as the reasons for the canonical and political debate that led to the fragmentation of the Russian church emigration and its separation from the Moscow Patriarchate. The research illustrates the root causes of the Russian Orthodox Church Outside Russia and its subsequent development. Key words: Russian Orthodox Church, Russian Orthodox Church Outside Russia (ROCOR), Council in Sremski Karlovci, russian church emigration, splits in Russian Orthodox Church.

PELIKÁN, Simona, Bc.: Gallicisms in Russian language [Master Thesis]. Charles University. Faculty of Arts; Institute of East European Studies. Master thesis instructor: Mgr. Jana KITZLEROVÁ, Ph.D. Graduate degree designation: Master (Mgr.). Praha, UK, FF, ÚVES, 2016. Pages 116. The subject of thesis is to analyze the issues of gallicisms in Russian language. It focuses mainly on the frequency of gallicisms in Russian during the various stages of historical development from the first contact of languages to the present. The aim of this work is to determine as well as explain the French influence on Russian vocabulary, explore today's language situation and demonstrate acquired knowledge on selected lexical units grouped in the final analysis of the thesis. In introduction, the work is devoted to the characteristics of historical relations between Russia and France. It concentrates particularly on the important milestones in the historical development of Russia limited by the reign of specific sovereigns. The thesis then describes the theoretical knowledge of linguistic borrowings and loan words in Russian. It also defines the specific attributes of French loan words in Russian language and their level of adaptation. In the section devoted to the analysis of selected gallicisms, the work generalizes...

This thesis tests the hypothesis that between 1905 and 1940 Russian religious philosophy changed, and that this can be gauged by looking at how the meanings of four ideas (all-unity, sobornost', Sophia and Godmanhood) changed in that time. By looking at religious philosophy through these ideas we can better understand the intellectual climate of the period. The proposal that Russian religious philosophy should be considered a coherent school of thought and the hypothesis that it would be useful to look at its four central ideas are raised and challenged. The theory that a 'discourse' of religious philosophy united texts in this period is examined, and it is concluded that discourse theory can act as an aid in analysis of religious philosophy. Religious philosophy before the Revolution, the history of the Revolution and its influence on philosophy are examined and its productivity is explored. Post-revolutionary Russian religious thought focusing on the experience of exile is also examined, concluding that the political and social upheaval that Russians were subjected to in the first half of the twentieth century added to and complicated the meaning of the Revolution. Themes of isolation and exclusion become more prevalent in emigration, and religious philosophy also becomes more theological. The findings of this research are (1) that changes within religious philosophy took place and can be detected through the careful study of the ideas that make up this philosophy; (2) that these changes can only partially be attributed to external circumstances because internal constraints also affected the capacity of these ideas to change; (3) that these changes were part of a decline in production, popularity or relevance of religious philosophy; and (4) that it is possible to explain why certain areas of their use remained relevant while others became obsolete.

M.Sc. (Botany) / Cereals such as oats, rye, rice, barley, maize and wheat are a major source of food worldwide. Wheat (Triticum aestivum L.) is the largest winter cereal crop produced in South Africa (Crop Estimates Committee, 2011; South African Department of Agriculture, Forestry and Fisheries, www.daff.gov.za/crop estimates). Wheat production in South Africa includes both the summer and winter rainfall areas. Like other crops wheat is cultivated under monoculture conditions to increase yield per hectare. This increases the risk to pathogen exposure, as monocultures are genetically very similar or even identical, which makes them particularly vulnerable to both abiotic and biotic stresses (Haile, 2001). Both of these stressors negatively influence crop yield (Peterson and Higley, 2001; Wang et al., 2003).

The thesis systematically explicates Dostoevsky's portrayal of the origin of human evil on earth through the novel The Brothers Karamazov. Drawing from the novel and from Augustine, Pelagius, and Luther, the explication compares and contrasts Dostoevsky's doctrine of original conflict against the three theologians' views of original sin. Following a brief summary of the three earlier theories of original sin, the thesis describes Dostoevsky's peculiar doctrine of Karamazovism and his unique account of how human evil originated. Finally, the thesis shows how suffering, love, and guilt grow out of the original conflict and how the image of Christ serves as an icon of the special kind of social unity projected by Zosima the Elder in The Brothers Karamazov.

Is there a direct correlation between the degree of an artist’s participation in ideologically defined discursive practices and the aesthetic value and expressive innovation of her or his work? How does the concept of the implied audience influence an author’s approach to the creative process? How relevant is the author’s own self-projection in her or his works to their aesthetic quality? Examining these and other questions, this dissertation studies the strategies of an artist’s engagement with or disengagement from repressive political systems which are understood here as mechanisms of putting forward demands regarding the artist’s creative output. Questions of late Socialist Realism and its national variants, ideological art, kitsch, mass literature, narodnytstvo (populism), “chimerical” (“whimsical”) prose, totalitarian culture, shistdesiatnytstvo (movement of the generation of the 1960s), and cultural heritage define the theoretical framework of the dissertation. The study discusses the period of the 1970s and 1980s in the Soviet Union, focusing on Ukrainian literature and its dynamics during the Stagnation Era and perestroika. Examples from Russian literature test the argument and provide opportunities for comparative analysis. Within Ukrainian literature of the 1970s and 1980s, the dissertation examines the prose works of Valerii Shevchuk and Volodymyr Drozd and poetry of Petro Midianka and Oleh Lysheha. Within Russian literature, the study discusses Liudmila Petrushevskaia’s prose works and Elena Shvarts’s poetry. The authors and their works illustrate the range of possible attitudes towards participation in the system of Soviet cultural production. Close readings of the authors’ representative works demonstrate how complex negotiations with the system are reflected in the aesthetic quality and expressive ability of literary works. The dissertation shows the significance of the author’s concept of the implied audience and her or his own self-projection as an author for the creative process and its outcome. / Slavic Languages and Literatures