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This study endeavors to provide a descriptive analysis of the phonology of the Dukhobor Dialect and to introduce some of the main features of its inflectional system. The description is drawn against the background of standard Russian of which Dukhobor speech is unquestionably a dialect. Several older generation Dukhobors living in Grand Forks, British Columbia, served as the chief informants. Following a brief introductory chapter regarding the geographical and linguistic contacts of the Dukhobors during their short history, the main body of the text deals with the phonology of their language. Each phoneme is described as articulated, established by minimal pairs and noteworthy variations from the Russian phonological pattern are given. The study is basically one of segmental phonemes. The Dialect's phonemic inventory includes five stressed vowels /a, o, u, i, e/ and three unstressed vowels /a, u, i/. Only in unstressed positions are deviations from the Russian pattern evident. There is a tendency toward moderate jakan’e. Thirty-five consonants comprise the remainder of the list of phonemes: /p, p’ b, b’, t, t’, d, d’, k, k’, m, m’, n, n’, l, l', r, r’, s, s’, ss, z, z’ š, šš, ž, žž, x, h, c, č,ǰ, w, w’, j/. The principal allophones are [i, v, v’, f, f’, g, g’, x’,h’]. A consideration of the behavior of phonemes in word contraction and cluster reduction is included. Wherever it is apparent, the influence of Canadian English is indicated. A brief note on stress completes the main text and an appendix provides a short summary of substantive and verb inflections. / Arts, Faculty of / Central Eastern Northern European Studies, Department of / Graduate

The purpose of this paper is to explore Soviet science fiction; that is, all science fiction published in Russia after 1917 to about 1967. The selection of literature from the 1960's was random; the selection from previous years was determined principally by its availability: about three-fourths of all the works examined belong to the last decade insofar as I can determine from publishing dates and critical sources; somewhat less than three-fourths of all the authors whose works were read wrote mainly in the post World War II era, and half of the novel-length works used in the preparation of the paper were published before World War II. It is impossible to ascertain if these proportions accurately reflect the varying production of science fiction during this period, but it is probably true that much more sf was published in the last decade in Russia than in previous years. What are the themes with which the authors of science fiction are occupied? Have they changed since the 'twenties? How closely does science fiction resemble the rest of Soviet literature? Has it become, as American science fiction after World War II became, a vehicle for social criticism? It is a rapidly growing body of literature that has just recently begun to attract serious consideration of its literary merits. It has a small but devoted audience. I intend to explain what this audience reads and evaluate the genre objectively and critically. / Arts, Faculty of / Central Eastern Northern European Studies, Department of / Graduate

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The subject of my thesis is Russian artist Alexandra Exter’s work in the performing arts, with a focus on her theatrical set and costume designs in the Kamerny Theater, her creations for Iakov Protazanov’s 1924 science fiction film, Aelita, and finally her exquisitely fabricated set of approximately forty marionettes. Within these colorful wooden figures are reconciled conflicting notions of stasis and dynamism, sculpture and performer, human and object. Drawing upon Victor Shklovskiĭ’s formalist definition of “enstrangement,” I examine her introduction of the object in place of the human performer as a means of exposing the creative process, forcing the viewer to actively engage with the production. Thus, her manipulation and eventual replacement of the human performer not only exemplifies the interconnectivity and mutability of Russian avant-garde art, but impels the viewer to reconsider the familiar in terms of the strange, ultimately calling attention to the humanity of the dehumanized performer.