During the first half of the XVIIIth century in Russia, deep social and cultural changes led to a chaotic linguistic situation. The Russian scholar Michail Lomonosov played a key role in the grammatical and lexical organization of the Russian literary language around the middle of the century. His contributions are reviewed and their importance analyzed in the present thesis. / Chapter One provides an analysis of the linguistic situation during the first half of the XVIIIth century. The role and the functions of different linguistic elements are examined, including West European lexical borrowings, the native Russian, the Church Slavonic, and their mutual interactions. / Chapters two and three analyze M. Lomonosov's role in the standardization of Russian grammar and vocabulary by examining his two major philological works: the "Rossiaeiskaeiia Grammatika" and the article "Predislovie o polbze knig tserkovnikh v rossiiskom yazike." / Although Lomonosov's merit is widely acknowledged among scholars, the importance of his stylistic theory has been challenged lately. In Chapter Four, Lomonosov's linguistic contributions to the development of the modern Russian literary language are weighed and assessed against these critical arguments.

Master's paper--University of North Carolina at Chapel Hill, School of Information and Library Science. / Advisor: Charles B. McNamara. Bibliographic description of the military periodicals of the André Savine Collection of the University of North Carolina at Chapel Hill Library. The periodicals were published in the twentieth century outside the Soviet Union by various former Russian White Army organizations.

Thesis (Ph. D.)--Massachusetts Institute of Technology, 1982. / Includes bibliographical references.

A language is so constructed that the speaker is able to draw out of its resources whatever he wishes to communicate, yet whenever cultural borrowing occurs he cannot altogether avoid borrowing the words which are associated with it. Russian written records indicate that the language has been exposed to numerous foreign influences from very early times. With the intense introduction of "Westernization" since the sixteenth-century both English and French have had a considerable influence on Russian and especially in the twentieth-century this has even increased. For the purpose of this study, therefore, the writer has chosen to analyse English and French loanwords that are found in use in present-day Russian; examples from other languages, especially German, will be given occasionally insofar as they support the arguments presented. This thesis attempts an overall description of the morphological assimilation of loanwords. Phonological analysis and discussion of the socio-cultural context is given consideration in order to enable the reader and the analyst to see this paper as a whole. It was necessary to abstract linguistic elements at different levels of analysis so that some problems that are not explainable at the morphological level, would not be left unsolved. To some extent future borrowings into the Russian language in connection with cultural borrowing may be predicted. The pronounciation of a loanword depends on the degree of assimilation and whether or not the speaker is aware of the fact that it is a borrowing or wants to alert the listener as well. On the whole, loanwords are subject to phonological as well as morphological adjustments. Loanwords are sometimes under the pressure of both the native and foreign morphological systems, which in turn causes fluctuation of forms. Important external factors in the assimilation of loanwords at both levels are the audio and visual means of communication involved in transferring a loanword from either English or French into Russian. An interesting feature for future investigation is the analysis of loanwords on the lexical level and the correlation of lexical patterning with morphology in the process of loanword assimilation. / Arts, Faculty of / Central Eastern Northern European Studies, Department of / Graduate

In terms of both production and consumption, video games and gaming are a significant phenomenon in Russia, a fact acknowledged by the authorities and mainstream media. Although internet use in Russia has been a point of academic interest over the past few years, scholars have been slower to research video games despite their increasingly popular position in the media ecology of the region. Similarly, despite the abundance of theory and data on gaming in North America and Europe, game studies researchers have hardly skimmed the surface of the cultures, preferences and activities of gamers further afield. This dissertation investigates the online gaming sphere in Russia, presenting an empirical study of the industry, providing insight into gamers themselves, and analysing the media and political discourses surrounding gaming in Russia. In this study, I draw upon survey data, forum, website, and blog posts, user comments from gaming forums and analyses of local games to construct a picture of gaming activity and identity amongst gamers. In particular, I show how Russian-speaking gamers present themselves as members of a distinct subcultural group. Online gamers who participated in this study are shown to consume and discuss games in ways that can differ from elsewhere in the world, but they still retain common beliefs about the importance of expertise, taste and self-discipline within the gaming community. They display a great deal of knowledge about the games and communities available to them locally, while also consuming foreign games in selective and critical ways. For the reader conversant with game studies work, the dissertation constitutes a challenge to West-centric theories of gaming and gamers and demonstrates the importance of cultural context in shaping gaming practice. Throughout the dissertation, interactions between global and local, media and subcultural definitions of ‘gamer’ are crucial to understanding how gaming plays out in a Russian context. The self-definition of gamers differs greatly from mainstream media concepts of gamers. I contextualise discourses of the gaming self within an analysis of how the Russian media presents gamers as young people in need of moral and emotional guidance. Moreover, I show how contemporary media assessments of games and gamers have much in common with earlier moral panics about Western-inflected media and subcultures, such as rock music and style. Ultimately the gaming landscape in Russia is shown to be full of tensions, and the task of this dissertation is to identify, assess and compare these disparate discourses.

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Nicholas Roerich, the well-known Russian artist, writer and mystic from the early twentieth century is best known in the West for his theatrical design work, above all for the sets of the celebrated ballet The Rite of Springs. The goal of this thesis is to provide a fuller understanding of Roerich’s art and literary works within the historical context of his time. In particular, I have sought to illuminate Roerich’s focus on depiction of nature, especially mountains, in relation to his fascination with the mythical Shambhala. In the first chapter of this thesis I analyze Roerich’s early career, as well as his personal and professional relationship with the World of Art, the leading art group at the turn of the twentieth century in Russia. Roerich’s early interest in the history of ancient Russia, archeology and geology, which I discuss, was central to the meaning of his landscape depictions in both his stage designs and paintings. The second chapter of this work investigates how these interests evolved into the artist’s quest for Eastern wisdom and mystical revelations. Although Roerich is often treated as an oddity, his concerns with occult ideas were not unique in his time. The third chapter focuses on Roerich’s activities abroad and his international success as a promoter of ancient wisdom. I discuss the Russian émigré art scene in New York in the 1920s and Roerich’s place within it. I also offer an examination of the artist’s correspondence with his family and colleagues, which sheds light on Roerich’s beliefs in his mysterious “Teachers” and their role in leading him to the East. / text

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The Russian Evangelical Soteriology as a phenomenon was evaluated in the dissertation. The original Russian Evangelical confessions of faith and some other historical documents of the end of the 19th and the beginning of the 20th centuries are used to present the following hypothesis. The historic fluidity of Soteriology of Russian Evangelica1s may only be understood in the light of their consistent adherence to the principles of Sola Scriptura and the Priesthood of all believers. We come to conclusion that the existence of Russian Evangelical Soteriology is not a question to be discussed, but a clear historical fact. We show that it has its past and present, a well-defended subject of study with clear presuppositions, rather developed vision, and it is unique as a phenomenon. The major principles of this theology strictly devoted to the Scripture and a flexible formulation of doctrines. We strongly insist that it is impossible without being eclectic combine the Evangelical Soteriology of Scripture with the Orthodox Soteriology of Tradition. The additional result of the study is the attempt to evaluate the possibility for a reconstruction of Russian Evangelical Soteriology as a part of a self-identification process. / Systematic Theology and Theological Ethics / M. Th. (Systematic Theology)

The nineteenth and twentieth centuries witnessed the rapid growth of musical culture in Russia. This resulted in a large repertoire of piano music — ranging from miniatures to virtuosic etudes and sonatas. Growing out of the nineteenth century romantic tradition, and highly influenced by the social conditions of the time, Russian composers developed a distinctive style which closely reflected their culture, personalities and ideologies. There are several approaches to studying performance practice. One is to study the interpretations of other pianists. While this does have many advantages, it has not been adopted in this paper as it has one flaw: it still fails to capture the distinctive language of these composers. Rather, the paper will study the social and musical influences on the composers, and, more importantly, their philosophies about pianism and the purpose of music. This will be related to interpretative issues in the works. The repertoire has been divided into four areas. The paper commences with a study of the miniature, which is valuable in finding the ‘essence’ of a composer’s musical language expressed on a small scale. Here, the ‘elementary’ considerations in performance practice will be studied. The second chapter discusses etudes. This is useful in gaining an insight into composers’ conception of technique, and how this relates to performance practice. The third chapter deals with music that has extra-musical themes. This provides opportunity for a more detailed cultural and biographical study of the composers. To represent the large-scale repertoire of Russian composers, the sonata will be studied. Here, a detailed analysis of the composers’ musical language and its relationship to expression will be discussed. / Masters Thesis