Thesis (M.A.)--Eastern Illinois University, 1964. / Includes bibliographical references (leaves [87-89]).

In January 1989, a much-rumored work by Dmitri Shostakovich titled Anti-Formalist Rayok received its public premiere. Rayok is a single-act satirical opera/cantata for bass soloist and mixed chorus. Each character represents a prominent Soviet political figure: Joseph Stalin, Andrei Zhdanov, and Dmitri Shepilov. The text of the libretto is either taken directly from actual speeches given by these political figures or follows their idiosyncratic style of public speaking. Rayok often falls victim to criticism for its lack of musical depth, a point of view that could easily lead one to see it as one of Shostakovich's lesser works. The purpose of this document is to examine the political environment of the Soviet Union in the early twentieth century in order to provide context for Shostakovich's Anti-Formalist Rayok and to show how Shostakovich uses satire in this piece. This dissertation document looks at the broader concepts of Formalism and Socialist Realism, traces how Socialist Realism became the established Soviet cultural aesthetic, and examines specific historical events in the 1940s and 1950s that relate to Rayok. Musical examples are taken from the section of the piece centering around D.T. Troikin. These examples demonstrate how Shostakovich uses Socialist Realist clichés in order to satirize the overly bureaucratized state of Soviet musical aesthetics. This leads to the conclusion that Shostakovich created a paradoxical work of art only posing as kitsch, and that he was not only satirizing the political figures presented in disguise but also the entire Soviet Socialist Realist aesthetic.

Thesis (Ph. D.)--University of Melbourne, 1996. / Typescript (photocopy). Includes bibliographical references (leaves 444-466).

This thesis attempts to determine whether the Russian chemist, Dmitrii Ivanovich Mendeleev, was open to Western ideas and capital in the Russian petroleum industry. It does so by examining five of his trips to study this business, as either an advisor to the Russian government or a private consultant. These voyages took place between 1863 and 1886 and saw Mendeleev in France, the United States and the Caucasus. Each trip produced a combination of personal letters, diaries, and published articles. This work employs a mixture of published and unpublished archival documents. In the process, much is revealed about the history of this industry, its industrialists, as well as Mendeleev's personality. / The introduction outlines the general questions that this thesis aims to answer. Chapter one summarizes Mendeleev's life until he first worked in the oil industry in 1863. These formative years were crucial for Mendeleev. His youthful travels around Europe, studies in Germany and personal inclinations, made him a multi-lingual and cosmopolitan individual. The remaining five chapters examine Mendeleev's trips to study the industry. An epilogue briefly recounts his final years. / The conclusion of this thesis is that contrary to Soviet scholarship, Mendeleev was open to the West. His only requirement was that Western ideas and capital assist in the growth of the Russian oil industry and result in abundant and cheap kerosene for the Russian population.

This study investigates the educational theories and beliefs of the Russian composer and educator Dmitri Borisovich Kabalevsky as they relate to his piano music for children. / A biographical sketch of the composer’s public life was developed incorporating the significant events in his life as they relate to the compositions, and in particular, his work with children. The primary sources for this study are the composer’s own writings - some of which were specially translated from Russian into English for the purpose of this study. / Kabalevsky offered an alternative philosophy to that of many Western educators and musicians. His educational and musical views are discussed in the context of the overriding political philosophy to which he adhered throughout his life. The clearest expression of his educational views is seen in his book A Story of Three Whales and Many Other Things and the recorded talks with children entitled What Music Says, both of which were translated from the Russian for this study. / An overview of Kabalevsky’s music was developed, with particular reference to his music for children. Kabalevsky’s piano music for children is discussed in the larger context of his output for the instrument. Particular emphasis is placed on the use he made of the song, the dance and the march - the three major genres that are the basis of the small character pieces which constitute the majority of his works for children. / Five sets of music, from the twelve-volume collection entitled Piano Music for Children and Young People, have been selected for investigation in this study. The sets are In the Pioneer Camp Op. 3/86 (127/1968), From Pioneer Life Op. 14 (1931/1968), Thirty Children’s Pieces Op. 27 (1937-38), Twenty-Four Easy Pieces Op. 39 (1943) and Thirty-Five Easy Pieces Op. 89 (1972). / A descriptive analysis of each of the 100 pieces (under set criteria) was carried out, highlighting the major focus of the piece as well as the important pedagogical elements. An important aspect of this study was the identification and classification of the piano pieces in terms of the genre or style of the song, the dance or the march; only some were identified as such by the composer. The classification of pieces provided an important link between Kabalesky’s educational philosophy and his piano music for children.

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Este trabalho apresenta a tradução direta do russo e inédita no Brasil de quatro contos selecionados de Contos de ferrovias (JD-rasskazy), do autor russo contemporâneo Dmítri Býkov. Nele, Almôndegas \"tolstoístas\", Assassinato no expresso do Oriente, O condutor e Instruções são tratados sob o ponto de vista dos estudos descritivos da tradução em uma tentativa de dissecar os procedimentos e dificuldades do ato tradutório. Além disso, como desdobramento do comentário acerca da tradução, há uma análise dos mecanismos intertextuais e os efeitos destes no estilo autoral baseada na semiótica da cultura de Iúri Lótman. Por fim, a última parte desta dissertação analisa o modo como Dmítri Býkov usa o tema da ferrovia, a um só tempo acompanhando e transfigurando a tradição literária de seu país. / This dissertation presents in Brazil the unprecedent translation, direct from Russian, of four selected stories of Railways stories (JD-rasskazy), by the contemporary russian author Dmitry Bykov. In this work, Almôndegas tolstoístas, Assassinato no expresso do Oriente, O condutor e Instruções are treated from the point of Descriptive Translation Studies in an attempt to analyse the translation acts procedures and difficulties. In addition, as an unfolding commentary on translation, there is an analysis of intertextual mechanisms and its effects on authors style, based on Yuri Lotman and his semiotic of culture. Finally, the last part of this dissertation explains the way Dmitry Bykov uses the railway theme, at the same time acompanying and transfiguring the literary tradition of his country.

Este trabalho apresenta a tradução direta do russo e inédita no Brasil de quatro contos selecionados de Contos de ferrovias (JD-rasskazy), do autor russo contemporâneo Dmítri Býkov. Nele, Almôndegas \"tolstoístas\", Assassinato no expresso do Oriente, O condutor e Instruções são tratados sob o ponto de vista dos estudos descritivos da tradução em uma tentativa de dissecar os procedimentos e dificuldades do ato tradutório. Além disso, como desdobramento do comentário acerca da tradução, há uma análise dos mecanismos intertextuais e os efeitos destes no estilo autoral baseada na semiótica da cultura de Iúri Lótman. Por fim, a última parte desta dissertação analisa o modo como Dmítri Býkov usa o tema da ferrovia, a um só tempo acompanhando e transfigurando a tradição literária de seu país. / This dissertation presents in Brazil the unprecedent translation, direct from Russian, of four selected stories of Railways stories (JD-rasskazy), by the contemporary russian author Dmitry Bykov. In this work, Almôndegas tolstoístas, Assassinato no expresso do Oriente, O condutor e Instruções are treated from the point of Descriptive Translation Studies in an attempt to analyse the translation acts procedures and difficulties. In addition, as an unfolding commentary on translation, there is an analysis of intertextual mechanisms and its effects on authors style, based on Yuri Lotman and his semiotic of culture. Finally, the last part of this dissertation explains the way Dmitry Bykov uses the railway theme, at the same time acompanying and transfiguring the literary tradition of his country.

No description available.