The dissertation is devoted to the integrated analysis of Russian phraseological units with the component-numeral. The semantics of numerals one, two, seven, one hundred was analyzed, semantic modifications of the numeral in the Russian sustained combinations were showing in the dissertation. To identify universal meanings and justifications of national specificities of the semantics of numerals was used material of typologically different languages (Chinese, Vietnamese, Mongolian), as well as information about the symbolic meanings of numbers in different cultures. / Диссертация посвящена комплексному анализу русских фразеологизмов, содержащих в структуре компонент-числительное. В работе проанализирована семантика числительных один, два, семь, сто, показаны смысловые модификации нумератива в русских устойчивых сочетаниях. Для выявления универсальных смыслов и обоснования национальной специфики семантики числительных был использован материал других, типологически отличных языков (китайского, вьетнамского, монгольского), а также сведения о символических значениях чисел в разных культурах.

The dissertation is devoted to the complex analysis of the semantics functioning of two lexemes – extremism and terrorism. The high frequency of these loan words in Russian language accounts for the reason of the modification there meanings. There are the dynamics of the semantic evolution of these words, new meanings, which are not recorded in the dictionaries, in the dissertation. / Диссертация посвящена комплексному анализу семантики и функционирования двух лексем – экстремизм и терроризм. Высокая частотность употребления этих заимствованных единиц в современной русской речи явилась причиной изменения их значений. На материале современной публицистики в диссертации показана динамика семантического развития слов экстремизм и терроризм, выявлены новые смыслы, не зафиксированные толковыми словарями.

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Le dialogue siège au cœur de l’activité de langage. Il doit donc être au cœur de l’enseignement des langues vivantes. Telle est la position centrale de la thèse, appliquée à l’enseignement du russe. Après le rappel des travaux sur le dialogue dans les traditions russe et française, la thèse analyse un important corpus enregistré de dialogues russes spontanés, et montre concrètement que son exploitation pédagogique passe nécessairement par une typologie des dialogues, à la fois linguistique et pragmatique. La thèse examine enfin, sous cet angle, une série de manuels existants et formule une série de propositions concrètes visant à construire une véritable didactique du dialogue. / Dialogue is at the very center of linguistic activity. It must therefore be at the center of the teaching of modern languages. This is the basic position of the present thesis, as applied to the teaching of Russian. After a survey of the existing works on dialogue in the Russian and French traditions, the thesis analyzes a large recorded corpus of spontaneous Russian dialogues and demonstrates concretely that in order to make use of it pedagogically it is necessary first to have a typology, both linguistic and pragmatic, of the dialogues. Finally the thesis examines, from this point of view, several existing handbooks, and formulates a certain number of concrete proposals whose aim is to achieve a real didactics of dialogue.

This thesis describes the issue of the use of euphemisms in contemporary Russian language. It is aims to determine thematic areas in which euphemisms are used in contemporary Russian and compare it with conclusions of previous research. Another purpose of the research is determine function of euphemisms for particular thematic areas and compare frequency of incidence of euphemisms in lifestyle magazines for woman and newspaper with extensive target group. Material for the research was derived from the Russian press. Collected examples have not been used in previous studies. Based on theoretical findings thematic areas of using euphemisms and their functions were determined. Collected examples were explored from several perspectives - function, thematic areas they were used for, connection between context and perception of particular name as euphemism, description in the literature etc. One of the conclusions of this thesis is finding that there are thematic areas where euphemisms are used in contemporary Russian that have not been described in the literature. It has been determined that thematic areas of euphemisms incidence and frequency of their use were differed according to sort of periodicals they were found in. In case of frequent occurrence of particular euphemism can be regarded as its...

Esta Tese visa aprofundar algumas questões da poética nabokoviana, a partir de uma tradução inédita do russo para o português brasileiro de capítulos de (Druguíe Beregá), de 1954, uma das variações de sua autobiografia, chamada, na Rússia, de romance. Incluída em seleções e antologias no mundo todo, esta obra de Nabókov possui uma história repleta de matizes linguísticos e estilísticos: um de seus princípios foi um conto-ensaio escrito em francês, Mademoiselle O (1936), recomposto e traduzido para o inglês, tornando-se uma primeira versão em livro de memórias, Conclusive Evidence, ou Speak, Memory (1951, EUA e Inglaterra, respectivamente), revertido e reformulado em russo, por sua vez retransformado em uma versão final, Speak, Memory: An Autobiography Revisited (1967). A comparação entre os textos corrobora a hipótese de que as transformações que se concretizam na recriação de , obra mediadora, são fundamentais para a leitura tanto da última versão em inglês, como também da primeira. Para Nabókov, essa reescritura, além do processo criativo inerente ao ato tradutório, passa a ser uma releitura e revisão de sua própria obra, com alterações que vão além das peculiaridades de cada língua. Dessa forma, faz-se necessário ler, traduzir e examinar cada versão como texto independente. A tradução, em todas as suas formas e manifestações, como mote e como prática, tem papel essencial na obra e na vida de Nabókov. É com ela que ele inicia sua trajetória literária, é por meio dela que ele retorna à Rússia e à língua russa. A relação do escritor com o tradutor e a (auto)tradução é crucial e a Tese tem o propósito de refletir sobre não uma Arte da Tradução nabokoviana, mas Artes da Tradução, já que transformam o tradutor em escritor, o autotradutor em revisor, e o revisor em reescritor. / This dissertation aims to deepen some issues about the Nabokovian poetics, presenting the first Russian translation into Brazilian Portuguese of some chapters of (1954), one of the variations of his autobiography, known as a novel in Russia. Included in selections and anthologies around the world, this work has a history full of linguistic and stylistic nuances: one of the first versions was a story-essay written in French, Mademoiselle O (1936), recomposed and translated into English, becoming a memoir, Conclusive Evidence, or Speak, Memory (1951, USA and England, respectively), reworked in Russian, and then reprocessed into a final version: Speak, Memory: An Autobiography Revisited (1967). A comparison of the texts shows that the transformations performed in recreating , an interposed work, are key to reading the last version in English, as well as the first. For Nabokov, this rewriting, besides the creative process inherent to the act of translation, becomes a reinterpretation and revision of his own work, full of changes beyond the peculiarities of each language. Thus, it is necessary to read, translate and study each version as a autonomous text. Translation in all its forms and expressions, as a theme and as a practice, plays an essential role in Nabokov\'s work and life. It is translating that he began his literary career, it is through it that he returns to Russia and Russian language. The writer\'s relationship with the translator and (self)translation is critical and the dissertation aims to reflect on not a Nabokovian Art of Translation, but multiple Arts of Translation since they transform the translator into a writer, the self-translator into an editor, the editor into a rewriter.

Le discours indirect libre (DIL) en russe contemporain est envisagé dans le double rapport qu’il entretient avec, d’une part, d’autres formes du discours rapporté et, d’autre part, les formes de représentation des pensées dans le texte narratif appelées ici « à effet de DIL ». L’étude établit une gradation du DIL, qui s’étend de la forme subordonnée jusqu’à la forme non subordonnée qui fusionnant avec le récit. Divers marqueurs sémantico-syntaxiques sont étudiés et comparés avec l’expression du DIL en français. Un panorama large du DIL subordonné est esquissé, qui met en évidence la nécessité du concept de continuum dans le système du discours rapporté. Pour identifier le DIL, nous proposons d’examiner si les paroles peuvent vraisemblablement faire l’objet d’une verbalisation et si celle-ci peut se présenter sous cette forme dans l’énoncé d’origine. Pour le DIL non subordonné, les marqueurs expressifs sont étudiés en comparaison avec les formes « à effet de DIL », avec lesquelles il est souvent confondu. La position centrale de la thèse consiste à dire que, dans le DIL, il existe toujours une trace de la présence du narrateur : si cette présence ne se trouve pas dans le choix des termes de l’énoncé rapporté, elle se signale dans la disposition de cet énoncé au sein du récit, par le jeu des énoncés primaires et/ou des connecteurs qui peuvent jouer un rôle définitoire dans la stratégie narrative du récit. / Free indirect speech (FID) in Russian is compared, on the one hand, with other forms of reported speech and, on the other hand, with the representation of reported thought in narration. The dissertation draws up a gradation of FID. FID can be represented by subordinate and non-subordinate forms that can be integrated in the narration. Different semantic and syntactic markers in Russian are studied and compared with the markers in French. An outline of subordinate FID shows the necessity of the concept of continuum in the system of reported speech.The enunciation-centered description of FID is proposed : it is necessary to test if the utterance representing the reported speech or thought can be verbalised. If so, the test of transposition into the direct speech is implemented in order to discover whether or not this reported speech would be actually pronounced in the way it is reported. In the section which deals with non-subordinated FID, the expressive markers are studied and compared with other forms called « FID-effect forms », which are often confused with FID. The main point of the dissertation is about showing that FID always contains a trace of the narrator which can be seen in the choice of a term in the utterance, or by the disposition of the FID-utterance in the structure of the text. This trace can also be designated by the utterance clauses and (or) by the connectors that can have an important function in the narrative strategy of the text.

Cette thèse a pour objectif de proposer une approche renouvelée des verbes russes en –sja (Vsja), improprement qualifiés de « réfléchis ». Les approches existantes peinent à rendre compte des valeurs multiples et contradictoires que peuvent assumer ces verbes et notamment de celles ne pouvant en aucun cas relever de la réfléxivité stricto sensu.Le modèle proposé s’inscrit dans la théorie des opérations énonciatives (TOE) et unifie toutes les valeurs de Vsja. Tout d’abord, la comparaison de –sja, sebjá et de la particule atone sebe a permis de mieux dessiner les spécificités de Vsja. Puis l’analyse des faits diachroniques a permis de rappeler le lien ancien qui, en slave, unit –sja à la valeur de la voix moyenne. Cependant, –sja, en synchronie, ne peut être considéré comme un opérateur de voix notamment parce que certains emplois de Vsja (kusat’sja, par exemple) n’entraînent aucun changement de voix ou de diathèse. Dans notre modèle, –sja est la trace d’une opération énonciative visant à centraliser une relation – et une seule – entre Vsja et un autre actant de l’énoncé, qui n’est pas forcément le sujet grammatical, mais sans exclure obligatoirement la relation au second actant dans le cas des phrases biactancielles. Celle-ci est seulement périphérisée et, selon le sémantisme de Vsja et des actants en présence, peut/doit être maintenue ou exclue. Et si cette centralisation, qui intervient juste après l’opération d’instanciation, engendre, sur le plan sémantique, des effets de sens de type voix moyenne, ce modèle permet surtout d’envisager Vsja en dehors du système des voix verbales, tout comme il permet de résoudre l’ensemble des contradictions apparentes entre les différentes valeurs de Vsja. / The aim of this study is to propose a new approach to –sja verbs in Russian, improperly described as “reflexive”. The existing models fail to account for all the various and sometimes contradictory values assumed by –sja verbs, in particular for those Vsja which cannot be considered as having a “reflexive” meaning.The proposed model lies within the framework of the Théorie des opérations énonciatives (TOE) and unifies all the values of –sja verbs. The comparison between –sja, sebjá and the atonic particle sebe helped to understand the specificity of –sja. Then a short analysis of diachronical facts enabled us to stress the historical link in Slavic between –sja and the middle voice. Nevertheless, the marker cannot be considered synchronically as a “voice operator” notably because certain Vsja (e. g. kusat’sja) do not present a voice or diathesis shift. In our model, –sja is the sign of an enunciative operation whose aim is to centralize the relation between Vsja and one actant only, that is not necessarily the grammatical subject, and resulting in the other relation being simply peripheralized. Such an approach allows to solve all the apparent contradictions within the so-called Russian “reflexive” verbs and allows also to envisage Vsja outside the system of the verbal voices.

Embora o nome Nabókov remeta tão-somente a escritor norte-americano, criador de Lolita, raro se lembra de sua origem russa. Nem os leitores, nem a crítica literária brasileira associam Nabókov à literatura russa, apesar de ter-se consagrado primeiramente como autor russo e por mais de 20 anos ter escrito nessa língua, com a qual ele se identifica tanto como escritor, tradutor e autotradutor, quanto como professor e teórico. A presente dissertação é o primeiro trabalho a trazer tradução direta do russo da coletânea de contos Primavera em Fialta (1956), obra-prima do momento russo de Nabókov, inédita no Brasil. Propõe-se a adentrar o arcabouço nabokoviano, delinear sua poética e traçado distintivo, ressaltando seus procedimentos estilísticos e lingüísticos. Finalmente, objetiva-se observar o processo tradutório de Nabókov, suscitando questões atreladas às mudanças de paisagem e língua literária e investigando a relação entre escritura, tradução e identidade cultural e artística. / Although Nabokov is usually best remembered as the North-American author of Lolita, his Russian origins are rarely mentioned. Brazilian readers and literary critics never think of linking Nabokov with Russian literature, even though he was first known as a Russian writer, for over two decades, and even though he identified himself as such, as well as being a translator, self-translator, teacher and theoretician. This master thesis is the first one to offer a direct translation from Russian into Portuguese of Spring in Fialta (1956), a remarkable collection of short stories from Nabokov s Russian period, considered a masterpiece, never yet published in Brazil. It will also describe Nabokov´s poetics and stylistic peculiarities, as well as the linguistic process at work in the short stories. This work aims at studying Nabokov´s translation process, raising issues linked with the changes in his literary landscape and language, and observing the relation between writing, translation, as well as cultural and artistic identity.