This thesis is a discourse-analytical study of SELF and OTHER representations in contemporary Russian discourse on migration. The overall aim of this thesis is to explore how SELF and OTHER discourse participants are represented in pro-governmental discourse, to which extent the ideology of pro-governmental media discourse can be classified as discriminatory towards migrants and how it changes in the period between the years 2006 and 2009. The discussion is based on the results of the discourse analysis of the corpus of texts collected from three various sources. Firstly, the pro-governmental moderate corpus of media articles collected from the website of the Moscow City Council in August – November 2006 is compared to the corpus of texts collected from the website of the radical anti-migrant movement DPNI. The purpose of this comparative study is to establish the extent of commonalities through the analysis of referential-categorizing and evaluative strategies between thee two types of discourse. Moreover, in the instances of represented discourse, it is important to understand how journalists position themselves and the readers with respect to the evaluative force of the statements. The results received from the analysis of these strategies are used to construct discourse space ontology for SELF and OTHER representations. Secondly, the moderate corpus is extended to receive more data for the analysis of conceptual imagery, i.e. metaphors. The analysis of metaphors confirms tendencies typical of migration discourse but also has its special pattern which is attributed to sociocultural specifics explored through the examination of conceptual blends. The evaluative dimension constitutes an important aspect of the discourse analysis of conceptual imagery. Finally, a multimodal corpus of verbal and visual data representing a protest action by the pro-governmental youth movement “Molodaia Gvardiia” at the end of 2008 – beginning of 2009 is searched for specific strategies of SELF and OTHER representation. The analysis shows an extensive use of discursive strategies typical of racist ideology used for the representation of SELF and OTHER discourse participants in pro-governmental media discourse on migration.

This dissertation explores the development of Soviet photomontage from the second half of the 1930s to the end of the 1970s. Until now, the transformation of the modernist medium and its incorporation into the everyday practice of Soviet visual propaganda during and after the Second World War has not attracted much scholarly attention. The firm association of photomontage with the Russian Avant-garde in general, and with Constructivism in particular, has led art historians to disregard the fact that the medium was practised in the USSR until the final days of the Soviet system. The conservative government organisations in control of propaganda preserved satirical photomontage in its post-Dadaist phase and Heartfield-like form, finding it useful in the production of negative propaganda.

Spanning over three decades, the prose of Vladimir Makanin bears witness to the extraordinary changes SovietlRussian society and literature have undergone, and to which he, as a writer, has been continually exposed. The focus of the thesis is Makanin's abiding concern with the condition of man; man as individual and man as a collective term. The position of man in time (contemporaneity), out of time (the eternal memory of man), and through time (the past, present and future). Despite this apparent central concern, the author's prose is constantly changing, and what seemed previously to be absolutes are subverted. In this unstable environment the author continually expresses the reality in which he perceives man to be, until the concepts of 'reality' and the nature of 'man' are themselves destabilised. Chapter 1 provides an introductory overview of Makanin' s literary career and critical reception. The five core chapters examine different presentations of man's condition. Chapter 2 discusses the tension of the individual amongst the collective, with particular emphasis on the spatial representation of this dilemma. The third chapter is an examination of the incorporation of parables, myths and legends, revealing attempts to depict a 'higher reality' and also the author's means of overcoming socialist realism's censorship constraints. In Chapter 4, the author's concept of 'genetic memory' is considered as a temporal and spatial construct for examining man's individuality and condition in contemporary society. This chapter additionally highlights the author's move from his early social realist depictions revealed in the first two chapters, to his later interest in Russian postmodern theories found in the following two chapters. In Chapters 5 and 6 Makanin's ideas on narrative, history, and man's postmodern condition are analysed. The final text to be discussed, Kavkazskii plennyi, is examined as an innovation in Makanin's philosophy and postmodem prose.

In der Sowjetunion hatte die Musikwissenschaft zwei Seiten

Thesis discusses the theory of human capital and the strong interdependence between economic growth and human investments. The essence of human capital concept lies in the fact that investments in education and healthcare create the human capital in the same way as expenses on the equipment and materials create physical capital. The rate of return of human investments, in the long run, is much higher than of investments into physical capital. The theory of human capital is applied in the comparative analysis of Federal Subjects of the Russian Federation with the purpose to determine interrelation between the level of education and economic development of the country with the focus on the level of education, differences in income level and vocational and professional structure of the labor.

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Master of Music / School of Music, Theater, and Dance / Virginia Houser / Alexander Tikhonovich Gretchaninoff (1864-1956) was a prolific composer from Russia’s Romantic age who explored the art of musical writing within an extensive number of genres and forms and showed an unusually strong interest in the creation of solo piano pieces for and about children. It is important that musicians in general and pianists in particular investigate his compositions and gain an understanding of their nature and potential usefulness as teaching pieces and as works worthy of public performance. My research consisted of an examination of Gretchaninoff’s autobiography, the study of numerous secondary accounts of his life and personal analysis of piano scores written by the master. My investigation uncovered the almost hidden existence of a large number of attractive musical works which Gretchaninoff wrote for solo piano as well as insightful details concerning the circumstances and motives that inspired the master to compose within the parameters of this genre. The following pieces are performed as part of this presentation: (from Children’s Album, Op. 98) A Tale, In the Camp of the Lead Soldiers, Lead Soldiers on the March, Hobby-Horse, Nurse Is Sick, Lullaby, Little Dance, Dreadful Event, After the Ball, On a Travel Tour, The Little Would-be Hero; (from 12 Little Sketches for Children, Op. 182) Sunrise, With the Fishing Rod, On the Swing, A Country Lad; (from A Child’s Day, Op. 109) Morning Prayer, The Broken Toy, The Happy Return Home; (from The Grandfather’s Book, Op. 119) My Dear Mommy, Swallow Dance, Pussy Is Ill, On the Swing; (from Glass Beads, Op. 123) Morning Promenade, On a Bicycle, Difficult Work; (from Andrusha’s Album, Op. 133) The Dance of the Gold Fishes, My Little Dog Joujou; (from Album Leaves, Op. 139) After Walking; (from Nina’s Album, Op. 141) After Mass, Dreaming, At the Wheel; (from Arabesques, opus number in dispute) Russian Folksong, A Sad Little Story; Sonatina in F major, Op. 110, #2 – 1. Allegro giocoso, 2. Menuet (Moderato grazioso) and Trio, 3. Finale – Allegro.

Nosso projeto consiste na discussão sobre a literatura e cultura contemporânea na Rússia, especialmente a questão do Pós-modernismo, por um recorte específico: a análise das obras ganhadoras do concurso Russian Booker Prize com enfoque no processo de classificação adotado pelos júris , bem como um apanhado geral da premiação na Rússia. Para tal, analisaremos, em um primeiro momento, os pensadores e críticos mais representativos dessa prosa alternativa ou pós-moderna, sempre com um embasamento histórico. Entender o indivíduo pós-soviético será de fundamental importância para lidar com os temas e personagens dos romances vencedores. Em um segundo momento, nosso trabalho será o de investigar os critérios utilizados pela banca, a fim de tentar encontrar (se houver) algum ponto comum entre algumas das obras ganhadoras. Pensar em tais pontos será de suma importância para compreender os sistemas de valores dos críticos envolvidos nesse processo de premiação, além de colaborar para o enriquecimento de uma nova abordagem analítica da nova literatura russa e de alguns de seus nomes mais prolíficos. / Our project consists in the discussion of contemporary literature and culture in Russia, especially the question of post-modernism, by a specific focus: the analysis of the winning works of the Russian Booker Prize contest focusing on the process of classification adopted by the judges as well as a overview of the awards in Russia. To this end, we will analyze, at first, critical thinkers and most representative of this \"prose alternative\" or post-modern, always with a historical foundation. Understanding the individual post-Soviet is of fundamental importance to deal with the issues and characters of novels winners. In a second step, our work is to investigate the criteria used by banks in order to try to find (if any) a common point among some of the winning works. Think about these points will be extremely important to understand the value systems of the critics involved in the awards process, and contribute to the enrichment of a new analytical approach of the new Russian literature and some of its most prolific names.

Este trabalho propõe um estudo da poética e da vida literária de Marina Tsvetáieva com base em uma seleção de suas obras em prosa consideradas representativas de seu pensamento artístico, bem como de seus principais procedimentos compositivos. Para tanto, foi empreendida uma análise de forma e conteúdo dessas obras, integrada ao contexto histórico e literário em que foram produzidas, à luz dos recursos teóricos e interpretativos oferecidos por Tzvetan Todorov, Véronique Lossky, Joseph Brodsky e Walter Benjamin, entre outros. / This work proposes a study of Marina Tsvetaevas poetry and literary life based in a selection of her prose works considered representatives of her artistic thought as well as her main compositional principles. Therefore, it was done an analytic study of these works integrating them into historic and literary context that they were produced, in light of the theoretical and interpretative resources of Tzvetan Todorov, Véronique Lossky, Joseph Brodsky and Walter Benjamin, among others.