Thesis (Ph. D.)--Columbia University, 1925. / Vita. Published also without thesis note. Bibliography: p. [93]-94.

Thesis (Ph. D.)--Columbia University, 1925. / Vita. Published also without thesis note. Bibliography: p. [93]-94.

Thesis (Ph. D.)--University of Missouri-Columbia, 2002. / Typescript. Vita. Includes bibliographical references (leaves 295-302). Also available on the Internet.

Thesis (Ph. D.)--University of Missouri-Columbia, 2002. / Typescript. Vita. Includes bibliographical references (leaves 295-302). Also available on the Internet.

Thesis--Frankfurt am Main. / Bibliography: p. 171-175.

This dissertation traces the development of Alexander Pushkin's sense of the tragic in the context of Russian and European Romanticism. Pushkin was a self-proclaimed skeptic in matters of literature: though deeply influenced by Romantic poets and theorists, he never subscribed to any one school or creed, experimenting in a range of genres to express his changing tragic vision. Many of his works move seamlessly between the closed world of traditional tragedy and the open world of Romantic tragic drama; and yet, they follow neither the cathartic program prescribed by Aristotle nor the redemptive mythologies of the Romantics. My study explains Pushkin's idiosyncratic approach to tragedy by re-situating his works within their literary, historical, and philosophical contexts. In my readings of The Gypsies, Boris Godunov, and The Little Tragedies, I connect Pushkin's works to those of a range of European writers, including Shakespeare, Racine, Rousseau, Goethe, Schiller, the Marquis de Sade, and Hugo; and I examine such topics as tragedy and the tragic, the sublime and the grotesque, the relationship between literature and history, irony and tragic ritual. While I ground my work in traditional Russian philology, I use recent Western scholarship to help frame my study theoretically. In particular, I aim to contribute to the ongoing debate between scholars who claim that Romanticism marked "the death of tragedy" and those who see the change less as a death than as a redefinition.

Orientador: Maria Lucia Levy Candeias / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-08T08:49:02Z (GMT). No. of bitstreams: 1 Scandolara_Camilo_M.pdf: 4509987 bytes, checksum: c903d905692b040e95b375d9e3a3a31d (MD5) Previous issue date: 2006 / Resumo: Este trabalho aborda a experiência dos estúdios do Teatro de Arte de Moscou (T.A.M.) como um dos pilares da formação da tradição teatral ocidental do século XX. Os estúdios do T.A.M. inserem-se em um movimento característico do processo de renovação teatral do início do século passado: o afastamento em relação aos centros da produção com o objetivo de reconstruir o ofício do ator e do diretor desde as suas bases. Partindo da constatação de que renovar o teatro implicava, antes de tudo, em criar uma pedagogia teatral sólida, Leopold Sulerjítski, Evguiêni Vakhtângov e Konstantin Stanislávski geraram espaços de experimentação nos quais a pedagogia era concebida como ato criativo, como atividade de invenção de possibilidades de teatro. Utiliza-se nesta pesquisa a análise das trajetórias de Sulerjítski e de Vakhtângov junto aos estúdios como referência para a compreensão do estabelecimento de um entendimento do fazer teatral que antecede e transcende a dimensão do espetáculo / Abstract: This dissertation approaches the experience of the Moscow Art Theatre studios, as one of the pillars of the formation of theatrical tradition in the West, in the Twentieth Century. The studios of the Moscow Art Theatre are part of a movement which characterizes the theatre renovation process of the beginning of the Twentieth Century, that is, the detachment from the main stream production, in order to re-build both acting and directing from their basis. Based on the notion that any theatre renewing would imply in the creation of a solid theatrical pedagogy, Leopold Sulerjítski, Evguiêni Vakhtângov and Konstantin Stanislávski created spaces for experimentation, in which such a pedagogy was conceived as acts of creation, as the invention of possibilities in theatre. Thus, this research presents the analysis of Sulerjítski's and Vakhtângov's trajectory in the MAT studios and offers new elements for the understanding of theatre practices which precede and transcend theatrical performances / Mestrado / Mestre em Artes

This dissertation argues that Russia’s confrontation with modernity generated a series of sociocultural paradigm crises that gave rise to a modernist grotesque aesthetic tradition, uniting over forty years of artistic production into a coherent literary movement. While close reading the work of Fyodor Sologub (The Petty Demon [Мелкий бес]), Andrei Bely (Petersburg [Петербург]), Evgenii Zamyatin (At World’s End [На куличках]), and Velimir Khlebnikov (“The Crane” [Журавль]), I argue that prerevolutionary modernist writers utilized grotesque modes of representation to depict a world where the former cornerstones of pre-modern Russian identity are fracturing under the pressures of modernity. In contrast to extant scholarship, I argue the 1917 Revolution is not a fundamental break in Russia’s experience of the crisis of modernity, but an extension, and an exacerbation of it. Though discourses of Russian identity formation will be rapidly recodified around the Soviet project, the same underlying grotesque aesthetic devices used by pre-revolutionary authors are taken up by a new generation of Soviet-era modernists. Mikhail Zoshchenko’s parody in Michel Sinyagin (Мишель Синягин) elicits skepticism about yesterday’s unenlightened masses becoming today’s new Tolstoys. Andrei Platonov’s anomalous depictions of the Russian periphery in his Juvenile Sea (Ювенильное море) are still inhabited by monsters, too far from Soviet nodes of power to be assimilated into the national ideological project. And Konstantin Vaginov (in the novel Goat Song [Козлиная песнь]) and Evgenii Shvarts (in the play The Shadow [Тень]) capture the prevalence of superfluous intellectuals with ruptured psyches, frustrated by their unsuccessful attempts to adapt to the new Soviet reality.