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1
Sokolnikova, Tatiana. "Le pouvoir dans l'oeuvre de Mixail Bulgakov". Aix-Marseille 1, 2008. http://www.theses.fr/2008AIX10072.
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L'oeuvre de Mixail Bulgakov explore le phénomène du pouvoir sous des aspects fort divers. Elle met en scène de nombreux acteurs, supérieurs ou subalternes, du pouvoir hiérarchique, de même que les moyens de coercition nécessaires à son "bon" fonctionnement. Il apparaît ainsi que, dans la vision boulgakovienne, tout pouvoir hiérarchique (police, Eglise ou autre) possède des caractéristiques bien déterminées (il est limité, temporaire, assujetissant) et qu'il impose des modèles de comportement précis. Mais l'oeuvre ne se limite pas à la dimension oppressive : elle expérimente sur les facteurs qui corrodent les rouages de toute société uniformisée par les effets de pouvoir. A cet égard le principe du redoublement joue un rôle fondamental dans la poétique de la relativité propre à Bulgakov. Affectant les mécanismes uniformisants du pouvoir, il fait de la relativité une parole bien plus subversive que la simple satire. En définitive, seul le pouvoir de l'art s'impose, par ses effets de multiplicité, comme un mode d'action non oppressif sur autrui.
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Ramonas, Arvydas Coda Piero. "L'attesa del regno : eschaton e apocalisse in Sergei Bulgakov /". Roma : Pontificia università lateranense : Mursia, 2001. http://catalogue.bnf.fr/ark:/12148/cb390522209.
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Amaral, Miguel de Salis. "Dos visiones ortodoxas de la Iglesia : Bulgakov y Florovsky /". Pamplona : Eunsa, 2003. http://catalogue.bnf.fr/ark:/12148/cb39271289s.
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Mahieu, Talbot Nathalie. "Jeux de musiques dans l'œuvre de M. A. Bulgakov". Paris, INALCO, 1990. http://www.theses.fr/1990INAL0007.
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Présente tout au long de l'existence, présente à la mémoire, présente dans l'écriture, la musique exerce une influence sensible sur l'œuvre littéraire de Bulgakov et transparait sous des formes diverses : créée par les sons qui animent où poétisent la réalité, par les instruments de musique qui participent à la mise en place du décor et traduisent les sentiments des héros, par les voix des personnages qui chantent parfois plus qu'ils ne parlent. Citée par les titres des œuvres musicales qui servent d'accompagnement dramatique en faisant appel à la subjectivité du lecteur, et même interprétée : des thèmes musicaux deviennent un hymne à la joie, une invitation à la danse ou représentent un symbole de culture menacée. Enfin, la musique est occultée ou mutilée dans son expression : pour subsister, un musicien doit renoncer a la musique et renoncer à lui-même. Mais la musique s'insurge et renait comme une sève de printemps. Grace a l'intervention de la magie, elle prend possession des personnages qui l'ont trahie. . . A une époque de mise au silence et de création étouffée, Bulgakov compose des jeux de musiques qui expriment l'oppression progressive de l'homme mais qui annoncent déjà une résurrection, un printemps de révolte et qui sont une manifestation de libertéMusic revolves around the works of Bulgakov. A lifelong companion, a long lasting memory, a writing instrument, it reveals itself with versatility throughout the text. Music is created : sounds animate and translate the surroundings into poetry : musical instruments play a key part in setting the scenes and interprets feelings on behalf of fictional heroes; voices raise as characters tend to sing more than they speak. Music is quoted : titles of musical pieces produce a dramatic echo and play on reader's subjectivity. . . And even performed : famous musical themes become symbols. Music is finally stifled : it is mutilated in its expressive power. To survive, a musician has to abjure music, thus renouncing his own soul. In vain, music will not let itself be buried : it resurges as the sap of spring and, with the help of magical powers, possesses those who have betrayed it. In the darker times of soviet history, when silence was common law and a strangle hold imposed on creation, Bulgakov composed musical games which portray the progressive oppression of man, and still foretell of further resurrection and rebellion, thus demonstrating an indomitable spirit of freedom
5
Pittman, R. H. "Mikhail Bulgakov : the theme of evil in 'Master I Margarita'". Thesis, University of Edinburgh, 1985. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.370206.
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Mikhail Bulgakov's preoccupation with evil in Master i Margarita is set against the background of spiritual barrenness which is outlined in the essays of Vekhi (1909) as dominating Russian radical thought at the beginning of the 20th century. The themes of loss of spirituality, utilitarian faith or atheism, man-godhood, split personality, lack of faith in people and ethical inaptitude, as depicted in Vekhi, re-emerge in Bulgakov's novel more than two decades after the publication of the essays. The devil's genealogy is examined in relation to the sources which Bulgakov is known to have used while writing the novel. The study of the devil's role reveals that, in the case of the conformist characters, Woland appears as a manifestation of the irrational and metaphysical aspects of existence while, in the case of the ordinary Moscow citizens, he advocates a more common sense, rational attitude to life than that which relies on magic and witchcraft. The writer's dilemma in a philistine, authoritarian society is examined through the phenomenon of split personality (Ivan Bezdomny versus the Master). Throughout the thesis C. G. Jung's ideas are employed to illustrate how Bulgakov shapes the myth which gives meaning to the life of a writer whose work might never be published. The Pontius Pilate story is shown to contain the philosophical kernel of the novel; in accordance with Jungian ideology moral absolutes are conceived by Bulgakov, not as opposites, but as part of a paradoxical whole. The joint immortality of Pontius Pilate and Jeshua serves as a most explicit metaphor of this view which is echoed in Woland's question: what would happen to good if there were no evil?Yet, as a whole Master i Margarita must be seen to demonstrate that there may be justification, but there is no consolation, for a person who turns away from truth.
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Butler, Michael y Michael Butler. "Narrative Reliability in Selected Works by Bulgakov, Nabokov, and Tertz". Thesis, University of Oregon, 2012. http://hdl.handle.net/1794/12432.
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This work examines the use of ambiguous or obfuscating narrative devices in 3
works by 20th century Russian authors: A Dead Man’s Memoir, by Mikhail Bulgakov, The
Eye by Vladimir Nabokov, and You and I, by Abram Tertz. Bulgakov relies on diabolical
imagery as well as characters that are by and large caricatures of how any decent person
would behave. Nabokov employs several modernist tropes including skillful use of
estrangement, as well as a bland tone towards occurrences that ordinary people would find
miraculous. Tertz plays on the notion of a double identity by psychically linking two polar
extremes until they are nearly unable to tell themselves apart from one another, causing one
to crack and kill himself, thus restoring his observer to a more enlightened state. Each
work uses the idea of narrative ambiguity and unreliability to demonstrate the
incommunicability of one’s artistic vision in its purest, platonic form.
7
Howard, Augustus Pritchard. "A proper secularism : beyond ideology in Bulgakov, Trilling, Updike and Pynchon". Thesis, University of Cambridge, 2019. https://www.repository.cam.ac.uk/handle/1810/290386.
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My dissertation, "A Proper Secularism: Beyond Ideology in Bulgakov, Trilling, Updike and Pynchon," explores the ways in which the literary imagination pushes beyond ideology, and points towards notions of the eternal, by attunement and fidelity to the material. In the terms of Rowan Williams, "if a proper secularism requires faith; if it is to guarantee freedom, this is because a civilized politics must be a politics attuned to the real capacities and dignities of the person." It is the argument of this thesis that the literary imagination, when operating with integrity, mirrors this understanding of the properly secular. A proper secularism is thus defined as both an insistence upon accurate portrayal of the material world in all its variety and difference and, concomitantly, as an honest "holding together" of that difference that can provide an approach to the eternal. It is my contention that four novels, The Master and Margarita by Mikhail Bulgakov; The Middle of the Journey by Lionel Trilling; Roger's Version by John Updike; and Gravity's Rainbow by Thomas Pynchon, each embody and rely upon this understanding of the secular. In so doing, each book pushes beyond the ideology of a century of war and violent imposition. Bulgakov's novel was composed in the heart of Communist Russia; Trilling's novel deals with the lives and ideological biases of Communist sympathizers in America; Pynchon writes from America but about London as it copes with the unitary, impositional ideology of death as signified by the German V-2 rocket in World War II; John Updike, though not overtly concerned with the Cold War in Roger's Version, nonetheless explores the machinery of war in the computer and its language. It is the argument of this dissertation that these novels constitute an answer to the violence of impositional ideology, a counter-arc to the path of the rocket, gravity's impositional rainbow.
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Rouquet, Christiane. "M. Bulgakov et le monde théâtral et littéraire de son temps". Aix-Marseille 1, 1989. http://www.theses.fr/1989AIX10029.
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L'oeuvre de m. Bulgakov nous parait fortement autobiographique. Notre premier but par l'etude du "roman theatral", des lettres "a un ami secret", du "maitre et marguerite", des pieces "moliere" et "l'ile pourpre", de "la vie de monsieur de moliere" est de demontrer l'ossature autobiographique de son oeuvre, de degager l'opinion de m. Bulgakov sur le monde theatral et le monde litteraire et de reveler sa conception de l'art. Nous nous proposons ensuite d'etudier les procedes, utilises par m. Bulgakov pour transformer des evenements d'ordre autobiographique en "faits litteraires" et de mettre en lumiere l'image symbolique de l'ecrivain aux prises avec le pouvoir. Dans la premiere partie, nous etudions les experiences de m. Bulgakov au theatre d'art en axant notre travail sur la problematique des rapports de l'artiste et du pouvoir, nous cherchons dans son oeuvre ("roman heatral", "l'ile pourpre") les traces de sa collaboration et examinons sa satire du milieu theatral. Dans la deuxieme partie, apres avor etudie le monde de l'edition (gudok, nakanune, rossia, nedra) a l'epoque de la nep, nous analysons dans "le roman theatral" la satire du monde des ecrivains. Nous examinons "le maitre et marguerite" en demontrant que le roman est en partie autobiographique et a travers la critique du massolit (rapp ou union des ecrivains) nous degageons la conception de l'art de m. Bulgakov. Nous achevons notre etude par l'analyse des procedes utilises pour transformer des evenements d'ordre autobiographique en "faits litteraires" (demarcation, absurde, fantastique, symbolique) et montrons que le roman est profondement autobiographique et s'avere une riposte a unMr. Bulgakov's work appears to be very autobiographic. Through the study of "theatrical novel", the letters "to a secret friend", "the master and margarita", the plays "moliere", "the crimson island" and "the life of monsieur de moliere", our first objective is to show the autobiographic frame of his work, to bring out mr. Bulgakov's opinion about theatrical and literary worlds and reveal his conception of the art. Then, we want to look into the different ways bulgakov transformed autobiographical events into "literary facts" and bring to light the symbolic image of the writer in his struggle with those in power. In the first part, we will investigate bulgakov's experience with the art theatre, focusing on the difficulty of relations between the artist and the authorities, we will look for traces of his collaboration (in "theatrical novel", "the crimson island") and examine his satire on the theatrical world. In the second part, after having studied the publishing trade (gudok, nakanune, rossia, nedra) during the nep period, we will analyse the satire on the literary world through "theatrical novel". We will end our study with the analysis of the different methods used to transform autobiographical events into "literary facts" (demarcation, absurdity, fantastic, symbolic); we will show that the novel is deeply autobiographic and proves to be a retort to a strictly materialistic society
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Aučynaitė, Virginija. "М. Булгаков и Mосковский художественный академический театр". Master's thesis, Lithuanian Academic Libraries Network (LABT), 2010. http://vddb.laba.lt/obj/LT-eLABa-0001:E.02~2010~D_20100702_111718-47797.
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В данной магистерской работе “М. Булгаков и Московский Художественный театр” рассматривается трагическая история взаимоотношений М. Булгакова с Московским Художественным академическим театром, которая нашла своё художественное отражение в ”Театральном романе”. Трагические переживания М. Булгакова в романе выражаются через призму смеха, что сообщает ему необычайную легкость. В ”Театральном романе” писатель использует разные формы комического: сатиру, иронию, пародию. Вместе с тем, в романе Булгакова раскрывается подлинная трагедия художника, творящего в условиях несвободы и насилия.Šiame magistro darbe „M. Bulgakov‘as ir Maskvos teatras „Chudožestvennyj“ yra aptariama tragiška M. Bulgakov‘o santykių su Maskvos akademiniu teatru „Chudožestvennyj“ istorija, meniškai atsispindėjusi „Teatro romane“. Tragiški M. Bulgakov‘o išgyvenimai romane yra išreiškiami per juoko prizmę, kas suteikia jam nepaprasto lengvumo. „Teatro romane“ rašytojas naudoja įvairias komiškumo formas: satyrą, ironiją, parodiją. Tuo pačiu M. Bulgakov‘o romane yra atskleidžiama tikroji menininko, kuriančio prievartos ir laisvės nebuvimo sąlygomis, tragedija.
In the Master Paper “M. Bulgakov and Moscow Khudozhestvenny Theatre”, the tragic history of relations between M. Bulgakov and Moscow Khudozhestvenny Theatre that was artistically reflected in “The Theatre Novel” is discussed upon. The tragic experience of M. Bulgakov is expressed in the novel through a prism of laugh that provides it with an extraordinary lightness. In “The Theatre Novel”, the author uses various comic forms, such as satire, irony and parody. Simultaneously, the novel by M. Bulgakov discloses the real tragedy of the artist involved in the creative activities upon compulsion and lack of freedom.
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Nikolaev, Sergei V. "Church and reunion in the theology of Sergii Bulgakov and Georges Florovsky, 1918--1940". Ann Arbor, Mich. : ProQuest, 2007. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3288936.
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Thesis (Ph.D. in Religious Studies)--S.M.U., 2007.Title from PDF title page (viewed Nov. 19, 2009). Source: Dissertation Abstracts International, Volume: 68-11, Section: A, page: 4744. Adviser: Bruce D. Marshall. Includes bibliographical references.
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OSIS, NATALIA. "Innovacionnye modeli v dramaturgii Michaila Bulgakova i ich primenenie v postsovetskom teatre na rubeže XX – XXI vekov. Innovative Models in the Playwriting of Mikhail Bulgakov and their Application in Post-Soviet Theatre at the Turn of the Twenty-First Century". Doctoral thesis, Università degli studi di Genova, 2021. http://hdl.handle.net/11567/1039514.
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This dissertation examines the innovations that Mikhail Bulgakov introduced into Russian dramaturgy in the 1920s, the gradual changes in the Soviet, theatrical canon which allowed the implementation of these innovative models on the stage, and the application of these models in post-Soviet dramaturgy of the 1990s–2000s. An analysis of both the texts and productions of post-Soviet, Russian plays reveals a certain trend: Bulgakov's innovative methods from the 1920s allowed the contemporary playwright — as well as the reader, director, and production team — to better understand a new type of conflict, one which is especially prevalent at the juncture of two ages — the conflict between man and his era. As a result, Bulgakov's innovative dramatic methods and techniques allowed post-Soviet playwrights to move away from a description of post-Soviet reality to new ways of thinking about the changing times and their place in them.
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Yurichenko, Anastasia Vladimirovna. "Bulgakov's novel The master and margarita and the subversion of socialist realism /". Connect to title online (Scholars' Bank), 2008. http://hdl.handle.net/1794/7787.
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Lenz, Gunnar. "„Io, che al divino dall’umano, All’eterno dal tempo era venuto“ – Bulgakov, Dante und die Zeit". Universität Potsdam, 2011. http://opus.kobv.de/ubp/volltexte/2012/5870/.
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French, Katherine Anne. "Enchanted images : the influence of folk culture on the long prose works of Mikhail Bulgakov". Thesis, University of Nottingham, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.446400.
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Stark, M. W. "The philosophy of time and history in the thought of Sergei Bulgakov and Nikolai Berdiaev". Thesis, University College London (University of London), 2013. http://discovery.ucl.ac.uk/1407024/.
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This thesis explores the problem of time and the connected problem of history in the thought of two Russian thinkers, Sergei Bulgakov and Nikolai Berdiaev. After an introduction tracing the history of these problems in philosophical thought from the ancient Greeks to the twentieth century, the main body of the thesis is divided into two central chapters, the first on Bulgakov and the second on Berdiaev. Analysis of their two contrasting approaches to these questions reveals opposite formulations of the time-history relationship, in which Bulgakov suggested the primacy of history over time, whilst Berdiaev maintained the primacy of time over history. Subsequent exploration aims to account for these different organisations of the time-history relationship, and discusses how for Bulgakov a deterministic pattern of thought about time and history was central, and how for Berdiaev a paradoxical approach to these problems was dominant. Across this discussion, these thinkers’ various points of contact with classical, European and Russian intellectual traditions is highlighted, and in this way their thought on these questions is located within an intellectual context which extends beyond Russia.
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Skorov, Peter. "Aspects of the poetics and ethics of irony in the Russian novel from Pushkin to Bulgakov". Thesis, University of Cambridge, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.611715.
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Gallaher, Anastassy Brandon. "Catholic action ecclesiology, the Eucharist and the question of intercommunion in the ecumenism of Sergii Bulgakov /". Online full text .pdf document, available to Fuller patrons only, 2003. http://www.tren.com.
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George, Kerry. "Architects of Hope: Constructions and constructiveness in the theological worldviews of Jürgen Moltmann and Sergei Bulgakov". Thesis, George, Kerry (2009) Architects of Hope: Constructions and constructiveness in the theological worldviews of Jürgen Moltmann and Sergei Bulgakov. PhD thesis, Murdoch University, 2009. https://researchrepository.murdoch.edu.au/id/eprint/2348/.
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The thesis evaluates the Christian worldviews of two theologians, Jürgen Moltmann and Sergei Bulgakov, with the purpose of constructing a relevant theology of hope for the 21st century. The working definition of hope used in this thesis is that hope arises because there is some correspondence between the human will to live and the world that sustains and supports humanity. It follows that if humans can find no correspondence between the world and themselves then hopelessness arises. Increasing signs of alienation in society may stem from viewing the world as a meaningless place, or from viewing human life as meaningless, or both. Within these parameters of meaning, a theology of hope needs to encompass a purpose for both human life and the world. Jürgen Moltmann, a western Protestant theologian of the second half of the twentieth century, has based his life work on the theme of hope. Hope is to be found in God’s promise to humanity of a future in which God will be all in all. God, and only God, may be relied upon to save sinful humanity come what may. In contrast, Sergei Bulgakov, an eastern Orthodox theologian of the first half of the twentieth century, rarely speaks of hope. Yet Bulgakov offers a worldview in which humanity has an ontological place in the world, which he calls God’s divine Wisdom (Sophia). God’s relationship to the world is based on providential interaction, not omnipotence, because God has created the world with its own being. Humanity’s actions as coworkers with God have significance in the world’s future. Because of the foundation of goodness in the world, these cumulative actions may be relied upon to contribute to the positive future of the world when God will, indeed, be all in all. I present Bulgakov’s sophiology as a more relevant theology of hope in the world today because there is an intimate correspondence between the human will to live, and therefore hope, and the world which is created to support and sustain humanity.
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Popovich-Semeniuk, Maria. "Sonata Pathétique by Mykola Kulish and The days of the Turbins by Mikhail Bulgakov : a literary dialogue". Thesis, University of Ottawa (Canada), 1990. http://hdl.handle.net/10393/5917.
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Brown, Robert Peter Cameron. "Towards a personal ontology of the Church : the Church as bride in the theology of Congar and Bulgakov". Thesis, Durham University, 2013. http://etheses.dur.ac.uk/7337/.
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The primary identity of the Church as ‘Body of Christ’ in her relation with God is questioned. Understood somatically, since the Logos is the hypostasis of Christ, it fails to give the necessary ontological space for Creation to respond to God’s love. Congar’s ecclesial ontology, formulated as Body of Christ, is investigated. His hierarchical interpretation of the relation between church structure, whose ontos as visible Body derives apneumatically from the incarnate Logos, and the Spirit, which vivifies the mystical Body through faith and the sacraments, is drawn from the filioque, subordinating the Spirit to the Institution. Souls united with God are eschatological ‘brides’, the reality for which the institution temporarily exists. Christ, or the Spirit, is the ‘I’ of the Church, which is not a ‘person’. Ultimately, souls are to be catholic, transparent to each other and God’s love. There is no explicit relation of Church to Creation. Bulgakov identifies humanity as the hypostatic centre of Creation. In creating, God kenotically gives away his own being (Sophia) establishing temporality and otherness. Humanity is spirit-embodied earth, hypostasising created Sophia, drawn, through deification by the Spirit, into communion with God. The Trinitarian communion of the Godhead is imaged in Creation as the kenotic, hypostatic transparency of the Church. The Incarnation is a synergism between the Logos and Mary, who thereby participates in the salvific activity of the Son and the Spirit, as Spirit- bearer. She is the ‘Bride’ in whom all others participate. Congar’s eschatology and Bulgakov’s kenotically hypostasised Creation proffer an understanding of the Church as the invited ‘yes’ of the personalised cosmos, reborn from Christ through the Cross, eschatologically irradiated by the Spirit with the glory of God, unified in kenotic love, whose communion with the Trinity as the ‘fourth’ hypostasis, ‘the Bride,’ proceeds through her nuptial union with the Son.
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McBay, Emelie. ""Vårt märke” : En queer läsning av Michail Bulgakovs roman Mästaren och Margarita". Thesis, Stockholms universitet, Genusvetenskap, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-144394.
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I denna uppsats presenteras hur en möjlig queer läsning av Michail Bulgakovs roman Mästaren och Margarita kan se ut. Jag presenterar här en möjlig queer läsning av Jesjua och Pontius Pilatus, samt mästaren och Margaritas förhållanden utifrån en undersökning av två teman som förekommer i boken, samt av bokens narrativ. De två teman som undersöks är förbud, däribland förbjuden kunskap och censur, samt spegling, förekomsten av paralleller mellan karaktärer och bokens två handlingar, och då också hur dessa handlingar samverkar. Detta görs med hjälp av en innehållsanalys i form av en queer, mer specifikt lesbisk läsning. Uppsatsens teoretiska ramverk är hämtat från queerteori kopplad till litteratur, bland annat Sedgwicks Epistemology of the Closet och Kevin Moss undersökning av Sedgwicks teorier i förhållande till sovjetisk litteratur. De frågor som besvaras i denna uppsats är hur Mästaren och Margarita och de två ovan nämnda förhållandena kan läsas som queera, samt huruvida bokens politiska allegori kan läsas som en allegori över det queera, det vill säga om behandlingen av politisk avvikelse och dissidenter kan liknas vid behandlingen av homosexualitet. Uppsatsen påvisar även hur mästaren och Margaritas förhållande genom en queer läsning kan ses som allegori över ett lesbiskt förhållande. Uppsatsens syfte är att aktualisera Mästaren och Margarita och öppna boken för en ny publik. Detta särskilt genom att aktualisera den politiska allegorin och påvisa bokens homosexuella undertoner.
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Kopacz, Timothy N. "Eternal Return". Thesis, Boston College, 2013. http://hdl.handle.net/2345/2994.
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Thesis advisor: John HouchinThe objective of this project was to attempt not only to adapt the novel "The Master and Margarita" by Mikhail Bulgakov to the stage, but rather to translate it in both time and place to the stage. It has been more than 60 years since the novel was written, and as such the concerns of the characters have changed both in time and locale. Not only are their objectives adjusted, but the novel is ultimately that: a novel. Being a theatrical adaptation, the play must acknowledge its own existence as such and take issue with its form as much as "The Master and Margarita" does its own. The play is, ultimately, a failed one in my opinion. The greatest downfall thereof being the fact that theatre, drama, is centered around a single thing: conflict. The devil can be in conflict with no one but the divine, and as such any time he is on stage there is simply something missing. The failure is, to a certain extent, befitting of the piece for what it takes to heart as its issues. Enjoy
Thesis (BA) — Boston College, 2013
Submitted to: Boston College. College of Arts and Sciences
Discipline: College Honors Program
Discipline: Theater
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O'Neill, Victoria Ruth Woodgate. "The role of the feminine in masculine cycles of death, rebirth and new life : Dostoevsky, Tolstoy, Babel, Bulgakov and Pasternak". Thesis, Keele University, 2015. http://eprints.keele.ac.uk/2352/.
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This thesis uses the narrative framework developed by Theresa de Lauretis’ essay ‘Desire in Narrative’ (1984) to shed new light on the development of male and female characters in texts by Fyodor Dostoevsky, Leo Tolstoy, Isaac Babel, Mikhail Bulgakov and Boris Pasternak. De Lauretis’ narratological framework is based on work by Vladimir Propp and Yury Lotman. She draws attention to the inherently masculine identification of heroes, and argues that it is the development of these masculine heroes that drives narrative. I apply this insight to nineteenth-century texts including Crime and Punishment and The Idiot, War and Peace, Anna Karenina and a selection of Tolstoy’s short stories. From the twentieth century, I consider Red Cavalry, The Master and Margarita and Doctor Zhivago. This range of works, by five different writers spanning two centuries, draws out themes in the portrayal of male heroes changing and developing, spiritually and intellectually ‘moving’, throughout narratives. I show the variety of ways female characters act as helpers, or donors, to their male counterparts; and also as the prize awaiting them at the end of their successful quest. This re-reading highlights the significance of cycles of death, transformation and rebirth for the development of masculine heroes. While in texts by Tolstoy and Dostoevsky, male heroes strive for intellectual and rational mastery, in twentieth-century texts the focus shifts to male characters’ abilities to exercise artistic and creative freedom. In contrast to the cerebral and imaginative freedom associated with masculine heroes, I highlight portrayals of physical and sexual violence against women’s bodies, showing that female charcters are associated with their physical bodies to a far greater extent than male heroes experience embodiedness. The intellectual freedom and development of masculine heroes is privileged, while female characters remain in static positions, more defined by bodily limitations and vulnerabilities than male protagonists.
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Sazontchik, Olga. "Zur Problematik des Moskauer Textes der russischen Literatur Versuch einer Bestimmung anhand von Werken Boris Pasternaks, Michail Bulgakovs, Venedikt Erofeevs, Jurij Trifonovs und Vasilij Aksenovs". Frankfurt, M. Berlin Bern Bruxelles New York, NY Oxford Wien Lang, 2007. http://d-nb.info/98841998X/04.
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Lechtchenko, Natalia. "A window on Russia : the Moscow myth in twentieth-century Russian literature and culture /". View online version; access limited to Brown University users, 2005. http://wwwlib.umi.com/dissertations/fullcit/3174635.
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Dunlap, Aron Monroe. "Counting to Four: Assessing the Quaternity of C.G. Jung in the Light of Lacan and Sophiology". Diss., Temple University Libraries, 2008. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/9685.
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ReligionPh.D.
This thesis is a critical examination of the question of the fourfold, or quaternities, in the thought of C.G. Jung, as well as an in-depth comparison with the four-fold structures of Jacques Lacan and Sergius Bulgakov. I define quaternities as visual or structural formations conceived in four parts, and I center this study on Jung because I see him as the first thinker to seriously examine the place of quaternity in psychology and modern thought. Part of the work of this thesis will be to give a clear view of Jung's quaternal theories, distinguishing the novelty and authenticity of his work from what has been made of it by subsequent New Age and Jungian thinkers. Jacques Lacan, who uses the term "quadrilateral" to describe his formations, will be contrasted with Jung on several counts. First of all, whereas the Jungian quaternity aims to perfectly integrate its various elements, especially when viewed from the perspective of the fourth element of the quaternity, the Lacanian fourth works in the opposite direction, putting into question any reading of the structure which demands resolution and integration. Lacan's quadrilaterals also avoid the complementarity which is always an important aspect of Jungian quaternity, instead opting for a supplementary logic. Sergius Bulgakov avoids, at least in his later work, referring to quaternities, but, in his reading of Sophia (Wisdom), she clearly functions as something of a fourth within the Christian Trinity. Bulgakov's primary contribution is to provide an answer to Jung's complaint that the Christian Trinity has suppressed its fourth and become unbalanced. The fourth that Bulgakov articulates in the form of Sophia is very different from what Jung had argued for. That is, instead of changing the Trinity into a Quaternity Bulgakov maintains that Sophia underlines the "tri-unity" of the Trinity, and functions not a fourth amidst its members, but as a necessary element in order to both bring out the distinctiveness of each person of the Trinity as well as communicate their common identity.
Temple University--Theses
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Gallaher, Brandon. "There is Freedom. The Dialectic of Freedom and Necessity in the Trinatarian Theologies of Sergii Bulgakov, Karl Barth and Hans Urs von Balthasar". Thesis, University of Oxford, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.533811.
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Kennedy, Thomas "TJ". "Understanding the Devil: A Comparative Examination of Dead Souls, The Master and Margarita, and Revelation 12-3". Digital Commons at Loyola Marymount University and Loyola Law School, 2019. https://digitalcommons.lmu.edu/etd/772.
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This thesis examines how the devil is depcicted and characterized in Nikolai Gogol's Dead Souls, Mikhail Bulgakov's The Master and Margarita, and Revelation 12-13. By exploring their respective historical situations, I connect how all three depictions are linked to satire; however, I reflect upon the differences between the literary and religious, most notably the grotesque physical portrayals and allusory nature of Revelation. The three texts are given their own sections, each divided into three parts: historical situation, textual analysis, and literary commentary. From this analysis, it is shown that the devil carries with them a history of sins within great societies and within individual humans. It is through understanding the literary devil that the power of these sins can be understood, and by studying the literature, there is hope that we can recognize and be ready for when the devil returns to society.
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Vocelová, Kateřina. "Výtvarná koncepce filmu "Osudná vejce" podle povídky Michaila Bulgakova Osudná vejce (Rokovyje jajca, 1942). Adaptace ruské literatury ve světové kinematografii". Master's thesis, Akademie múzických umění v Praze.Divadelní fakulta. Knihovna, 2014. http://www.nusl.cz/ntk/nusl-177886.
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The context of my dissertation is an art concept of a period short story. It includes a theoretical, as well as a practical, part. The theoretical part concerns two movies and a TV series from world cinematography, as well as an example of a Czech movie; it evaluates and appraises the artistic aspect of each chosen example.
The practical part includes my own art proposal for a short story Osudna vejce. I comment on my proposal, using images and providing examples of precedents. I describe the plot and show the sequence of scenes based on the text of the story.
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Ardov, Michail V. "Ulybka i murlykan·e : zametki čitatelja : [A.A. Achmatova, M.A. Bulgakov, N.V. Gogol·, L.N. Gumilev, F.M. Dostoevskij, M.M Zoščenko, M. Ju. Lermontov, O. Ė. Mandelštam, V.V. Nabokov, A.S. Puškin] /". Moskva : Sobranie, 2007. http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&doc_number=016527620&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA.
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Giragosian, James Gerard. "Wisdom as Sophia: An Analysis of the Sophiologies of Three 19th-20th Century Russian Philosopher-Theologians--Vladimir Solovyov, Pavel Florensky, and Sergius Bulgakov--Implications for Adult Learning". Diss., Virginia Tech, 2014. http://hdl.handle.net/10919/47730.
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This study examined the concept of "wisdom" from the perspective of "sophiology"--a current in late nineteenth and early twentieth century Russian religious philosophy--particularly as it was used in the writings of Vladimir Solovyov, Pavel Florensky, and Sergius Bulgakov. The purpose of the study was to examine how the sophiological perspective as developed in these authors could inform an understanding of "wisdom" in the field of adult learning.
The nature of "wisdom" has been one of the major themes in both Eastern and Western traditions of philosophical and theological thought for thousands of years. In the mid-nineteenth century, however, the epistemological tendency to approach the world exclusively from the standpoint of observation and experiment reduced "wisdom" to nothing more than technical knowledge verified by experience.
The concept/construct of wisdom, however, has been experiencing resurgence in the social sciences, including the field of adult learning. My research did not, however, find an instance in which the sophiological perspective had informed the field's understanding of wisdom. For this reason, the perspective of sophiology and its potential contribution to adult learning offered a unique research opportunity.
In this study, I sought to add another dimension to the already multi-faceted nature of wisdom in the field of adult learning. I also hoped to enhance the value of sophiological thought by demonstrating its application to a field with which it had not been previously associated.
I sought to accomplish these objectives using the method of hermeneutics, an interpretive mode of inquiry with both reproductive and productive aspects. The reproductive aspect established the historical and philosophical context of the three thinkers and discussed how their sophiological texts aided an understanding of their thought as a whole, and vice versa. The productive aspect explored applications of sophiological thought to the field of adult learning. Since I was the "research instrument" for the study, I also introduced the reader to aspects of my own background and experience that prepared me for this interpretive inquiry.Ph. D.
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Andreatta, Luca. "Il Maestro e Margherita: analisi comparativa nell’ambito della ritraduzione dei classici". Bachelor's thesis, Alma Mater Studiorum - Università di Bologna, 2020.
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Questo lavoro nasce da un desiderio personale di approfondire la conoscenza del mondo della traduzione letteraria e vuole essere quindi un modo per avvicinarvisi, analizzando in particolare l’aspetto della ritraduzione. Questa pratica negli ultimi anni sta acquisendo un’importanza sempre maggiore anche a livello accademico, dove si moltiplicano gli articoli che analizzano l’argomento. Il mio studio si servirà di due traduzioni italiane di «Master i Margarita» di Michail A. Bulgakov.
Il presente elaborato sarà diviso in tre capitoli principali. Nel primo tratterò brevemente di M.A. Bulgakov e presenterò la trama del romanzo, per poi fare una rassegna delle varie traduzioni italiane di quest’opera, prendendo in esame per quanto possibile anche le rispettive traduttrici o traduttori. Nel secondo capitolo verrà affrontato invece il tema della ritraduzione, definendo il fenomeno e presentando alcuni dei più importanti studi sull’argomento e cercando di raccogliere e capire i motivi che portano alla ritraduzione di un’opera letteraria. Questo capitolo si concentrerà poi sul problema dell’invecchiamento delle traduzioni, partendo dall’ipotesi di Berman e poi utilizzando le categorie trovate da Van Poucke nel suo articolo «Aging as a motive for literary retranslation» per meglio definire questo fenomeno. Il terzo capitolo sarà costituito dall’analisi comparativa vera e propria tra due traduzioni italiane di «Master i Margarita» pubblicate a più di quarant’anni di distanza l’una dall’altra, quella del 1967 di Vera Dridso per Einaudi e quella del 2011 di Margherita Crepax per Feltrinelli. In particolare, l’analisi sarà svolta sul ventiquattresimo capitolo del romanzo, intitolato «Izvlečenie mastera» («La liberazione del Maestro»). Le differenze tra le due traduzioni, fornendo esempi presi dai testi, verranno analizzate e divise tra non-linguistiche e linguistiche, e queste saranno a loro volta suddivise in «lessicali», «grammaticali e sintattiche», e «di stile e registro».
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Pan, Wen [Verfasser], Thomas [Akademischer Betreuer] Bock, Hou [Gutachter] Hetao, Thomas [Gutachter] Bock y Alexey [Gutachter] Bulgakov. "Methodological development for exploring the potential to implement on-site robotics and automation in the context of public housing construction in Hong Kong / Wen Pan ; Gutachter: Hou Hetao, Thomas Bock, Alexey Bulgakov ; Betreuer: Thomas Bock". München : Universitätsbibliothek der TU München, 2020. http://d-nb.info/1215837879/34.
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Beckham, Rosemary Elizabeth. "War of words : liminality, revelation and representation in apocalyptic literature". Thesis, University of Exeter, 2008. http://hdl.handle.net/10036/73693.
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The focus of this study is revelation at the limits of communication. It considers the way in which (biblical) apocalyptic literature prominently figures the interconnection between liminality, revelation, and representation. The methodology asserts an indissoluble association between theology, philosophy and literature. As such it is interdisciplinary. A preliminary theory (and theology) of liminality interweaves the theological and philosophical contributions of, amongst others, Karl Barth, Graham Ward, Jürgen Moltmann and Jacques Derrida, thereby initiating a revised perspective on the constitution of literary apocalyptic text production and interpretation. Theorising the limen begins to describe the Trinitarian economy at work in Christian apocalyptic processing of scripture. I begin with the idea that revelation (apokalypsis) is the experience of the limen itself (in a coincidence of opposites). Thus the limen (as an actively divine space) incorporates that which stands on both sides, in vertical and horizontal, linear and cyclical, spatial and temporal movements. I then propose that apocalyptic literature re-presents this complex economy in which the end is rehearsed simultaneously as limit, threshold, and rupture. Theologically, this complicates inter-relational notions of ‘apocalyptic’ and eschatology, and stimulates a debate on a metaphysics of violence in communication (between God, man and Creation). I conclude that, at the extreme limit of human understanding (where words fail), those with faith in God’s love are opened out to revelation in the apocalyptic textual performance of the liminal economy, and thus to hope and forgiveness. Stressing the importance of reading apocalyptically, I begin to demonstrate the relationship between Christian-canonical narratives and the broader western literary canon, the critical process having invited an exploration of those literary characteristics (of tone, mode and genre) shared by (biblical, modern and postmodern) texts. An important principle in the literary analyses is the association between apocalyptic text production and hermeneutics. Christopher Rowland’s description of a ‘visionary mode’ explains how this process works. Thus the preliminary theory leads into a close reading of recent Russian and American works by Mikhail Bulgakov and Thomas Pynchon. These are compared to, and worked through, Mark’s and John’s gospels and the Book of Revelation. The interpretative approach widens the often self-limiting study of apocalyptic literature, and broadens theological debate on revelation. Thus it begins to show how the rhetoric of apocalyptic makes belief compelling.
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Philipson, Gabriel Salvi. "Entremeios da literatura e da filosofia - o humano entre fantasia e realidade em O mestre e margarida de M. Bulgákov". Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/8/8151/tde-13062017-162927/.
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Nesta dissertação me proponho a analisar o romance O Mestre e Margarida (1940) de M. Bulgákov a partir das noções de humano, fantasia e realidade. Para isso, inicio por uma análise do primeiro capítulo do romance de Bulgákov em aproximação com o romance realista socialista, buscando elementos com que Bulgákov se contrapõe ao realismo socialista. Sugiro, aqui, que esses elementos teriam ligação com questões éticas e de modos de representação do real, de tal modo que essas questões residem no cerne temático e formal do romance. Em seguida, me proponho a analisar o entremeio entre o primeiro capítulo de O Mestre e Margarida, que se passa em Moscou, e o segundo capítulo, o romance dentro do romance, a história de Pôncios Pilatos e Jeshua escrita pelo personagem Mestre. Nesse momento, estou preocupado em discutir três temas principais: a. a função do fáustico no romance, bem como outras questões a ele associadas, como o problema do valor em Goethe, Binswanger, Nietzsche e Heidegger leitor de Nietzsche; b. o modo como um romance está dentro do outro, uma vez que, entre outras coisas, o modo como se dá a passagem entre um e outro é variado e instaura uma questão sobre a qual não poucos críticos se debruçaram; e c. a singularidade do procedimento paródico presente no romance, a qual me leva a enveredar por um estudo da sátira menipeia de Bakhtin, em consonância com alguns pontos de seus textos iniciais, preocupados, por exemplo, com o problema da responsabilidade. Por fim, passo a uma análise do segundo capítulo de O Mestre e Margarida, o assim chamado romance dentro do romance, que narra à sua maneira a interação entre Jeshua e Pôncios Pilatos. Aqui, aproximo dessa narrativa algumas questões relacionadas ao nietzschianismo russo e a Nietzsche, tendo em vista hipóteses trabalhadas nos momentos anteriores deste estudo. Nesse percurso, as desenvolvo e aprofundo, principalmente a respeito de assuntos como a recepção de aspectos da filosofia alemã no contexto russo-soviético e o lugar complexo de O Mestre e Margarida no modernismo.In this dissertation I propose an analysis of M. Bulgakovs novel The Master and Margarita (1940), considering the notions of human, fantasy and reality. For this purpose, I begin by an analysis of the first chapter of Bulgakovs novel, approaching it to socialist realist novel, aiming to find elements in which Bulgakov counteracts socialist realism. I suggest these elements have to do with ethical matters and with issues about how to represent the real, in a way that these matters and issues rest on the novels thematic and formal heart. Afterwards, I propose to analyse the intermedium (entremeio) between The Master and Margaritas first chapter, which takes place in Moscow, and the second chapter, which is the novel inside the novel, the story of Pontius Pilate and Yeshua written by the Master, the character. At this point, I am concerned with three main themes: a. the function of the faustic in the novel and related matters, like the value issue in Goethe, Binswanger, Nietzsche and Heidegger as Nietzsches reader; b. the way in which a novel is inside the other, since the link between one and another varies, posing an issue handled by several critics; and c. the singularity of the parodic procedure found in the novel, which leads me to embark on a study of Bakhtins menippean satire in consonance with some points of his first texts that are concerned, for example, with the issue of the answerability. Finally, I analyse the The Master and Margaritas second chapter, the so called novel inside the novel, which tells in its own ways the interaction between Yeshua and Pilate. I articulate it here with some issues connected with the Russian Nietzscheanism and with Nietzsche himself considering assumptions that Ive worked previously. In this route, I advance assumptions about issues like the reception of aspects of German philosophy in Russian-soviet background and The Master and Margaritas intricate place inside modernism.
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Cretu, Andrei Ionut. "Modelling The Text: Iurii Lotman’s Information-Theoretic Approach Revisited". The Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=osu1218122289.
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Songoulachvili, Catherine. "Les figures de l'animal chez Marcel Aymé et Mikhaïl Boulgakov". Clermont-Ferrand 2, 2008. http://www.theses.fr/2008CLF20002.
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Multiples sont les approches qui nous conduisent à imaginer, à écrire et à penser l'animal. Cette créature non humaine est, depuis toujours, l'objet d'"une énigme plus gênante" (Georges Bataille) que l'être humain tente de deviner, de percer ou de définir. En effet, l'animal l'amuse et le dérange, l'intrigue et le préoccupe au point de le troubler, de lui imposer une réflexion sur lui-même et sur autrui, car l'"animal prochain" (Florence Burgat) et "part maudite" (Georges Bataille) de l'homme refuse constamment d'être regardé comme une chose. Il se veut irrationnel et d'un esprit suprême, celui "de l'immanence et de l'immédiateté" (Georges Bataille). Image de notre intimité humaine, perturbateur de nos esprits, expression de nos subversions grotesques, outils de perversion, l'animal comme personnage principal est une représentation de soi et de celle de l'être humain. Dans un contexte culturel et philosophique, le symbolisme et le réalisme animaliers ouvrent ainsi une autre perspective à la fiction et à l'imagination humaine. La production littéraire qu'elle soit française ou russe intègre l'animal comme leitmotiv, comme un sujet central, à travers lequel Marcel Aymé et Mikhaïl Boulgakov exposent une parodie de la comédie humaine. De plus, instrument de l'imagination, moyen d'expression, l'animal, outre son rôle de domination et de possession, est perçu comme un reflet de nos préoccupations, de nos désirs, de nos ambitions. Mais il est surtout celui qui nous lie à notre passé et nous rappelle notre appartenance culturelle ou sociale. Par ailleurs, l'animal peut aussi être révélateur de l'identité collective, tout en posant des questions d'exclusion et d'inclusion. Ecrire et imaginer l'animal, mais aussi définir sa fonction et sa signification "poétique", permettent à Marcel Aymé et Mikhaïl Boulgakov d'aller au delà de la simple représentation naturaliste, de la simple tradition animalière tout en transgressant l'ordre réel et imaginaire. Il s'agit pour eux de montrer une présence animal qui oscille entre réalité et symbole, allégorie et métaphore, histoire et mythocritique, passé et présent. De fait, grâce aux différents procédés d'écriture, le réalisme fantastique de Mikhaïl Boulgakov et le réalisme magique de Marcel Aymé, d'une part soulèvent les interdits, les tabous et les inhibitions et, d'autre part, dénoncent les abus et les travers de la société humaine où les différentes figures de l'animal demeurent, avant tout, l'accessoire des fictions littéraires russes et françaises
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Salden, Peter. "Gewalt in Bulgakovs "Der Meister und Margarita" und ihre zeitgenössische Rezeption". Universität Potsdam, 2013. http://opus.kobv.de/ubp/volltexte/2014/6945/.
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Kahoa, Erin. "From Fact to FarceThe Reality Behind Bulgakov's Black Snow". University of Akron / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=akron1447719301.
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Huber, Angela. "Wie frisch kann Stör sein? : Kulinarisches Handeln und seine Präsentation in Michail Bulgakovs Moskauer Prosa". Universität Potsdam, 2013. http://opus.kobv.de/ubp/volltexte/2013/6798/.
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Cross, Jonathan. "A Bakhtinian analysis of the heroes of four of Bulgakov's prose works". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp04/mq26313.pdf.
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Yurchenko, Anastasia Vladimirovna 1982. "Bulgakov's Novel The Master and Margarita and the Subversion of Socialist Realism". Thesis, University of Oregon, 2008. http://hdl.handle.net/1794/7787.
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viii, 63 p. A print copy of this title is available from the UO Libraries, under the call number: KNIGHT PG3476.B78 Y87 2008Socialist Realism was proclaimed the main method in Soviet literature in 1932. It went through a long process of formation before its main principles were solidified. The main aim of Socialist Realist literature was to portray reality through the lens of the undoubted victory of communism. Thus only writers who followed the requirements of the state were welcome in Soviet literature at that time. Mikhail Bulgakov considered writers' freedom to be more important than the goals of Socialist Realism. This thesis explores how Bulgakov's novel The Master and Margarita subverts the main ideas of Socialist Realism. The second chapter examines the genesis and the main principles of Socialist Realism. The third chapter explores Bulgakov's biography, literary works and views on literature of that time. The fourth chapter analyzes to what extent The Master and Margarita overturns the conventions of Socialist Realism.
Adviser: Jenifer Presto
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Ivanovitch, Alexandra. "Fictions d'apocryphes au XXeme siècle chez Borges, Boulgakov et Saramago. Théorie et parcours". Thesis, Paris 4, 2012. http://www.theses.fr/2012PA040140.
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Dans Naissance de Dieu. La Bible et l’historien, Jean Bottéro explique qu’il ne nous est resté que le livret de la pièce : la Bible. L’apocryphe en est le supplément. Outre les livraisons irrégulières et parcimonieuses, venues des sables d’Égypte entre autres, que nous a léguées l’histoire des découvertes archéologiques, il est un fonds incommensurable par lequel d’autres écrits apocryphes chrétiens nous sont parvenus : la littérature du XXe siècle. Borges, par tel poème se présentant comme un fragment de manuscrit apocryphe retrouvé, Boulgakov en insérant dans Master i Margarita [Le Maître et Marguerite] un évangile centré sur Pilate, Saramago avec son roman brûlot O Evangelho segundo Jesus Cristo [L’Évangile selon Jésus-Christ]: tous ont fourni des livraisons supplémentaires à ce que Jean Bottéro appelait la « pièce ». Les textes de notre corpus sont à lire comme des fictions d’évangiles apocryphes ; mais l’histoire de la (non-)réception des écrits apocryphes chrétiens depuis l’Antiquité ne nous enseigne-t-elle pas qu’ils furent très souvent considérés comme de la fiction ? Le canon biblique distingue les textes inspirés des autres, relégués au statut de fables ou d’inventions : et tout le reste est littérature… En outre, les apocryphes, antiques et modernes, attestés et fictifs, constituent autant de midrashim, parfois paradoxaux sur les Écritures. En quoi la notion de midrash, cette forme d’exégèse narrée et de narration interprétative, permet-elle de projeter un regard nouveau sur la théorie de l’intertextualité ? Conformément à ce que le sous-titre annonce, au terme de ces considérations plus théoriques, le dernier temps de la réflexion est consacré à l’étude plus détaillée des textes du corpus, à la lumière des critères qu’avait jadis dégagés Auerbach, dans Mimésis, pour distinguer la Bible des récits profanes. L’apocryphe, dans tous ses états et manifestations, nous invite à scruter les ‘définitions’, au sens étymologique du terme, à savoir les frontières de la Bible et la littérature. Plus encore que de livrer une étude thématique ou intertextuelle sur les réécritures de l’Évangile au XXe siècle, cette thèse entend reposer des questions – canoniques – de littérature générale, à travers un prisme bibliqueIn Naissance de Dieu. La Bible et l’historien [The Birth of God. The Bible and the Historian], Jean Bottéro explains that we are left with the play’s libretto: the Bible. The apocrypha is the supplement. Apart from the irregular and parsimonious issues, notably from the sands of Egypt, transmitted to us by the history of archaeological finds, there is an immeasurable collection through which other apocrypha have come to us: XXth century literature. Borges, through his poems presenting themselves as apocryphal manuscripts which are lost and found, Bulgakov by inserting a Gospel centered on Pilate in his Master i Margarita [The Master and Margarita], Saramago with his O Evangelho segundo Jesus Cristo [The Gospel According to Jesus-Christ]: all have given supplements to what Jean Bottéro called the « libretto ». These texts are to be read as fictional apocryphal Gospels; but then again, the history of the (non-)reception Christian apocrypha encountered since Antiquity tells us that they were very often considered and read as mere fiction. The Biblical canon distinguishes the inspired texts from the rest, which is relegated to the status of fables or inventions: and all the rest is literature… Furthermore, the apocrypha, be it antique or modern, attested or fictional, constitute midrashim on the Sacred Scriptures, which are sometimes paradoxical. How does the notion of midrash -- a form of narrated exegesis and interpretative narration -- allow us to see differently the theory of intertextuality? As stated in our subtitle, after these more theoretical considerations, the last part of our dissertation is dedicated to a more detailed study of our body of texts, in the light of the criteria Auerbach used in Mimesis to distinguish the Bible from secular narratives. The apocrypha invite us to examine the ‘definitions’, in the etymological sense of the term, that is, the frontiers between the Bible and literature. More than a thematical or intertextual study, this dissertation strives to give answers to some of the canonical questions tackled by the theory of literature, through a Biblical prism
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Namestiuk, S. V. "The constructive functionality of a medical narrative in Petrov-Domontovytch and Bulgakov’s works". Thesis, БДМУ, 2020. http://dspace.bsmu.edu.ua:8080/xmlui/handle/123456789/18273.
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Testini, Lorenzo. "10° edizione della Festa del Cinema Bulgaro a Roma - Traduzione di sinossi cinematografiche". Bachelor's thesis, Alma Mater Studiorum - Università di Bologna, 2017. http://amslaurea.unibo.it/13794/.
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Questa tesi si pone l’obiettivo di fornire una proposta di traduzione di sinossi cinematografiche dal bulgaro all’italiano. Il lavoro è stato svolto sulle sinossi dei film presentati a Roma in occasione della 10° edizione della Festa del Cinema Bulgaro. A curare la traduzione dei sottotitoli di quattro dei film proiettati nell’ambito della Festa, affiancati dalla FUIS (Federazione Unitaria Italiana Scrittori) e dall’Associazione Culturale Italo-Bulgara “La Fenice”, è stato il team di studenti traduttori della Scuola di Lingue e Letterature, Traduzione e Interpretazione – Campus di Forlì dell’Università degli Studi di Bologna, di cui sono membro. Oltre alla sopracitata traduzione, sono stato coinvolto in quella delle sinossi cinematografiche, inserite poi nel libretto divulgativo per i partecipanti alla Festa.
La tesi si compone di quattro capitoli principali divisi in paragrafi: nel primo fornirò una breve analisi del testo di partenza, indicando la tipologia testuale e le sue caratteristiche; nel secondo verrà proposta una traduzione delle sinossi cinematografiche; nel terzo esporrò l’approccio al testo dal punto di vista delle strategie e dei procedimenti traduttivi impiegati; nell’ultimo presenterò un commento del lavoro svolto, soffermandomi sui problemi di diverso tipo e le rispettive soluzioni da me proposte. L’elaborato si chiuderà con una conclusione, nella quale ricapitolerò i punti essenziali.
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Tchilingirova, Ivleva Krassimira. "Horizon et projet des traducteurs littéraires bulgares du russe et du français dans la Bulgarie communiste (1944-1989)". Paris, INALCO, 2011. http://www.theses.fr/2011INAL0023.
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La présente étude, qui se fonde sur la méthodologie de critique de traduction d'A. Berman, tente d'explorer l'« horizon traductif» dans la Bulgarie communiste et d'examiner comment, et si, il a influencé les« projets de traduction» de certaines œuvres littéraires du russe et du français. «Horizon» et «projet» sont, ici, deux notions empruntées à A. Berman, qui sont précisément définies et nous permettent de cerner, d'une part, le contexte dans lequel s'inscrivent la théorie et la pratique de la traduction pendant la période étudiée et, d'autre part, la manière dont les traducteurs abordent la traduction et effectuent la « translation» des œuvres étrangères. A travers un parcours historique, conventionnellement délimité en périodes, nous tentons de faire surgir des tendances. Et cela sur deux plans : la manière dont on fait de la critique de traduction et les critères à partir desquels on choisit et « transfère » les œuvres traduites dans le contexte littéraire bulgare. Ainsi, nous voudrions définir « ce-à-partir-de-quoi » (Berman : 1995) on traduit en Bulgarie durant les années communistes. Nous voudrions particulièrement savoir s'il existe un « canon traductif » et comment il influence la pratique et la théorie de la traduction. Pour ce faire, nous avons exploré, l'horizon et le projet de traduction de deux œuvres concrètes : le recueil de poèmes de P. Éluard, Pesni za vsicki (Chants pour tous) et le roman de M. Boulgakov, Le Maître et Marguerite. Le choix de ces œuvres nous pennet de saisir des exemples pris aux cultures russe et française et de nous arrêter à différentes sous-périodes des années communistesThis thesis uses Berman's methodology of translation critique to explore the 'translation horizon' in communist Bulgaria, with particular emphasis on the way that the 'translation horizon' might have influenced the 'project of translation' in relation to particular literary works translated into Bulgarian from Russian and French. Berman's notions of 'horizon' and 'project' allow us to study the context of the theory and practice of translation during the period in question. Furthermore, these notions also allow us to study the way that translators approach the process of translation and how they introduce foreign literary works. By dividing the communist era into historical sub-periods, this thesis aims to reveal the tendencies which characterise the translation critique and also the criteria used for choosing and transferring literary translations into Bulgarian. This thesis considers the question of whether there was a 'translation canon' and how this might have influenced the practice and theory of translation. The reflections in this thesis are base on an analysis ofthree translations : Paul Eluard's political poems, from the book Pesni za vsicki (Songs for everyone), and two translations of M. Bulgakov's novel The Master and Margarita
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Cima, Matteo. "L'euroletto bulgaro: analisi comparata di un corpus di direttive europee e di leggi nazionali di recepimento". Master's thesis, Alma Mater Studiorum - Università di Bologna, 2018. http://amslaurea.unibo.it/15342/.
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В резултат от работата на Главна дирекция „Писмени преводи“ на Европейската комисия възниква един значителен обем от правни текстове, отличаващи се с език, различен от юридическия професиолект на съответната държава членка. Тази специфична езикова формация е известна под името евролект и нейното съществуване е доказано за близо половината от официалните езици на Европейския съюз. Целта на настоящото изследване беше да се определи доколко въпросното явлениe засяга и българския език, т.е. може ли да се говори за български евролект. Затова беше направен качествен съпоставителен анализ на два корпуса, състоящи се съответно от 10 директиви и 10 национални закона, на следните нива: лексика, именна морфология, глаголна морфология, фраземи, синтаксис, текстуалност, правопис и пунктуация. Анализът показа, че макар да съществуват определени системни различия между двата корпуса, те не дават основание да се говори с категоричност за съществуването на български евролект. В заключение ние считаме, че за да се потвърди или отхвърли хипотезата за съществуването му е необходимо да се извърши допълнителна работа по увеличаване на корпусите и включване на количествен анализ на изследваните параметри по нива.
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Signori, Elena <1995>. "Intercomprensione tra lingue slave: lo studio di un caso fra il russo, il bulgaro e il polacco". Master's Degree Thesis, Università Ca' Foscari Venezia, 2019. http://hdl.handle.net/10579/16093.
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L’obiettivo di questa tesi è quello di analizzare l’intercomprensione tra le lingue slave. Il caso di studio ha previsto la selezione di tre lingue che coinvolgessero i tre gruppi della famiglia slava. È stato scelto il russo come lingua orientale, il bulgaro come lingua meridionale, e il polacco come lingua occidentale.
La direzionalità riguarda l’intercomprensibilità del bulgaro e del polacco da parte di madrelingua russi che non conoscono altre lingue slave. Sono stati scelti dieci parlanti nativi di lingua russa a cui sono stati proposti due questionari uguali, nelle due lingue target diverse.
Il test è diviso in due parti. Nella prima parte il partecipante è tenuto a capire e tradurre una lista di cinquanta parole, leggendole e poi ascoltando la registrazione delle stesse svolta da madrelingua. Qui il lessico scelto risulta essere congenere con la corrispettiva traduzione russa. Nella seconda parte si ripete lo stesso procedimento, ma con venti frasi intere. Qui, invece, non tutte le parole condividono la stessa radice con il russo.
Questa tesi vuole porre le basi per capire quanto queste lingue siano intercomprensibili tra loro, senza alcuna conoscenza linguistica o di metodologia d’intercomprensione precedentemente acquisita. Si coinvolgono, quindi, le abilità di lettura e di ascolto su parole prese singolarmente e inserite nel contesto di una frase. Infine, verranno analizzati i risultati ottenuti dal questionario per rispondere alle domande di ricerca che hanno guidato questa tesi.
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Gasparetto, Anna <1990>. "Il Cavaliere, la Porta di rame, il Cerchio delle Samodive. Traci, Protobulgari e Slavi nel Primo Impero Bulgaro". Master's Degree Thesis, Università Ca' Foscari Venezia, 2014. http://hdl.handle.net/10579/5471.
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Analisi dell'incontro culturale (storico, politico, religioso, rituale) tra Slavi, Protobulgari e Traci nel periodo di formazione del primo Regno bulgaro danubiano (anno di nascita 681 d.C, secoli VII-X),in specifico durante il così denominato "Periodo pagano" di quest' entità statale. Durante questo periodo la cultura slava e protobulgara collaborarono nella creazione di questo regno, ed entrando in relazione tra loro, posero le basi di una nuova cultura,quella bulgara, mettendo a contatto le diverse percezioni cosmologiche, le diverse tipologie religiose (cultuali e rituali) e le diverse concezioni politiche. Nonostante la prevalenza di queste due culture, nel contesto danubiano rimasero tracce dell'elemento tracio più antico. L'importanza di questo periodo si riflette tuttora nella percezione culturale bulgara e nelle tracce che ha lasciato nella rielaborazione e nella performance in diverse pratiche, tradizioni e festività, ma si riflette anche negli studi etnografici, etnologici e folkloristici bulgari che prestano attenzione a questi elementi, che nella ricreazione di un'identità bulgara, vengono considerati come la base di questa e quindi ricreati, rielaborati e reinventati.
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Voronina, Olga Georgievna. "Narrative strategies for representing the divine in the 1930s : Thomas Mann's Joseph und seine Brüder and Mikhail Bulgakov's Мастер и Маргарита". Thesis, University College London (University of London), 2011. http://discovery.ucl.ac.uk/1325639/.
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The state in Soviet Russia and in National Socialist Germany sought to usurp and monopolise public discourse in all areas of life, striving towards ideological homogeneity and orthodoxy. Soviet anti-religious and German anti-Semitic campaigns, which arose in this context, were influenced by 19th and 20th century academic and public debates about the origins and the significance of the Bible. Echoes of these debates can be found in Mikhail Bulgakov's Master i Margarita (written 1928-1940, published 1966) and in Thomas Mann's Joseph und seine Brüder (published 1933 - 1943). The thesis explores to what extent the narrative strategies developed by the writers to represent divine characters, Yahweh and Bulgakov's Christ figure Yeshua Ha-Notsri, may have been shaped by these debates. It considers the de-sacralisation of the figure of Jesus in Bulgakov's novel and the mythologisation of human experience central to Mann's depiction of Yahweh. It also interrogates how far the coherence of these figures may be shaped by the narrativisation of individual experience by the characters of the novels. Finally, the centrality of subjectivity to the representation of the divine is read as a critical response to the totalitarian politics of the state and its attempts to monopolise the production of meaning.