Skazanīi͡a︡ russkago naroda /

Preservation photocopy on alkaline paper.

Russkii͡a︡ pi͡e︡sni, neposredstvennos golosov naroda,

Vol. 2, "Perelozhenīe dli͡a︡ fortepiano v dvi͡e︡ ruki P. Blaramberga."

Drevnī͡a︡ rossīĭskīi͡a︡ stikhotvorenīi͡a︡, /

The transcribed byliny, ballads, and poems are preceded by song and dance tunes, probably of a later date.

Zapiski i zami︠e︡chanīi︠a︡ o Sibiri /

Mode of access: Internet.

Stimmen des russischen volks in liedern.

The 18 pages following text are 20 x 23 cm. and contain music.

Do-petrovskai︠a︡ Rusʹ v ei︠a︡ literature : po lekt︠s︡ii︠a︡m F. I. Buslaeva E. I. V. Nasli︠e︡dniku T︠s︡esarevichu Velikomu Kni︠a︡zi︠u︡ Nikolai︠u︡ Aleksandrovichu (1859-1860 gg.) /

Record romanized.

Popular poetry of the Russian Jews

by Leo Wiener

Folk tales from the Russian,

Cover title: Folktales from the Russian.

The Russian garland, being Russian folk tales;

Mode of access: Internet.

Epos orale russo tra oralità e scrittura: problemi e proposte di traduzione

In the present thesis, I discuss the role of orality in translation, taking into account the problems arising while translating Russian folk epics. I investigate the meaning of orality in the context of folkloristic translation, trying to define a concept of oral poetry, and exploring its consequences for translation. In the first chapter, I try to identify the main differences between written literature and oral modes of expression, with special reference to folklore. Oral verbal art is performed, sung or recited, and based on a vital and dynamic interrelation between kinesics, sound, speech and gestures. According to Muhawi (2006), performance provides an interpretive frame enabling a correct interpretation of the message conveyed beyond the literal meaning. Transposing certain performance elements into print is one of the most controversial problems in folklore studies. However, formulas and formal stylistic devices may be rendered in transcription, building a bridge between oral and written elements. In the translation of oral poetry in transcription, this interconnection between orality and literacy might be emphasized, thus creating a hybrid dimension where oral and literary features coexist. In the second chapter, I introduce and describe the genre of Russian folk epics, transmitted orally, and transcribed between the 19th and 20th centuries, from a historical, linguistic and stylistic point of view. In the third and fourth chapters, I explore the issue of translation of Russian oral poetry. I first analyse existing Italian translations of Russian epics, and then present and discuss my own translation, based on a philological, scholarly approach. Thus, in my translation, which is followed by a rich commentary, I try to focus on the rendering of formulas as one of the most relevant aspects of Russian epics. At the same time, oral devices combine with literary features, thus creating a sort of frozen orality.

Russian Opera as Cultural Text (The Golden Cockerel by N.A. Rimsky-Korsakov)

This project entailed a detailed study and analysis of the literary and musical text of Rimsky-Korsakov's opera The Golden Cockerel, involving source study, philological and musical-historical analysis, etc. Goryachikh studied the process of the creation of the opera, paying particular attention to its genre, that of a character fable, which was innovative for its time. He considered both the opera's folklore sources and the influences of the 'conditional theatre' aesthetics of the early 20th century. This culture-based approach made it possible to trace the numerous sources of the plot and its literary and musical text back to professional and folk cultures of Russia and other countries. A comparative study of the vocabulary, style and poetics of the libretto and the poetic system of Pushkin's Tale of the Golden Cockerel revealed much in common between the two. Goryachikh concluded that The Golden Cockerel was intended to be a specific form of 'dialogue' between the author, the preceding cultural tradition, and that of the time when the opera was written. He proposed a new definition of The Golden Cockerel as an 'inversed opera' and studied its structure and essence, its beginnings in the 'laughing culture' and the deflection of its forms and composition in a cultural language. He identified the constructive technique of Rimsky-Korsakov's writing at each level of musical unity and noted its influence on Stravinsky and Prokoviev, also finding anticipations of musical phenomena of the 20th century. He concluded by formulating a research model of Russian classical opera as cultural text and suggested further uses for it in musicology.

Spanish folk songs,

Mode of access: Internet.

Spanish folk songs,

Mode of access: Internet.

The oral art and literature of the Kazakhs of Russian Central Asia.

Mode of access: Internet.