Inaugural-Dissertation--Münster, 1930. / Lebenslauf. "Literatur-Nachweis": p. 75-76.

Thesis (Ph. D.)--University of Iowa, 1959. / Photocopy of typescript. Ann Arbor : University Microfilms International, 1981. -- 21 cm. Includes bibliographical references (leaves 179-183).

In large measure the literary reputation of Aleksei Nikolaevich Tolstoi (1883-1945) rests on the historical novel Peter the First. Before the novel and during its writing, he also wrote stories and plays set in the past. However, literature written int the Soviet Union very often needs to be considered against the background of current events, and historical fiction especially cannot be regarded apart from state ideology or the fluctuations in the political climate. Between 1917 and 1945, Soviet interpretation of the Russian past changed from contentious class-consciousness and dialectical rejection, to a determined rehabilitation of select personalities whose life and accomplishments were supposed to inculcate Soviet patriotism. With his heightened sense of history, Tolstoi often sought, to rationalize contemporary conditions through representations of analogous periods in Russian history, and in this manner some of the works which are discussed in this study may be viewed as reflections of current events. On the other hand, altered political perspectives-of the Russian past required him to make radical modifications in works written a few years earlier, and to make some distortions of history in works he was about to write. But in addition to historical, cultural and political considerations, the discussion of Tolstoi's separate works will demand as well that some attention be paid to the writer's use of the Russian language as an instrument for creating a sense of the past. To facilitate the discussion of Tolstoi's historical fiction in this study, the works are grouped by genre and then arranged in chronological order. Chapter I, however, offers a biographical sketch of A. N. Tolstoi. This is important for the thesis because the writer's views and attitudes provide a key for a better understanding of the extra-literary influences which affected his work. In the second chapter, short stories are discussed, beginning with the anecdotes from 1909, in which there is little history save for the description of costumes and manners. But stories written during and immediately after the Russian revolution reflect Tolstoi's initial hostility to the Bolsheviks, then his apparent loss of interest in the political antagonisms between the White émigré's and the Reds, and finally his gradual acceptance of the Soviet regime. After his return to Soviet Russia, the stories assume an almost belligerent, Marxist tone. Tolstoi's magnum opus is discussed in the third chapter. Peter the First is presented in context of the historical novel in general, the contemporary Soviet historical novel, and finally in 'context-of contemporary criticism. A glimpse into the Petrine theme in Russian literature is also offered as a further contrast to Tolstovi's novel. Historical plays are reviewed in the fourth chapter, offering the best illustration of that political fluctuation that so blatantly forced the writer to change his work and to alter history as well. Chapter V concludes the study with a general and chronological summation of the works discussed; it demonstrated that in spite of the various extra-literary influences, Aleksei Tolstoi remains a major and talented figure among twentieth-century Russian writers. / Arts, Faculty of / Central Eastern Northern European Studies, Department of / Graduate

A partir da obra Cossacos, romance de Lev Tolstói cuja narrativa tem como protagonista os cossacos de Grében, a tese faz um extenso estudo acerca do homem natural e de seu principal veículo de expressão, a música, fruto da relação desse personagem com seu meio. A análise se fundamenta nos escritos do filósofo Jean-Jacques Rousseau (maior mestre do autor russo) a respeito do estado de natureza e da origem da linguagem musical primeira forma de comunicação que o selvagem, incitado pelas necessidades morais (e não físicas), ter-se-ia utilizado para travar contato com seu semelhante. O capítulo inicial se atém no Cáucaso, localidade montanhosa ao sul da Rússia, onde a história se desenrola e que é palco de obrasprimas da literatura russa que precederam Cossacos. Os capítulos seguintes, então, dedicamse a elucidar por que motivo Tolstói teria representado seu personagem, herdeiro do bom selvagem de Rousseau, como um homem ávido pela música - um Homem-Música. Para isso, o trabalho se propõe a trilhar o caminho empreendido pelo próprio Tolstói, procurando dimensionar a relação do autor com a música e com esse homem tradicional que, no decurso de sua trajetória, retratou sob inúmeras roupagens. / Taking its cue from the novel \"Cossacks\" Lev Tolstoy\'s work that featuring the Grebenski Cossacks as protagonists the thesis develops an extensive study of the \"natural man\" and music, his most remarkable means of expression and a product of his relationship with his surroundings. This study bases itself on the writings of philosophe Jean-Jacques Rousseau the Russian author\'s premier influence regarding the State of Nature and the origins of musical language and, allegedly, the earliest means of communication borne out of his moral (and not physical) need to establish contact with his equal. The first chapter deals with the Caucasus, a mountainous region in southern Russia where the story takes place as do numerous masterpieces that preceded Tolstoy\'s novel. Subsequent chapters attempt to explain the reasons why the author presented his character, a successor to Rousseau\'s \"noble savage\", as a man craving for music a \"Music-Man\", so to speak. As such, this study intends to trail Tolstoy\'s own path and map out his relationship with music and with this traditional man so often portrayed, under numerous guises, in his oeuvre.

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It is the purpose of this investigation to examine his popularity and influence in the United States during this period so as to provide a basis for a considered and adequate understanding of the problems and their implications.

Thesis (M.A.)--Miami University, Dept. of Spanish and Portuguese, 2009. / Title from first page of PDF document. Includes bibliographical references (p. 81-87).

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.