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 The original Russian Evangelical confessions of faith and some other historical documents of the end of the 19th and the beginning of the 20th centuries are used to present the following hypothesis.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)

Mikhail Yurevitch Liermontov (18141841) viveu em período marcado por grande comoção social, uma época de transição na vida e na sociedade Russa. Foi nesse contexto que Liérmontov escreveu a peça Mascarada, uma crítica à sociedade e aos hábitos fúteis e mesquinhos de sua época. Vsévolod Emilevitch Meyerhold (1874 1940) estreou a sua Mascarada em 25 de fevereiro de 1917 em meio a revolução que viria a derrubar a monarquia e a velha Rússia. Depois quase seis anos e ensaios e preparações, figurinos, objetos de cena e cenários criados especialmente para a peça estavam prontos para o que viria ser ao mesmo tempo o fim de uma era e o nascimento de um novo teatro. A presente dissertação se propõe a analisar Mascarada desde a sua gênese no romantismo de Liérmontov até a espetacular montagem de 1917 e seus desdobramentos no teatro. / Mikhail Yurevitch Lermontov (1814-1841) lived in a period marked by great social upheaval, a time of transition in life and in Russian society. It was within this context that Lermontov wrote the play Masquerade, a critique of society and the petty and trivial habits of his time. Vsevolod Emilevitch Meyerhold (1874-1940) premiered his Masquerade on February 25, 1917 in the midst of a revolution that would overthrow the monarchy and transform the old Russia. After almost six years of preparations and rehearsals, the costumes, props and scenery created especially for the piece were ready for what would be both the end of an era and the birth of a new kind of theatre. This dissertation aims to analyze the Masquerade from its genesis in the romanticism of Lermontov to the spectacular production of 1917 and its effect on theatre.

In 1834, Belinsky melodramatically proclaimed, “We have no literature”. He was far from alone; similar sentiments are echoed in numerous critical essays and articles of the 1820s and 30s. These dire assessments of the state of Russian literature reflect the urgent concern the question of national identity had become to intellectuals of the period in the first few decades of the nineteenth century. In the wake of its victory in the Napoleonic War, Russia had won considerable military and political power in Europe. Culturally, however, there was a palpable sense of insecurity vis-a-vis Western Europe. Critics and writers bemoaned the derivative nature of Russian literature, calling for the creation of a national literature that would reflect the unique essence of the Russian national character. The means by which a sense of Russianness or “narodnost’” could be created in literature would become a central concern and topic of debate for writers and critics of the first four decades of the nineteenth century. Folklore was thought to be one way of producing the desired narodnost’. Based on German Romantic theories of nationalism, particularly those of Herder, it was argued that the “folk poetry” of the simple people retained a pure form of the national spirit untainted by foreign influence. It was to this folk poetry that many writers turned in their attempts to create a national literature. There were attempts to create works that imitated folk ballads, songs, and fairy tales as well as incorporating folkloric elements in larger literary works. This period also saw the early efforts to collect authentic examples of folklore from among the people - Pushkin ranks among these early collectors as well as Kireevsky. The practice of introducing elements of folklore into high literature was more complicated, however, than the theory would have one believe. Rather than being the unadulterated voice of the Russian nation taken directly from the people, the “folklore” that appeared in literary texts during this period was more often than not an amalgamation of many influences from both high and low literature and both foreign and native sources. Indeed, it would probably be more productive to think of the folkloric elements of literary texts in this period as being more representations of folklore than as “authentic” folklore. In this dissertation I will examine how writers, through the figure of their various narrators, interact with the folk material of their narratives. My analysis will focus on Alexander Pushkin, Nikolai Gogol and Vladimir Dal. My emphasis will be on analyzing how narrators situate themselves in relation to the folk elements of the text and how their attitudes dramatize the various issues and problems that arise from the gentry writer’s encounter with the cultural other represented by the folk. In my exploration of folklore in Pushkin’s works, I trace the development of his relationship with folklore from one of the earliest of his works, Ruslan and Liudmila, through the middle years of his career, represented by Eugene Onegin, where he makes his most explicit statement about Russian national identity. I conclude with a consideration of his fairytales, which were written towards the end of his artistic career. Through these works, I trace the shift of Pushkin’s narrator’s stance from a position of relative distance from the folkloric elements of his narrative toward a greater sense of identification with his folkloric material. The chapter on Gogol is devoted to the first volume of his Evenings on a Farm Near Dikan’ka. My focus will be on how the figure of the author is splintered and diluted as editor Rudy Panko presents the reader with stories he heard from storytellers in his village, who in turn, heard their stories from still other storytellers, leading to series of nested storytellers. I will also examine how these various storytellers display an array of attitudes toward their folk narratives and how these relationships are enacted in the text. My final chapter is devoted to Vladimir Dahl and his First Five collection of folk tales. I will consider the significance of Dahl’s ideas about the centrality of the language of the common Russian people for the construction of a national identity and how these ideas found expression in his folk tales. As with the other chapters, my focus will be on the figure of the narrator and how his attitudes toward the folkloric elements of his tales form an image of Russian national identity. I hope to show through these explorations how the writer’s engagement with folklore contributed to the image of the Russia and the construction of Russian national identity in nineteenth century literature.

Mikhail Yurevitch Liermontov (18141841) viveu em período marcado por grande comoção social, uma época de transição na vida e na sociedade Russa. Foi nesse contexto que Liérmontov escreveu a peça Mascarada, uma crítica à sociedade e aos hábitos fúteis e mesquinhos de sua época. Vsévolod Emilevitch Meyerhold (1874 1940) estreou a sua Mascarada em 25 de fevereiro de 1917 em meio a revolução que viria a derrubar a monarquia e a velha Rússia. Depois quase seis anos e ensaios e preparações, figurinos, objetos de cena e cenários criados especialmente para a peça estavam prontos para o que viria ser ao mesmo tempo o fim de uma era e o nascimento de um novo teatro. A presente dissertação se propõe a analisar Mascarada desde a sua gênese no romantismo de Liérmontov até a espetacular montagem de 1917 e seus desdobramentos no teatro. / Mikhail Yurevitch Lermontov (1814-1841) lived in a period marked by great social upheaval, a time of transition in life and in Russian society. It was within this context that Lermontov wrote the play Masquerade, a critique of society and the petty and trivial habits of his time. Vsevolod Emilevitch Meyerhold (1874-1940) premiered his Masquerade on February 25, 1917 in the midst of a revolution that would overthrow the monarchy and transform the old Russia. After almost six years of preparations and rehearsals, the costumes, props and scenery created especially for the piece were ready for what would be both the end of an era and the birth of a new kind of theatre. This dissertation aims to analyze the Masquerade from its genesis in the romanticism of Lermontov to the spectacular production of 1917 and its effect on theatre.

The tradition of civic poetry occupies a unique place in the history of Russian literature. The civic poet (grazhdanskii poet) characteristically addresses socio-political issues and injustices relevant to the era in opposition to the established authority. This often comes out of a sense of responsibility to the nation. During the Thaw period (1953-63), an interval of relative artistic freedom that followed decades of severe artistic control, Y. Yevtushenko (1932- ) was among the first poets who dared to speak critically about the social and political injustices that occurred during Stalin’s dictatorship. At that time, his civic-oriented poetry focused primarily on the reassessment of historical, social, and political values in the post-Stalin era. The aim of the present study is to evaluate Yevtushenko’s position within the tradition of civic poets and to illustrate his stylistic ability to combine lyrical intimacy and autobiographic experiences with national and international issues in the genre of civic poetry. I approach the subject using a methodology of close examination: a formal and structural analysis of select poems in the original Russian. In addition, relevant social, political, and historical conditions are taken into account, as well as Mayakovsky’s influence on Yevtushenko’s poetry. This research offers a definition of the term “civic poet” and supplies a historical survey of civic poetry that dates back to the satires of the eighteenth century. I specifically refer to the Russian icons of this genre: G. Derzhavin, A. Pushkin, K. Ryleev, M. Lermontov, N. Nekrasov, and V. Mayakovsky. I start my evaluation of Yevtushenko as a civic poet by examining his narrative poem, Stantsiia Zima (1956), and proceed with a detailed analysis of his most important political poems of the Thaw period: “Babii Yar” (1961) and “Nasledniki Stalina” (Heirs of Stalin, 1962). In addition, I assess Yevtushenko’s political and cultural acts throughout his career. Finally, I further analyze select poems by Yevtushenko that were published from 1990 to 2005, to offer a new and more complete view of Yevtushenko’s place in the canon of Russian civic poets.

The tradition of civic poetry occupies a unique place in the history of Russian literature. The civic poet (grazhdanskii poet) characteristically addresses socio-political issues and injustices relevant to the era in opposition to the established authority. This often comes out of a sense of responsibility to the nation. During the Thaw period (1953-63), an interval of relative artistic freedom that followed decades of severe artistic control, Y. Yevtushenko (1932- ) was among the first poets who dared to speak critically about the social and political injustices that occurred during Stalin’s dictatorship. At that time, his civic-oriented poetry focused primarily on the reassessment of historical, social, and political values in the post-Stalin era. The aim of the present study is to evaluate Yevtushenko’s position within the tradition of civic poets and to illustrate his stylistic ability to combine lyrical intimacy and autobiographic experiences with national and international issues in the genre of civic poetry. I approach the subject using a methodology of close examination: a formal and structural analysis of select poems in the original Russian. In addition, relevant social, political, and historical conditions are taken into account, as well as Mayakovsky’s influence on Yevtushenko’s poetry. This research offers a definition of the term “civic poet” and supplies a historical survey of civic poetry that dates back to the satires of the eighteenth century. I specifically refer to the Russian icons of this genre: G. Derzhavin, A. Pushkin, K. Ryleev, M. Lermontov, N. Nekrasov, and V. Mayakovsky. I start my evaluation of Yevtushenko as a civic poet by examining his narrative poem, Stantsiia Zima (1956), and proceed with a detailed analysis of his most important political poems of the Thaw period: “Babii Yar” (1961) and “Nasledniki Stalina” (Heirs of Stalin, 1962). In addition, I assess Yevtushenko’s political and cultural acts throughout his career. Finally, I further analyze select poems by Yevtushenko that were published from 1990 to 2005, to offer a new and more complete view of Yevtushenko’s place in the canon of Russian civic poets.

This thesis seeks to analyze Russia&rsquo / s responses to globalization under Vladimir Putin in the fields of energy and foreign policy. This thesis argues that Russia under Vladimir Putin has redefined its process of globalization through a nationalistic perspective as its policies in the field of energy and foreign policy demonstrate. The thesis has seven chapters including introduction and conclusion chapters. The concept of globalization is explored in Chapter 2. Chapter 3 examines Russia&rsquo / s globalization under Boris Yeltsin and his energy and foreign policies. In Chapter 4, responses of Russian communist, nationalist and liberal intellectuals, to the globalization of Russia under Boris Yeltsin are evaluated. Chapter 5 explores the energy policy of Vladimir Putin while Chapter 6 discusses foreign policy of Russia under Vladimir Putin.

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This thesis was conducted to determine the awareness of the Human Immunodeficiency Virus (HIV) in Russia. A perception model by David L. Rousseau and Rocio Garcia-Retamero was used as a theoretical basis for this analysis. The perception model was adapted to analyze Russian-HIV research done between 1988 and 2013, and then compare the results to another analysis of research done from 2014 to the present. The results indicate that Russia's awareness to the virus declined between 1988 and 2013 and remains in this general position due to stigmatization that has been documented between 2014 and the present. Russia faces an HIV epidemic and unless a more in-depth analysis of how Russians perceive the HIV situation is understood, Russia will be hard-pressed to eliminate the disease from within its borders.

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