Este estudo apresenta uma análise da tipologia das personagens femininas na obra de Anton P. Tchékhov e busca examinar a evolução da poética dessas personagens nos diversos períodos da produção literária do escritor. Por meio dos contos do escritor, procura-se destacar as singularidades acerca da representação da figura feminina, relacionando-as aos conflitos entre a mulher e a sociedade russa do final do século XIX e início do XX presentes nas narrativas. O trabalho encontrou suporte na fortuna crítica sobre a poética da personagem e o estudo cronológico da obra de Tchékhov, procurando evidenciar os traços específicos de cada um dos grupos de personagens femininas e, consequentemente, demonstrar suas influências no modo de representação da mulher, de forma que contribua para a compreensão não só da especificidade desses tipos femininos dentro da obra do escritor, mas também da importância deles na ruptura com o modelo feminino idealizado na tradição literária russa. / This study presents an analysis of the female characters typology in the works of Anton P. Tchékhov and aims to examine the poetic evolution of those characters in the various periods of the writers literary production. Through the authors short stories, it is expected to highlight the singularities about the womens representation, relating them to the conflict between woman and the Russian society in the late nineteenth century and in the early twentieth century present in the narratives. The study found support on the previous critical works on the characters poetics and on the chronology of Tchékhovs works, trying to bring light to specific characteristics of each of the female characters subgroup and, consequently, demonstrate their influence on the way women are represented, in a way that it may contribute to the comprehension not only of the specificities of those female types in the writers work, but also of the importance of them in the rupture with the female models idealized in the Russian literature tradition.

Liev Tolstói, autor russo do século XIX, reconhecido tanto pelos acadêmicos como pelo público geral como um dos maiores romancistas da história, ao longo de mais de sessenta anos escreveu um diário paralelamente a sua vasta obra artística. No conjunto de toda a produção escrita do autor, o diário constitui a sua obra mais volumosa, contudo, quase inexplorada em língua portuguesa. O presente trabalho propõe-se aproximar o leitor brasileiro dessa faceta menos conhecida de Tolstói por meio da tradução, direta do russo, dos primeiros sete anos do diário (1847 1854). Observa-se o que há de particular nesse texto de Tolstói, no âmbito do diário como gênero literário e, por fim, questiona-se a possibilidade de ler o diário de Tolstói como criação artística independente ou se deve ele ser tratado como um coadjuvante na interpretação das obras literárias do autor. / Leo Tolstoy, great Russian writer of the nineteenth century, recognized as one of the leading novelists in the history of the genre, both by scholars and the general public, spent over sixty years writing a diary. Throughout the vast production written by the author, this diary is his most voluminous work, yet still unexplored and almost unknown in Portuguese. This work presents a translation directly from Russian of the first seven years of the diary (1847 - 1854) and also makes a first reflection on the nature of the text which encompasses the characteristics of Tolstoy\'s diary related to the genre. Then it analyzes whether Tolstoys diary can be treated as an artistic creation or as supporting text in the interpretation of literary works of the author.

Orientador: Milton Jose de Almeida / Dissertação (mestrado) - Universidade Estadual de Campinas, Faculdade de Educação / Made available in DSpace on 2018-08-09T12:04:10Z (GMT). No. of bitstreams: 1 Silva_FabioRobertoPorto_M.pdf: 11291326 bytes, checksum: 14c22ed2fda7a9aaa942cfcbc3eb8d37 (MD5) Previous issue date: 2007 / Resumo: Este trabalho é uma interpretação do filme ¿Arca Russa¿, dirigido pelo cineasta Alexander Sokurov, como construção de um espaço da memória sob a luz dos escritos do autor italiano Giulio Camillo. ¿Arca Russa¿ remete a imagens literárias, imagens de um palácio, imagens de quadros, imagens de uma cidade, imagens da imaginação. Segui a própria idéia do filme que se compõe da articulação de fragmentos de múltiplas temporalidades que formam uma visão de simultaneidade histórica em uma rede de imagens e de palavras, amalgamadas no tempo contemporâneo do filme, produzido esteticamente como um único plano-seqüência / Abstract: This is a study of the movie ¿Russian Ark¿, directed by Alexander Sokurov, structured as space of memory and having regard as reference the texts of Italian renaissancist author Giulio Camillo. ¿Russian Ark¿ refers to images from literature, images from imagination, from art history, from a city. The text followed the film's dynamism and rhythm, which is set joining diferent temporalities and composing a simultaneous historical view in a network of words and pictures, all of them in contemporaneous time and taken in a 96-minute one-shot / Mestrado / Educação, Conhecimento, Linguagem e Arte / Mestre em Educação

Esta dissertação apresenta aspectos centrais da trajetória do crítico literário russo Vissariôn G. Belínski (1811-1848). Na primeira parte, discorre-se sobre Devaneios Literários (1834), sua resenha crítica de estreia, situando-a na cena literária russa de então, para articulá-la com dois textos posteriores, escritos em situação cultural diversa da que vigia na juventude do crítico. Na segunda parte, apresenta-se a tradução justamente desses dois textos da fase final de Belínski, Revisão da literatura russa de 1846 e a célebre Carta (1847) ao escritor Nicolai V. Gógol (1809-1852). / This thesis presents some central aspects in the intelectual developtment of Russian literary critic V. G. Belínski (1811-1848). The first part dwells on the Literary Reveries (1834), Belínskis first major critical writing, both in the context of contemporary Russian literary life and in relation to two of Belínskis maturest critical works, written in his final years, the Revision of Russian Literature in the Year 1846 and the famous Letter to Gogol (1847). The second part brings a complete translation of both texts and a brief commentary.

Este ensaio tem como objetivo apresentar uma leitura do livro O exército de cavalaria, do escritor Isaac Bábel (1894-1940). A leitura empreendida buscou investigar as relações dialéticas entre o texto ficcional e a História, uma vez que as narrativas de Bábel abordam a Campanha Russo-Polonesa, ocorrida entre 1920 e 1921. Ao mesmo tempo, as formas particulares de representação do heroico e do épico, que permitem compreender O exército de cavalaria como uma espécie de epopeia falhada, conduziram a uma reflexão a respeito do realismo babeliano e da possibilidade de caracterizar o seu livro como um romance. Nele, fragmentação, a organização não linear e episódica dos conflitos, a recusa à ordem cronológica e a variedade de narradores e vozes do texto parecem, todos, encenar a dificuldade de a forma romanesca tradicional incorporar esteticamente uma matéria contraditória e convulsa. / This essay aims to present a reading of the book Red Calvary, from Isaac Babel (1893 - 1940). The perusal undertaken sought to investigate the dialetic relations between History and fictional texts, once the Bábel\'s narratives approach the Russian-Polish Civil War, which occurred between 1920 and 1921. At the same time, the particular forms of representation of the heroic and of the epic allowed to understand Red Calvary as a kind of failed epic and conducted to a reflection about babelian realism and the possibility of characterizing his book as a novel. On the book, fragmentation, non-linear and episodic organization of conflicts, the refusal to chronological order and the variety of narrators and voices of the text seem to stage the difficulty of the romanesque traditional form to aesthethically incorporate the experience of the war and of the contradicting and convulse matter. Keywords: Isaac Babel; Modernism; Novel; Russian Literature; Sovietic Literature.

O presente trabalho tem por objeto a análise da composição da obra Uma novela enfadonha de Antón Tchékhov. O protagonista da novela é único dentro da criação tchekhoviana. Trata-se de um cientista de renome mundial que, ao enfrentar pela primeira vez a dúvida acerca da significância de sua própria existência, tenta resolver esse problema, tão doloroso para ele próprio, por meio de reflexões lógicas registradas em seu diário. Contudo, sofre um fracasso absoluto. Redigida em primeira pessoa, nesta obra, como em toda a criação tchekhoviana, é característico um método de escrita objetivo, de tal forma que a opinião das personagens é, de fato, a opinião delas, e não representa o parecer do autor. É possível compreender a posição de Tchékhov na novela, onde não há uma única palavra direta do autor, apenas pela observação de certos sinais expressos no subtexto. A partir disso, analisamos aqueles sinais que constituem os elementos estilísticos básicos da composição partes do enredo que incluem o tempo presente e as recordações, o léxico, os temas da morte, a natureza, os animais, a música, além dos detalhes, símbolos, ritmo, a caracterização das personagens e o cronótopo. Mostramos como todos esses elementos, ao se entrelaçarem e realçarem uns aos outros, conformam o subtexto da obra, e contribuem para a realização da ideia central do autor: mostrar a situação psicológica da pessoa quando sua vida se aproxima do fim, quando é levantada a questão do sentido último e concreto da vida humana, no pano de fundo do processo histórico infinito. Além disso, examinamos a história da criação da novela, observando esse processo por meio da análise das cartas do autor. Também ponderamos os trabalhos da crítica dedicados a Uma história enfadonha em diversos momentos históricos de estudo da obra. / The purpose of this work is to study the composition of the Chekhov\'s novel \"A Dreary Story\". The main character of this novel is unique for Chekhov since he is a World known scientist. Being in doubt for the first time about the meaning of his life he is trying to resolve this painful problem with the help of logical reflections in his diary - but fails. The novel has the form of a narrative of the main character. In Chekhovs\' writings the opinion of the character never reflect the opinion of the author. Therefore, to understand the Chekhov point of view in a novel that does not contain single word directly from the author, one has to be attentive to special signs in the subtext. We analyze these signs, that are main stylistic elements of the composition such as the plot, the narrative in the present and in recollections, the lexis, the themes of death, of nature, of animals, musics, as well as the details, symbols, the rhythm, the characters and the chronotop. We show that all these factors interact and clarify each other to compose the subtext of the novel. They conspire to underline the main idea of the author to show the psychology a man when his life is coming to an end and then he is concerned with the meaning of his particular finite life at the background of an infinite historic process. Besides, we consider the history of creation of \"A Dreary Story\" by looking at the author\'s correspondence and analyzing the critics dedicated to the novel.

Dostoiévski, escritor russo do século XIX, compôs uma vasta obra, na qual procurou dar voz a todos os dilemas e contrastes presentes na alma humana; e conseguiu este feito sem procurar impor suas próprias verdades, sabendo que estas, em realidade, são sempre relativas. Um dos temas mais recorrentes em sua obra é a questão da loucura e do desequilíbrio, não só de seus personagens, mas também de fatos e acontecimentos, mostrando que, muitas vezes, na loucura do caos da vida, reside uma ordem e uma lógica superiores e, portanto, incompreensíveis para a mente humana, a qual acaba por considerar estes acontecimentos como fruto da insanidade. Isto despertou nosso interesse e resolvemos dedicar nosso estudo a este inquietante tema. / Dostoyevsky, Russian writer of the 19th century, accomplished a large literary output, in which he sought to give voice to all the dilemmas and contrasts existing in the human soul, and he perpetrated this deed without attempting to impose his own truths, knowing that these, in fact, are always relative. One of the most recurrent themes in his work is the issue of madness and instability, not only of his characters, but also of facts and events, showing that, oftentimes, in the madness existing in the chaos of life reside both a superior order and a superior logic and, therefore, incomprehensible to the human mind, which ends up regarding these events as a fruit of insanity. That aroused our interest and we have decided to dedicate this study to this unsettling theme.

This thesis is an historical and literary investigation of the treatment of the 1979- 89 Soviet-Afghan War in contemporary Russian literature. The texts chosen for study include official and unofficial literature, written within the former USSR as well as abroad, and cover publicistic writing, poetry, and prose fiction. These works are described and analyzed with a two-fold purpose: to explore creative trends found in the literature of this subject, and to evaluate the extent to which the genre of Afghan War literature in Russian has changed over the past decade. In order to provide a context for this literature, the introduction describes the method of socialist realism as it applies to military themes, and the legacy of World War Two novels in Russian. The first chapter provides a brief history of Russian-Afghan relations, and an account of the ten-year intervention. The second chapter documents the dissolution of official censorship during the 1980s, revealing dissent over the Soviet military role in Afghanistan. Chapter Three discusses the evolution of the genre of publicistic writing, and documents its unprecedented frankness through revelations made in Soviet journalistic investigations. Chapter Four provides an overview of song and poetry about the conflict, beginning with magnitizdat produced by amateur songwriters, and later including works by professional poets. Chapter Five discusses novels and short stories about the war. A range of fictional works is traced, from propagandistic portrayals, both pro-and anti-Soviet, to non-ideological, personal interpretations which incorporate lyricism, satire, and fantasy. Chapter Six focuses on the works of Aleksandr Prokhanov, a writer who initially used his fiction to support the war effort, and whose oeuvre charts the disintegration of Party consensus on interpretation and depiction of the events in Afghanistan. The final three chapters treat the works of Oleg Ermakov, whose lyricism and stylistic experimentation mark a new direction for recent Russian war fiction. The analysis shows Afghan War literature to signal a radical break with recent official Soviet military writing as shaped by socialist realism. This break is evident in the frankness and subjectivity of publicistic writing, and the anti-war sentiment found in a significant minority of published songs and poems. In particular, Oleg Ermakov's prose continues the past legacy of unofficial, dissident war fiction.

Doctorat en philosophie et lettres / info:eu-repo/semantics/nonPublished

This dissertation discusses and analyses Mikhail Mikhailovich Bakhtin's conscious strategy of self-fashioning and reinvention, which is realised in his life and supported by the theoretical constructs contained in his Collected Works. It addresses the ambiguities and uncertainties in Bakhtin's life and work and uses two aspects of his philosophical approach and constructs to explicate these inconsistencies: his theory of identity and his theory of language. The analytical tools used to arrive at this conclusion include the notion of reflexivity (using Bakhtin's own theoretical constructs to analyse incidents in his life, and in turn, using those incidents to illustrate the concepts he developed). Theoretical support for Bakhtin's self-fashioning is provided by Fitzpatrick's theory of reinvention through impersonation and imposture in Revolutionary Russia. Bakhtin's theory of identity (expressed in his Nietzsche-influenced concept of the mask and its associated concept of travesty) supports this reinvention. Bakhtin's notion of double-voicedness, supported by his linguistic theories of interdiscursivity, heteroglossia and the utterance reinforce these two lines of thought. Bakhtin's two figures of speech: the word with a 'backward glance' and the word with a 'loophole' encapsulate this convergence of theory and life. These two constructs are brought into sharp relief when illuminated by Wittgenstein's theory of language-games, Austin's concept of performativity and Benveniste's formulation of deixis. The overarching metaphor for this dissertation is the Classical Greek concept of metis, or 'cunning intelligence', a concept that is instantiated in the way in which Bakhtin framed the narrative of his life and the manner in which he performed his work. The dissertation concludes that Bakhtin evolved a multi-threaded philosophy which was self-consistent in the way in which it addressed the creation of identity, the expression of language and the performance of life and work through the metaphor of metis.