Thesis--Belgrad. / In Serbian (Cyrillic). Includes bibliographical references.

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Although Mikhail Lermontov is commonly known as the "Russian Byron," up to this point no examination of the Byronic features of A Hero of Our Time, (Geroy nashego vremeni)3 has been made. This study presents the view that, while the novel is much more than a simple expression of Byronism, understanding the basic Byronic traits and Lermontov1s own modification of them is essential for a true comprehension of the novel. Each of the first five chapters is devoted to a scrutiny of the separate tales that make up A Hero of Our Time. The basic Byronic motifs of storms, poses and exotic settings are examined in each part with commentary on some Lermontovian variations on them. The secondary figures, heroines, "pashas," villains and others are also assessed against Byronic tradition. Finally, the different presentations of Pechorin, the main figure, are analyzed and evaluated to determine how the hero is and is not "Byronic." To ascertain exactly what the hero's Byronic features might be, I have used^P.J. Thorslev's system of prototypes for the Byronic hero, who could have any or all of the traits of the Child of Nature, the Hero of Sensibility or the Gothic Villain. By determining how Pechorin fits into these categories, it is easy to see in what way he resembles a Byronic hero. The first chapter deals with Princess Mary and shows how Pechorin's love of nature, egocentric sensitivity and nostalgic musings are part of the Byronic mainstream, yet how his cruel penchant for evil constitutes a modification. Chapter Two, on Beta, demonstrates Lermontov's alterations of the fundamental Byronic love formula; in the next chapter; which concerns Maksim Maksimych I have shown how the focal point of that story, Pechorin's external description, is strikingly Byronic. Chapter Four presents a new interpretation of Taman ' as a parody on the heroic myth of infallibility. The second last chapter points out how the Byronism of The Fatalist is filtered through the actions of the story and how Pechorin reconciles the belief in his own free will with the concept of fatalism. Chapter Six concludes the study with a view of the novel as a whole and a summation of the Byronic features of A Hero of Our Time, / Arts, Faculty of / Central Eastern Northern European Studies, Department of / Graduate

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Mikhail Yurevitch Liermontov (18141841) viveu em período marcado por grande comoção social, uma época de transição na vida e na sociedade Russa. Foi nesse contexto que Liérmontov escreveu a peça Mascarada, uma crítica à sociedade e aos hábitos fúteis e mesquinhos de sua época. Vsévolod Emilevitch Meyerhold (1874 1940) estreou a sua Mascarada em 25 de fevereiro de 1917 em meio a revolução que viria a derrubar a monarquia e a velha Rússia. Depois quase seis anos e ensaios e preparações, figurinos, objetos de cena e cenários criados especialmente para a peça estavam prontos para o que viria ser ao mesmo tempo o fim de uma era e o nascimento de um novo teatro. A presente dissertação se propõe a analisar Mascarada desde a sua gênese no romantismo de Liérmontov até a espetacular montagem de 1917 e seus desdobramentos no teatro. / Mikhail Yurevitch Lermontov (1814-1841) lived in a period marked by great social upheaval, a time of transition in life and in Russian society. It was within this context that Lermontov wrote the play Masquerade, a critique of society and the petty and trivial habits of his time. Vsevolod Emilevitch Meyerhold (1874-1940) premiered his Masquerade on February 25, 1917 in the midst of a revolution that would overthrow the monarchy and transform the old Russia. After almost six years of preparations and rehearsals, the costumes, props and scenery created especially for the piece were ready for what would be both the end of an era and the birth of a new kind of theatre. This dissertation aims to analyze the Masquerade from its genesis in the romanticism of Lermontov to the spectacular production of 1917 and its effect on theatre.

Mikhail Yurevitch Liermontov (18141841) viveu em período marcado por grande comoção social, uma época de transição na vida e na sociedade Russa. Foi nesse contexto que Liérmontov escreveu a peça Mascarada, uma crítica à sociedade e aos hábitos fúteis e mesquinhos de sua época. Vsévolod Emilevitch Meyerhold (1874 1940) estreou a sua Mascarada em 25 de fevereiro de 1917 em meio a revolução que viria a derrubar a monarquia e a velha Rússia. Depois quase seis anos e ensaios e preparações, figurinos, objetos de cena e cenários criados especialmente para a peça estavam prontos para o que viria ser ao mesmo tempo o fim de uma era e o nascimento de um novo teatro. A presente dissertação se propõe a analisar Mascarada desde a sua gênese no romantismo de Liérmontov até a espetacular montagem de 1917 e seus desdobramentos no teatro. / Mikhail Yurevitch Lermontov (1814-1841) lived in a period marked by great social upheaval, a time of transition in life and in Russian society. It was within this context that Lermontov wrote the play Masquerade, a critique of society and the petty and trivial habits of his time. Vsevolod Emilevitch Meyerhold (1874-1940) premiered his Masquerade on February 25, 1917 in the midst of a revolution that would overthrow the monarchy and transform the old Russia. After almost six years of preparations and rehearsals, the costumes, props and scenery created especially for the piece were ready for what would be both the end of an era and the birth of a new kind of theatre. This dissertation aims to analyze the Masquerade from its genesis in the romanticism of Lermontov to the spectacular production of 1917 and its effect on theatre.

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Исследование выдержано в междисциплинарной парадигме филологического и теологического знания. В 1-й главе выявляется концепция профетизма в библейской традиции, в частности, идея призвания и служения пророков в книгах Ветхого и Нового Заветов. Во 2-й и 3-й главах сначала обобщается опыт научных исследований поэтических текстов «Пророк» А. С. Пушкина и М. Ю. Лермонтова (разделы 2.1, 3.1), а затем проводится герменевтический анализ данных текстов (разделы 2.2, 3.2), ставших, по сути, образцовыми для понимания концепции поэта-пророка для всей последующей русской поэзии XIX–XX веков. По итогам исследования в пушкинском тексте акцентируются мотивы мученичества и соработничества, тогда как в отношении лермонтовского «Пророка» высказывается мысль об использовании евангельской ситуации общения Христа с фарисеями. Все это позволяет сделать вывод об актуальности в стиховой культуре Нового времени творческого диалога светской словесности с собственно церковным текстом духовно-религиозной традиции. / The study is sustained in the interdisciplinary paradigm of philological and theological knowledge. Chapter 1 reveals the concept of prophetism in the biblical tradition, in particular the idea of the calling and ministry of prophets in the books of the Old and New Testaments. In the 2nd and 3rd chapters, first, the experience of scientific research on the poetic texts "The Prophet" by A. S. Pushkin and M. Yu. Lermontov is summarized (sections 2.1, 3.1), and then a hermeneutic analysis of these texts is carried out (sections 2.2, 3.2) which, in fact, became exemplary for understanding the concept of the poet-prophet for all subsequent Russian poetry of the 19th–20th centuries. Based on the results of the study, the motives of martyrdom and co-working are emphasized in Pushkin's text, while in relation to Lermontov's "Prophet" the idea is expressed of using the gospel situation of Christ's communication with the Pharisees. All this allows us to conclude that in the verse culture of the New Age, a creative dialogue between secular literature and the actual church text of the spiritual and religious tradition is relevant.

В магистерской диссертации изучаются векторы рецепции локального «грузинского текста» А. С. Пушкина и М. Ю. Лермонтова в поэзии XIX—XX вв. Автор работы опирается на теоретический базис рецептивной эстетики, «страха влияния» (Х. Блум) и исследований, посвященных сверхтексту как феномену. В диссертации выявляются различные типы интертекстуальных включений строк Пушкина и Лермонтова о Грузии в тексты поэтов-последователей, а также проводится компаративное исследование с «армянским» текстом русской литературы. / The master's thesis studies the reception vectors of the local «Georgian text» of A. S. Pushkin and M. Yu. Lermontov in the poetry of the 19th—20th centuries. The author of the work relies on the theoretical basis of receptive aesthetics, «anxiety of influence» (H. Bloom) and research on supertext as a phenomenon. The dissertation identifies various types of intertextual inclusions of Pushkin's and Lermontov's lines about Georgia in the texts of poets-followers, and conducts a comparative study with the «Armenian» text of Russian literature.