Au cours des années 1820-1830, l’ironie romantique a contribué à élargir le champ de la prose et de la langue littéraires, en se modelant sur une situation de communication orale puis en adoptant le ton de la lettre intime. Les figures de l’ironie romantique telles que la métalepse, l’auteur-narrateur tout-puissant ont servi à la fois de laboratoire pour la formation d’une langue littéraire et de schémas narratifs adaptés aux exigences de l’époque, de tribune aux réflexions sur le destin et le contenu de la prose littéraire russe, et d’« incubateur » pour le nouveau lecteur, en créant des lecteurs-interlocuteurs fictifs. Le corpus comprend : Gajdamak (1826-1827) d’O.M. Somov ; Rukopis’ […] Xabarova (1828) de P.L. Jakovlev ; Ispytanije (1830), Večer na kavkazskix vodax v 1824 godu (1830) et Strašnoe gadanie (1831) d’A.A. Bestužev-Marlinskij ; Strannik (1831-1832) d‘A.F. Vel’tman ; Pestrye skazki (1833) de V.F. Odoevskij ; Fantastičeskie putešestvija barona Brambeusa (1833), Bol’šoj vyxod u Satany (1834) et Teorija obrazovannoj besedy (1835) d’O.I. Senkovskij. La haute conscience intertextuelle des œuvres, leur poétique du jeu métaleptique, leur ambition encyclopédique et métalittéraire ont exprimé les processus qui transformaient la littérature russe de l’intérieur (références à Karamzin, Žukovskij, Puškin, Gogol’) et de l’extérieur (la littérature européenne). L’ironie romantique a donc permis l’évolution consciente et accélérée de la littérature russe vers le roman en prose et le réalisme du second XIXe siècle. Elle apparaît comme un phénomène de mode, mais aussi comme une source d’inspiration pour les théories formaliste et bakhtinienne, et pour le postmodernisme russe. / Between 1820 and 1840, Romantic irony has contributed to widen the spectrum of Russian literary prose and language, fashioning itself after a situation of oral communication, then adopting the tone and structure of the intimate letter. Figures of Romantic irony such as the reader-conversationalist, the author as sole master, the metalepsis, served not only as a laboratory for the formation of a literary language and narrative plots adapted to contemporary demands, but also as a tribune for debates on the fate and content of Russian literary prose, and as an incubator for the new reader. Works such as Gajdamak (1826-1827) by O.M. Somov, Rukopis’ […] Xabarova (1828) by P.L. Jakovlev, Ispytanije (1830), Večer na kavkazskix vodax v 1824 godu (1830) and Strašnoje gadanije (1831) by A.A. Bestužev-Marlinskij , Strannik (1831-1832) by A.F. Vel’tman, Pestryje skazki (1833) by V.F. Odojevskij, Fantastičeskije putešestvija barona Brambeusa (1833), Bol’šoj vyxod u Satany (1834) and Teorija obrazovannoj besedy (1835) by O.I. Senkovskij, show a vivid self-consciousness, a widely shared concern for intertextuality and common poetics involving metaleptic games, encyclopaedic ambition. These reveal the transformation of Russian literary prose, working simultaneously from within (Karamzin, Žukovskij, Puškin, Gogol’) and from outside. Romantic irony in Russian literary prose therefore allowed a conscious and rapid evolution of Russian literature toward the novel in prose and the realism of the second XIXth century. Thus, Romantic irony appears not only as a fashion, but also as a distant source of inspiration for Formalist and Bakhtinian theories, and for postmodernist literature.

Detta examensarbete handlar om orgelmusiken i Östeuropa – Ryssland och Sovjetunionen. Orgelrepertoar från denna del av världen brukar inte spelas i Sverige så ofta och många tonsättare och verk förblir helt okända. Svenska organister kan dessutom inte få tillgång till källmaterialet på grund av språkbarriären då majoriteten av tillgängliga källor är på ryska. Orgelkulturen i Ryssland har haft en annorlunda utvecklingsväg jämfört med orgelkulturen i Västeuropa – på grund av den ortodoxa kyrkan har orgeln i Ryssland nästan alltid varit ett profant konsertinstrument. Detta arbete ger en historisk överblick över orgelmusikens utveckling i Ryssland och Sovjetunionen och fokuserar på orgelrepertoar från ca 1850-talet till nutid. I detta arbete finns även en beskrivning av interpretativa förslag till gestaltning av orgelverk av Aleksandr Glazunov, Vladimir Odoevskij, Sofia Gubaidulina, Georgij Muschel och Juri Butsko. / This master thesis focuses on the organ music from Eastern Europe - Russia and the Soviet Union. Organ repertoire from this part of the world is not often played in Sweden and many composers and works remain completely unknown. Moreover, Swedish organists lack access to the source material due to the language barrier as the majority of available sources are in Russian. The development of the organ culture in Russia has had a different path compared to that of Western Europe - because of the Orthodox Church, the organ in Russia has almost always been a profane concert instrument. This thesis provides a historical overview of the development of organ music in Russia and the Soviet Union, focusing on organ repertoire from about the 1850s to the present. It also includes a description of interpretative proposals for the performance of organ works by Aleksandr Glazunov, Vladimir Odoevsky, Sofia Gubaidulina, Georgy Mushel and Yuri Butsko. / <p>Examenskonsert</p><p>Orgelverk av A. Glazunov, V. Odoevskij, S. Gubaidulina, J. Butsko, G. Mushel</p><p>Mila Thoors - ogel</p>