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This project seeks to make a contribution to contemporary theories of affect by putting the work of theorists Brian Massumi, Sara Ahmed, Jane Bennett, and Donovan Schaefer in conversation with the Russian philosopher Mikhail Bakhtin. At the same time, it relies on these theorists’ conceptualizations of embodied affect to explore the role of the body in Bakhtin’s understanding of selfhood and freedom. In particular, I show how Bakhtin’s incorporation of aesthetics into processes of self-creation and relationality adds to scholarship on interpersonal affective dynamics; sociocultural economies of affect; ethically potent experiences of wonder and generous behaviors; and religious impulses. Further, I demonstrate that the principles of dialogism and polyphony can be conveyed through cinematic means, and argue that Bakhtin’s concept of carnival can inform analyses of sensory impact of cinema, revealing its potential to challenge politics and ideologies on an embodied and affective plane. Finally, I argue that Bakhtinian polyphony is the aesthetic modality proper to cultivation and manifestation of ethics of generosity, whereby sensations of awe, wonder, and curiosity stimulate attentive and open-minded engagement with the world.

A Povst vremennyh lt ou, nesta versão em português, Narrativa dos anos passados é uma crônica monástica, de autoria indefinida, compilada na segunda década do século XII, no Monastério das Cavernas, em Kiev. A obra relata os feitos dos príncipes guerreiros de origem escandinava que reinaram sobre populações eslavas e fino-úgricas a partir da segunda metade do século IX, ao mesmo tempo em que busca inserir a Rus numa narrativa universal de caráter cristão. Para tanto, o texto segue de perto modelos cronográficos bizantinos e emprega constantemente episódios bíblicos, tanto canônicos, como apócrifos, além de escritos patrísticos. Por sua extensão, conteúdo, linguagem e estilo, considera-se a Povst vremennyh lt uma das principais obras da literatura eslava oriental antiga. Ademais, é a principal fonte para o estudo da história do principado de Kiev, tendo grande relevância para medievalistas, linguistas e estudiosos da cultura eslava em geral. O presente trabalho tem por objetivo apresentar uma tradução completa da crônica, direta do eslavo oriental, acompanhada de aparato crítico selecionado, comentários e apêndices. O texto da tradução é antecedido por uma breve contextualização histórica, uma apresentação do documento e dos manuscritos que o atestam, e uma reflexão a respeito das dificuldades práticas e teóricas do traduzir. / The Povst vremennyh lt, known in English as the Russian Primary Chronicle or The Tale of Bygone Years, is a monastic chronicle, compiled by an unknown author, during the second decade of the 12th century in the Monastery of the Caves in Kiev. It tells the deeds of the Scandinavian warrior princes that reigned over Slavic and Finno- Ugric populations from the second half of the 9th century. At the same time, it tries to fit the land of Rus into a Christian universal narrative. For this purpose, the chronicler emulates Byzantine models, and makes constant use of Biblical episodes, not only from the canon, but also apocryphal and patristic writings. Due to its length, its content and style, the Povst vremennyh lt is considered one of the most important works in Old East Slavic Literature, and one of the main sources for the study of Kievan Rus history. It is also valuable in the fields of medieval studies and linguistics. The present work aims to present a complete version of the chronicle in portuguese, translated directly from the Old East Slavic, with a selection of textual variants, notes and appendices. As a guide to the PVL, the reader will find a brief historical overview, a short analysis of the extant manuscripts and some comments on practical and theoretical translation topics.

The 1910 polemic on the “crisis of Symbolism” began when the Symbolist poet Viacheslav Ivanov read a lecture entitled the “Precepts of Symbolism.” This lecture initiated a lively debate on the status of this prominent literary movement, to which many of the leading literary figures of the Silver Age contributed. Although the “crisis of Symbolism” has garnered a great deal of scholarly interest, an important aspect of this debate has remained unexplored. Ivanov’s lecture contained an attack on the notion of clarity, which he interpreted as the word’s “transparency” to reason. He argued that language is neither an adequate expression of thought, nor an accurate representation of “reality.” The lecture was itself a polemical response to a brief article written by Ivanov’s friend, Mikhail Kuzmin, and entitled “On Beautiful Clarity: Notes on Prose.” Published a few months before Ivanov’s lecture, this essay urged respect for the word, advocated such Classical values as precision, economy of means and clarity of expression. Both “On Beautiful Clarity” and the “Precepts of Symbolism” appeared at a time when pervasive loss of faith in the communicative power of language combined with the sense of social and cultural malaise led to a profound crisis that far exceeded the ranks of the Symbolists. Between 1910 and 1917, a number of Russian writers and thinkers proclaimed the word “dead” and offered programs for its revival. For Ivanov, clarity was an Enlightenment notion that he associated with rationalism and blamed for the ills of his age. For Kuzmin, however, clarity represented poetic rather than empirical meaningfulness and had little to do with the kind of empirical “transparency” that Ivanov had in mind. Both poets were after the same goal: a poetics that would bridge the perceived divide between the word and “reality.” Even as Ivanov argued for a language of mystical obscurity in the hope that such an idiom would restore the mystery and meaning of which he believed his age was sapped, he replaced clarity with a kind of Symbolist intelligibility and so a clarity of his own. This dissertation examines Viacheslav Ivanov’s, Mikhail Kuzmin’s and Osip Mandelshtam’s distinct approaches to the concept of clarity as poetic sense, formulated by these poets independently as well as in response to each other. I argue that for all three poets the notion of clarity applies to the specific relationship between the poet and the word, between the image and the word, and between the semantic content and the sound within the word. Since for all three poets, clarity is associated not only with the poetic logos in general, but specifically with the heritage of European Classicism, the Classical ideal works its way into these relationships as the “image” of sense to which the poet must aspire. For each poet, poetic clarity is an explicit concept as well an individual “model” implicit in his poetic identity.

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This project focuses on the autofictional family novels, crafted from the mid-1970s onwards through the early 2000s in French and Serbian by the women writers of Jewish Sephardi origin, born in the French-ruled Maghreb (Annie Cohen, Annie Fitoussi, Nine Moati, Gisèle Halimi) and ex-Yugoslavia (Frida Filipović and Gordana Kuić), respectively. It is situated at the many intersections of Slavic, Jewish, Gender, and Memory Studies. Through the lens of feminist and decolonizing interpretive strategies, I analyze and connect these texts as a translingual and largely unknown archive of Sephardi women’s contemporary writing. Applying the methodological took-kit of Comparative Literature, I unsettle and frustrate a narrowly conceptualized—monolingual and mono-ethnic—vision of literary production. This emerging archive carves out a space in which the uniqueness and difference—ethno-cultural and gender, alike—of Sephardi women’s lived experiences throughout the 20th century becomes foregrounded in the full complexity of their poetics against the politics of erasure, silencing, invisibilization, and oblivion.  In this connective and comparative thesis, I re-discover the corpus as a transmediterranean feminist project, which destabilizes the notion of literary canon and articulates its anti-ethnocentric instantiations. Additionally, I tease out Sephardi identity as a tenuous and performative phenomenon, produced in and through the act of writing by the generation of Sephardi daughters, as they grapple with ambiguous and provocative maternal legacies. Language or, more precisely, languages themselves—Serbian and French, traversed, interspersed with, if not interrupted by Judeo-Spanish/Djudezmo, Spanish, and Judeo-Arabic—serve as the crucial poetic means of this identity performance. Finally, the corpus under my scrutiny performs what Marianne Hirsch deems postmemorial work, in that it harbors and preserves the memories of the foremothers in the narrative flow of these autofictional matrifocal family novels, which are, in turn, to be remembered by the reader.