This thesis concerns four portraits painted in the 1890s by the Swedish artist Ivan Aguéli (1869-1917). Based in hermeneutics and using Erwin Panofsky's model for iconological interpretation, the study tries to answer three questions: What characterizes Aguéli’s portraiture? In what way do the portraits display a certain artistic style? And what similarities can be seen between Aguéli’s portraits and his landscapes. The four paintings analyzed are Flicka i blått - Girl in blue (1890), Ung kvinna - Young woman (1891), Gosse - Boy (1891), and Kvinna med hatt och pälskrage - Woman with hat and fur collar (1890s). Key among the findings of the study are that one of the characteristics of the portraits is that of spirituality, specifically the monotheism Aguéli had picked up from Emanuel Swedenborg. This is present in two of the paintings in the form of shapes symbolising a layered sky. Also the particular way Aguéli painted the eyes of his models points to a spirituality. This also ties the portraits in with Aguéli’s landscapes, several of which has a similarly layered sky. Another characteristic is that of identity, and the study raises the question of whether one portrait could be a self portrait. Finally, in terms of artistic style, several portraits display signs of the symbolism Aguéli encountered in France, as well as an early sign of cubism in his paintings.

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<p>Russian realist writer Ivan Turgenev wrote Fathers and Sons in 1861, the middle of the politically, socially and ideologically eventful nineteenth century. While the turbulent historical moment is certainly reflected in the imagined landscape of the novel, Turgenev's text is first and foremost a literary work with implications that extend beyond the moment of its conception. Through allusions to the classical pastoral and juxtaposition of social and economic hardship, Turgenev creates a disconcerting ironic pastoral, or Russian Arcadia, that is marked by tension between a discordant ideal and reality. Resolution can be achieved in two ways that mirror nature's duality: one may become brutal, nihilistic and destructive, or one may strive for harmony and endure with the earth. By contemplation of one's own nature and the limits imposed by culture and nature itself, Turgenev demonstrates that the individual can come to this harmony, or an adaptive equilibrium that is characterized by balance, stability, and enjoyment of sensory experience. </p> <p>Turgenev's ironic pastoral, his concern with human brutality and the madness attendant upon it, the recognition of boundaries, and the sensory as an enduring mode of experience and communication are revisited and reworked by Ukrainian-Canadians in the twentieth century. The 1987 anthology, Yarmarok: Ukrainian writing in Canada since the Second World War, represents one of the most comprehensive collections of Ukrainian-Canadian writing in English and brings together both accomplished and previously unpublished writers that include: Mykola Ponedilok, Ruth Andrishak, Wasyl Sofroniw Levytsky, Stefania Hurko, Oleh Zujewskyj, Dennis Gruending, Maara Haas, and Bob Wakulich. These writers draw upon personal and family history and memory, which are haunted by the revolution Turgenev anticipated in Fathers and Sons, to relate their Arcadias, and the equilibriums they envision for individuals striving for balance within the limits imposed by the Canadianizing environment.</p> / Thesis / Master of Arts (MA)

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Den här uppsatsen syftar att undersöka om relationerna mellan den ryska konstsamlaren, entreprenören och filantropen Pavel Tretjakov och den ryska konstnären, ledaren för den ryska realistiska konstnärsgruppen Vandrarmålarna (Peredvizhniki) Ivan Kramskoj, har varit tvåvägsrelationerna. Med utgångspunkt i Kramskojs Porträtt av P.M. Tretjakov och brevkorrespondensen konstsamlaren och konstnären emellan, syftar den här studien att ta reda på i vilken utsträckning har Tretjakov varit estetiskt involverad i Kramskojs skapandeprocess samt undersöka om konstnären har inflytande på Tretjakovs konstsamlande. Det hermeneutiska och det historiska perspektivet används för att kunna besvara uppsatsens syfte. / This essay intends to examine whether relationship between Russian art collector, businessman and philanthropist Pavel Tretyakov and Russian painter, the leader of the group of realist artists known as The Wanderers (Peredvizhniki) Ivan Kramskoi, is a bidirectional relationship. Based on Kramskoi Portrait of Pavel Tretyakov (1876) and the correspondence between art collector and painter, this study aims to explore the extent of Tretyakov’s aesthetic participation in painter’s creative process, as well as Kramskoi’s influence on Tretyakov’s art collecting. In order to answer the above-mentioned questions are the hermeneutic and historical approaches adopted.

The topic of this essay is whether the private owned ammunition factory Norma Projectile AB was a part of a war economy system from 1938 to 1943. This is done by analyzing specific documents from the company´s archives that expose the connection with Swedish authorities. The selection and analysis of these documents are based on four main criteria’s of the concept war economy. These criteria’s are based on Ivan T. Berends texts about war economy. The results show that the factory to some extent was a part of a war economy based on these four criteria’s. However, the answer to the questions is a bit more nuanced. By nuanced I’m referring to the company’s independence towards the state. By the end of this essay there is a more detailed discussion on this subject.

Esta pesquisa tem como objetivo realizar uma tradução do original em russo da novela Diário de um homem supérfluo, de Ivan Turguêniev, e analisar o modo como o escritor procurou retratar a primeira personagem da literatura russa a ser denominada homem supérfluo. Procurar-se-á demonstrar que o autor não se limitou a reproduzir no narrador as características clássicas desse tipo literário, mas inovou ao adicionar outras e retirar algumas tidas como essenciais, criando uma figura que viria a dar um novo significado ao termo homem supérfluo. / This research aims to carry out a direct translation from the Russian novella Diary of a superfluous man, by Ivan Turgenev, and examine how the writer sought to portray the first character of the Russian literature to be termed a \"superfluous man\". It is intended to demonstrate that the author not only was able to reproduce in the narrator the classic features of this literary subject, but also to innovate, by adding other characteristics and even removing those considered essential ones, creating thus a figure that would give a new meaning to the term \"superfluous man\".

Esta pesquisa tem como objetivo realizar uma tradução do original em russo da novela Diário de um homem supérfluo, de Ivan Turguêniev, e analisar o modo como o escritor procurou retratar a primeira personagem da literatura russa a ser denominada homem supérfluo. Procurar-se-á demonstrar que o autor não se limitou a reproduzir no narrador as características clássicas desse tipo literário, mas inovou ao adicionar outras e retirar algumas tidas como essenciais, criando uma figura que viria a dar um novo significado ao termo homem supérfluo. / This research aims to carry out a direct translation from the Russian novella Diary of a superfluous man, by Ivan Turgenev, and examine how the writer sought to portray the first character of the Russian literature to be termed a \"superfluous man\". It is intended to demonstrate that the author not only was able to reproduce in the narrator the classic features of this literary subject, but also to innovate, by adding other characteristics and even removing those considered essential ones, creating thus a figure that would give a new meaning to the term \"superfluous man\".

À diferença de outras obras de Ivan Serguéievitch Turguêniev (1818-1883), a novela Klara Mílitch (Depois da morte), publicada em 1883, ano da morte do autor, dispõe de recursos que sugerem uma ruptura dos padrões de representação da escola naturalista (conceito russo). Este trabalho visa apresentar, a partir do estudo da caracterização das personagens e de seu narrador, indícios que apontam para uma real contribuição para o novo momento literário desenvolvido na Rússia nas duas últimas décadas do século XIX: o Simbolismo. Compõem este trabalho a tradução da obra, inédita em língua portuguesa, e o estudo Um outro Turguêniev: marcas do Simbolismo na caracterizaç~o das personagens e do narrador de \'Klara Mílitch\', no qual se aborda as questões listada acima à luz de Todorov, Meletínski, Hauser, entre outros. / Differently from other works of Ivan Sergeyevitch Turgenev (1818-1883), the novella Klara Militch (After Death), published in 1883, the year of the autor\'s death, uses resources that suggest a rupture with the ways of representation of the Naturalism (Russian concept). This work aims to present, through the study of the characters and the narrator\'s characterization, signs that point to a real contribution to the new literary moment developed in Russia in the last two decades of the nineteenth century: the Simbolism. Compose this work the translation of the ouvre, unpublished in Portuguese, and the study, The other Turgenev: signs of Simbolism in the characterization of the characters and the narrator in \'Klara Militch\', in wich the questions listed above are analised in the light of Todorov, Meletinski, Hauser, among others.