Master of Arts, The Ohio State University, 2024, Slavic and East European Languages and Cultures

Since its publication in 1835, Nikolai Gogol's “Viy” has been adapted many times, both in film and literature. Subsequent adaptations preserve many elements of the original, but what may be missing is the title character, Viy. However, the witch character pannochka almost always features in one way or another. This paper traces pannochka from the original short story by Gogol through two film adaptations: the 1967 Soviet film Viy directed by Konstantin Ershov and Georgiy Kropachev and the 1990 Serbian film Sveto Mesto directed by Đorđe Kadijevic (1990). My analysis is concerned with changes in pannochka's representation from work to work and is situated within the framework of adaptation theory's concept of intertextual dialogism as well as psychoanalytic feminist film and literary theory. Informed by these theories, I interrogate the transformations of the character pannochka in three ways (1) how she gains visibility and a greater voice throughout the adaptations (2) how there is an ambiguity in her gender representation and (3) how her reading as a castrating figure in each of the works is problematic. Using these frameworks, I argue that in each subsequent adaptation pannochka gains increased representation within the story but is ultimately still trapped within her original male-authored narrative.

Committee: Yana Hashamova (Advisor); Alexander Burry (Committee Member); Angela Brintlinger (Committee Member) Subjects: Slavic Literature

Master of Arts, The Ohio State University, 2022, Slavic and East European Languages and Cultures

This paper explores the collective memory of Guzel' Yakhina in her novel Zuleikha opens her eyes (2015). In 2020, the novel was transformed into a television series where it reached an even larger audience. The representation of Tatar Muslim culture in this work of contemporary Russian literature and television will be analyzed. Yakhina negotiates between historical memories and old stereotypes as she frames Zuleikha's story of acceptance into her Siberian labor camp and Soviet society. Although the Soviet Union does not exist as a physical space anymore, in recent years, Russia has developed historical memory projects that focus on the period of Stalinism (1927-1953) as a source of national pride. The positive depiction of exile seen in both the novel and television series is problematic because it promotes deculturalization and continues to erase the Muslim identity in Russia. First, analyzing the representation of a Tatar Muslim woman on television revealed a trope of unveiling held onto by the Russian contemporary audience. They linked Zuleikha to the negative stereotype of Muslim women as victims of their cultural and religious identity. The television audience saw the repeated motif “Zuleikha opens her eyes” as a call to take off Zuleikha's veil. Secondly, the scene in the tv show where the Hagia Sophia dome is removed and replaced with the new Stalinist-style dome monument reveals an erasure of ethnic and religious identity. Finally, Zuleikha's connection to her past ethnicity and religion is severed when the identity of Zuleikha's son, Yusuf is transformed. His name is changed to the Russian name: Iosif Ignatov. Using the historical context of the 1930s as a teleport, contemporary media establishes Russian nationalism as the only pathway to belonging for minorities in post-Soviet Russia. Ultimately, in both the television series and novel, one's Tatar Muslim identity is declared obsolete and must be removed. Such memories contribute to the growing influence (open full item for complete abstract)

Committee: Yana Hashamova (Committee Member); Angela Brintlinger (Advisor) Subjects: Slavic Literature; Slavic Studies

BA, Oberlin College, 2021, Russian and East European Studies

This project focuses on the philosophy of Yakov Druskin and its applicability as a lens through which to examine the metaphysical and religious elements of chinari literature. Formed in Leningrad at the dawn of the Soviet Union, the group of authors and philosophers known as the chinari has long been recognized as an important component of the Russian avant-garde. However, the role of religion and spirituality in their works remains under-examined, despite the fact that the group featured a prolific religious philosopher, Yakov Druskin. By exploring a selection of Druskin's philosophical concepts and applying them to major chinari texts—Daniil Kharms' “The Old Woman” and Alexander Vvedensky's “God May be All Around”— I argue that Druskin helps us look beyond the grotesque and comic aspects of the group to uncover deeper themes of faith, selfhood, and transcendence. The project adds to our understanding of the chinari and works to fill a gap in Slavic studies, as Druskin has received very little scholarly attention in the field. This research also points to new directions for further study, prompting us to examine more closely the influence of theology and European existentialism on the Soviet literature of the absurd.

Committee: Vladimir Ivantsov (Advisor); Thomas Newlin (Committee Member); Maia Solovieva (Committee Member) Subjects: Literature; Metaphysics; Religion; Slavic Literature; Slavic Studies

PHD, Kent State University, 2020, College of Arts and Sciences / Department of Modern and Classical Language Studies

The role of translation in periodicals has recently attracted the attention of Translation Studies scholars (e.g., Baer 2016; Lygo 2016, and Bollaert 2019). However, there has not been a comprehensive study of the role of paratexts in framing translations published in Soviet periodicals during the post-Stalinist periods referred to as the Thaw, Stagnation, and Perestroika. Drawing on paratext theory (Genette 1997), narrative theory, frame analysis (Baker 2006), and thematic analysis (Braun and Clarke 2006), the present study investigates the role played by paratexts in framing the translations published in the Soviet thick journal Inostrannaia Literatura between 1955 and 1991. Analysis of the 777 paratexts reveals that the journal played an important role in acquainting Soviet readers with foreign works in translation and in shaping the readers' view of the other countries, in particular, the countries of the West. The analysis of the thematic content of the corpus shows that the representation of the West changed from a negative to a more positive one and that coverage of the author's political engagement decreased over time, whereas coverage of translation-related issues increased. The analysis of the framing strategies used by the journal in its paratexts, such as selective appropriation, temporal and spatial framing, labelling, and repositioning of participants, allowed for the inclusion of foreign works that might otherwise have been banned by censors.

Committee: Brian J. Baer (Advisor); Joanna Trzeciak Huss (Committee Member); Judy Wakabayashi (Committee Member); Andrew Barnes (Committee Member); Martha C. Merrill (Committee Member) Subjects: Modern Language; Slavic Literature

BA, Oberlin College, 2018, Russian

The following honors thesis is structured into two parts, four chapters apiece. The first part is a philological study of the Soviet dissident and writer Venedikt Vasilevich Erofeev's magnum opus, Moscow-Petushki (1969-70). This half of the thesis investigates Petushki in light of its thematic development of fate, or, more particularly, the fate of homo sovieticus—the ironic term devised by Soviet sociologist Aleksandr Zinovyev (1922-2006) to describe a typical conformist citizen of the Soviet Union. I will focus predominantly on Petushki's connection to the end of the Khrushchev “Thaw” in the early-mid-1960s and the beginning of Brezhnev “Stagnation” in the late-1960s, and will explore the work's engagement with postmodernism. The second part of my honors thesis is an extension of the first. In this section, I reconstruct and analyze the “Kolomna period” of Erofeev's life and career (ca. 1962-1963), during which he matriculated at the local Kolomensky Pedinstitute and later, following his expulsion, worked as a truck driver and in mass retail. I posit Kolomna as a watershed in Erofeev's biography. This period saw the end of his university studies and the beginning of the “living large” (what he would name his “ochen' zhiznennii put'”) that characterized his existence up until his death in 1990 of lung cancer. After Kolomna Erofeev's life was marked by increasingly destructive bouts of alcoholism and smoking, extensive peregrinations through the former Soviet Union (largely undertaken sans propiska, or mandatory residence permit), and, most of all, the freer form of writing that culminated artistically in Moscow-Petushki. This part of my analysis asserts a link between the fate of Venichka, the notorious erudite drunk of Moscow-Petushki, and that of Venedikt Erofeev, its controversial author. Although not a single journal or piece of writing by Erofeev from this period is extant, I nonetheless maintain that there is a body of evidence that allows us to piece (open full item for complete abstract)

Committee: Arlene Forman (Advisor); Thomas Newlin (Advisor) Subjects: Literature; Russian History; Slavic Literature; Slavic Studies

Doctor of Philosophy, The Ohio State University, 2018, Slavic and East European Languages and Cultures

Historical opera represents an important subgenre in the Russian repertoire, but many of the Russian operas on historical themes are unperformed and unknown in the West. However, they continue to play an important role in Russia's self-exploration and historical identity. This dissertation seeks to address the matter of what it means to interpret history through the lens of opera. What assumptions about history are present in these works by virtue of the genre? To answer this question, this dissertation draws on the essays of W. H. Auden who asserts that in opera, virtuosic singing causes even real, historical persons to seem like the gods and heroes of myth. This principle serves as something of the reversal of the concept of displacement that Northrop Frye discusses in Anatomy of Criticism. According to Frye, all plots have a mythic core. Realistic works displace their mythic core by limiting the power of heroes and placing greater obstacles in their way. In opera, the process collapses. A realistic or historical plot may displace the mythic elements of the story of an opera, but the virtuosic singing reconnects the plot with its mythic core. Thus, Auden and Frye combine to form the core theoretical foundation of this dissertation, which seeks to illuminate the particular myths about history implicit in seven operas by prominent Russian nineteenth-century composers: Glinka's A Life for the Tsar and Ruslan and Liudmila, Borodin's Prince Igor, Rimsky-Korsakov's The Maid of Pskov and The Tsar's Bride, and Musorgsky's Khovanshchina and Boris Godunov. Running through these operas are variations on various myths, the most prominent of which is that of the Tsar as father. Composers rework these myths, combining them with other myths. They also present different solutions to the problems presented by the mythic nature of historical opera. Some composers, such as Glinka, fully embrace the mythic potential of opera as a means of dealing with religious themes, thus (open full item for complete abstract)

Committee: Alexander Burry (Advisor); Helena Goscilo (Committee Member); Angela Brintlinger (Committee Member); Jon Linford (Committee Member) Subjects: History; Literature; Music; Performing Arts; Russian History; Slavic Literature

Master of Fine Arts, The Ohio State University, 2017, English

In this collection of essays, Sonya Bilocerkowycz explores the cyclical nature of government-sanctioned violence in the post-Soviet world and her family's dissident legacy in order to ask: Can we ever truly be at home in a political state?

Committee: Lina M. Ferreira (Advisor); Angus Fletcher (Committee Member) Subjects: Literature; Political Science; Slavic Literature; Slavic Studies

Doctor of Musical Arts, The Ohio State University, 2017, Music

Modest Mussorgsky's song cycle Songs and Dances of Death is a series of four miniature dramatic scenes. The text was supplied by Arseny Golenishchev-Kutuzov, who developed a keen relationship with the composer when they shared an apartment. A glance at Mussorgsky's musical life and growth in the “Mighty Handful” circle helps us comprehend the evolution of his compositional style. At the peak of his musical maturity, the composer devoted himself to compositions in the realist, nationalist style. However, Songs and Dances of Death seems to have softened the edge of his style by incorporating lyricism, and possibly also impressionism and symbolism, into his works. Mussorgsky's music in Songs and Dances of Death is tonal but it does not adhere to a traditional Western music theoretical analysis. Therefore, the musical analysis presented is based on defining the terms musical environment and musical energy as they emerge from the compositional components, an approach that provides yet another dimension of musical understanding in works like Mussorgsky's. Russian diction is discussed in great detail along with a comprehensive summary of the International Phonetic Alphabet (IPA) system for the Russian language.

Committee: Robin Rice (Advisor); Edward Bak (Committee Member); Alexander Burry (Committee Member); Katherine Rohrer (Committee Member) Subjects: Music; Performing Arts; Slavic Literature

Doctor of Philosophy, The Ohio State University, 2016, Slavic and East European Languages and Literatures

This dissertation explores the way nineteenth-century Russian writers depict the lower classes, in particular the Russian peasants, in realist literature. In both the pre- and post-emancipation periods, Slavophiles, Westernizers, radicals, populists, pan-Slavists, and academic authors such as historians and ethnographers all explored the mentality of the Russian people, or narod, and their supposed exemplary moral character. Under the influence of this cultural myth about the lower-class Russian masses' morality and spirituality, critics of realist literature often claim that lower-class characters possess spiritual strength and collectively forge a Christian brotherhood. Close reading of realist literature, however, reveals that influential writers such as Fyodor Dostoevsky, Leo Tolstoy, and Ivan Turgenev also depict the Russian peasants as morally flawed. By uncovering the way such writers subvert the myth of the people's brotherly union, this research compares the ambivalent portrait of Russian peasants in literature with their idealized image in academic writings. I argue that the realist writers questioned the unambiguously optimistic vision of the Russian people's unity and called for a universal endeavor to build a Christian brotherhood. Demarcated from both nineteenth-century intelligentsia and contemporary academics, the realist writers in the age of radicalism were concerned that the spiritual brotherhood of the Russian people was far from emerging. To demonstrate their ambivalent and pessimistic observations on the peasants' moral condition, I first explore the realist writers' portrayals of their communal life. In the first chapter, I demonstrate that although academic studies tend to regard peasant communes in Imperial Russia as models for realizing villagers' mutual love and egalitarian values, realist writers depict peasant characters' rage, violence, and conflicts in their seemingly collectivist communities. Second, while by traditional lin (open full item for complete abstract)

Committee: Alexander Burry (Advisor) Subjects: Russian History; Slavic Literature; Slavic Studies

Master of Arts (MA), Ohio University, 2016, English (Arts and Sciences)

This thesis is a collection of four stories and a critical introduction titled "Ferris Wheels in Winter." The introduction explicates the common theme uniting the various stories, that of the author's attempt to confront despair by writing about characters who struggle with belief, disillusionment, and disjunction between self and place. This thesis includes the following titles: "The Reality of the Provinces," "The Tourists," "Low-hanging Fruit," and "A Pilgrim's Notes."

Committee: Patrick O'Keeffe (Advisor) Subjects: Literature; Russian History; Slavic Literature; Slavic Studies

Master of Fine Arts (MFA), Bowling Green State University, 2016, Creative Writing/Poetry

This thesis explores Polish emigration through poetry from the present of the third generation in terms of loss of familial patriarchs, loss of the Polish language as an American monolingual English speaker, and loss of ethnic group identity. That is, this thesis explores what it means for a Polish American to be foreign to oneself. The speaker of these poems, in order to connect with an identity larger than herself, tries to regain a sense of Polish national identity by speaking to the dead patriarchs of her family and meditating on their deaths. By doing so, she attempts to make some kind of sense of her grief and of her life. This thesis utilizes formal restlessness and the themes of language, prayer, memory, dream, nature, drink, and work to connect the speaker with the unseen world that is now absent to her in the physical, visible world in which she dwells.

Committee: Sharona Muir (Advisor); Larissa Szporluk Celli (Committee Member) Subjects: Aesthetics; Bible; Bilingual Education; Dance; Earth; East European Studies; Ecology; Energy; English As A Second Language; Environmental Philosophy; Ethics; Ethnic Studies; European History; Families and Family Life; Fine Arts; Folklore; Foreign Language; Forestry; Gender; History; Holocaust Studies; Human Remains; Language; Language Arts; Literacy; Literature; Minority and Ethnic Groups; Modern History; Modern Language; Modern Literature; Multicultural Education; Multilingual Education; Peace Studies; Performing Arts; Personal Relationships; Personality; Regional Studies; Religion; Religious History; Slavic Literature; Slavic Studies; Spirituality; Theology; Therapy; Womens Studies; World History

Doctor of Philosophy, The Ohio State University, 2015, Music

Since the nineteenth century, the Russian intelligentsia has fostered a conversation that blurs the boundaries of literature, the arts, and life. Bypassing more direct modes of political discourse blocked by Imperial and then Soviet censorship, arts reception in Russia has provided educated Russians with an alternative sphere for the negotiation of social, moral, and national identities. This discursive practice has endured through the turbulent political changes of the Russian revolution, Soviet repression, and the economic anxiety of contemporary Russia. Members of the intelligentsia who believe that individuals can and should work for the moral progress of the Russian people by participating in this conversation are constructing the Russian moral project. Near the end of the nineteenth century, members of the intelligentsia unofficially established a core set of texts and music—Russian klassika—that seemed to represent the best of Russian creative output. Although the canon seems permanent, educated Russians continue to argue about which texts are important and what they mean. Even Aleksandr Pushkin's Eugene Onegin (1825-1833), a novel-in-verse that functions as the cornerstone of this canon, remains at the center of debate in a conversation about literature that is simultaneously a conversation about Russian life. Pushkin is considered the founder of Russia's literary language, and Russian readers and critics have endowed him with a saint-like status. His image has become a secular icon of Russian creative potential. The heroine of his magnum opus, Tatiana Larina, has in turn become an icon of Russian morality. As Russians interpret Onegin's themes and describe its characters, they also express what matters most in their own lives. The history of Onegin reception thus reflects the development of Russian ideas about life over the course of the last two centuries. Beginning in 1844, composers, theater directors, and choreographers have adapted Pushkin's (open full item for complete abstract)

Committee: Danielle Fosler-Lussier Dr. (Advisor); Alexander Burry Dr. (Committee Member); Ryan Thomas Skinner Dr. (Committee Member) Subjects: Communication; Cultural Anthropology; Dance; Gender Studies; Literature; Music; Performing Arts; Philosophy; Russian History; Slavic Literature; Slavic Studies; Theater; Theater History; Theater Studies; Womens Studies

BA, Oberlin College, 2015, Russian

Science and medicine play a fundamental role in Liudmila Ulitskaia's 2001 novel Kazus Kukotskogo. This paper argues that Ulitskaia employs science and medicine as a concrete means of considering such diverse questions as social life, morality, and religion in the work.

Committee: Thomas Newlin (Advisor) Subjects: Slavic Literature

Doctor of Philosophy, The Ohio State University, 2015, Slavic and East European Languages and Literatures

Abstract The current study analyzes signs and signifiers that constitute the structural composition of Pushkin's historical works Boris Godunov and The Captain's Daughter and compare them with their Soviet and post-Soviet screen adaptations. I argue that the popularity of these literary works with filmmakers is based on their inexhaustible topicality for Russian society of the Soviet and post-Soviet periods, and therefore reassessment of their film adaptations guides us towards developing a better understanding of the sociopolitical complexities in modern Russia. The analysis employs methods of semiotics of film, which is a relatively young science, but has already become one of the most promising fields in the theory of cinema. The research is based on the scholarship of such eminent theorists and semioticians as Metz, Bluestone, Barthes, Lotman, Bakhtin, and others. By performing semiotic analysis of Russian intermedial transpositions and Pushkin's source texts, the study demonstrates the parallels between the historical periods and contemporary Russia.

Committee: Brian Joseph (Advisor); Alexander Burry (Advisor) Subjects: Film Studies; Foreign Language; History; Literature; Russian History; Slavic Literature; Slavic Studies

Master of Arts, Miami University, 2014, History

The following thesis examines the creation, publication, and reception of Lev Nikolaevich Tolstoy's posthumous novel, Khadzhi Murat in both the Imperial and Soviet Russian Empire. The anti-imperial content of the novel made Khadzhi Murat an incredibly vulnerable novel, subjecting it to substantial early censorship. Tolstoy's status as a literary and cultural figure in Russia – both preceding and following his death – allowed for the novel to become virtually forgotten despite its controversial content. This thesis investigates the absorption of Khadzhi Murat into the broader canon of Tolstoy's writings within the Russian Empire as well as its prevailing significance as a piece of anti-imperial literature in a Russian context.

Committee: Stephen Norris Ph.D. (Advisor); Daniel Prior Ph.D. (Committee Member); Margaret Ziolkowski Ph.D. (Committee Member) Subjects: History; Literature; Russian History; Slavic Literature; Slavic Studies

Doctor of Philosophy, The Ohio State University, 2014, Slavic and East European Languages and Literatures

This dissertation examines works of copyist fiction by Nikolai Gogol, Herman Melville, Fyodor Dostoevsky, and Gustave Flaubert. I argue that, through their exploration of copies and originals, these authors anticipate questions about the nature of language and literature posed a century later in post-structuralist texts like Jacques Derrida's The Double Session and Gilles Deleuze's Difference and Repetition. Rather than a simple sociological exposition of the plight of the little man, copyist fiction is a reaction to a world destabilized by the absence of an authoritative text (Logos), and the act of copying is presented variously as a search for Logos, a new language of immediacy that replaces Logos, and an abolition of meaning. In the process, copyist texts interrogate the relationship between language and the human subject, the physicality of writing, and the limits of mimetic art as (potentially) a type of copying.

Committee: Alexander Burry (Advisor); Angela Brintlinger (Committee Member); Helena Goscilo (Committee Member) Subjects: Comparative Literature; Literature; Slavic Literature

Master of Arts, The Ohio State University, 2005, Slavic and East European Studies

For centuries Russia and the West were engaged in relations that varied from positive to negative depending on economic, social, and political conditions. The process of Westernization strongly affects Russia at the present time, and the interaction of the two cultures leads to an altering of Russian cultural values. The aim of this thesis is to demonstrate that the matter of preserving Russian national identity became urgent at the beginning of the 21st Century. This thesis analyzes two contemporary films and examines how Russia and the West are presented. Both films glorify the time of Imperial Russia and the idea of Russia's unique culture. While one director depicts the mingling of Russia and the West in a positive way, another director views Russians as superior to other nationalities. Both films open a discussion about the influence of the West on Russia's national identity by emphasizing the importance of preserving Russian culture and its values.

Committee: Yana Hashamova (Advisor); Irene Delic (Committee Member); Alexander Burry (Committee Member) Subjects: Slavic Literature

Master of Arts, The Ohio State University, 2006, Slavic and East European Studies

Daniil Kharms was one of the last members of the early Russian avant-garde of the 1920s and 1930s. He was prolific in several genres, but is perhaps best known for his children's poetry and two late works; the Sluchai cycle and the short story, Starukha (Incidences and The Old Woman respectively). Scholars have noted that the thirty pieces that compose Sluchai seem unrelated and because of this, the normal thematic and stylistic links that warrant interpretation of a piece as a cycle are difficult to identify. It is my contention that there exists a possible link between the events of Sluchai and Sherlock Holmes that could classify the text as a cycle, and possibly offer a new interpretation of the work. This analysis suggests that Sluchai can be read as a Holmesian view of Soviet Russia in the 1930s, and posits that importance of Sherlock Holmes to the work of Daniil Kharms is worthy of further research. Though scholarship has noted that Kharms would often dress up as Holmes, it has yet to suggest any further significance between the English detective and Kharms. Considering the history of zhiznetvorchestvo or life-creation and its lineage in the Symbolist and Futurist tradition, it stands to reason that acting as Holmes was not merely and absurdist stunt, but perhaps the inclusion of an aesthetic motif. The Symbolists and Futurist often used their vestiary theatrics as a means to include another realm of life into art, or vice versa. Perhaps Kharms was following similar aesthetic philosophies in his choice to don the famous deer-stalker and pipe, but this does not yet offer any insight into his literature. Using the world of Sherlock Holmes as a reference point will reveal that the events of Sluchai are perhaps not so disconnected or absurd. Considering the social climate of Russia in the 1930s, there was a need for a detective to expose the secret injustices of the Soviet government. Kharms's choice to become a widely recognized symbol of justice reveals his at (open full item for complete abstract)

Committee: Irene Masing-Delic (Advisor); Alexander Burry (Committee Member); Yana Hashamova (Committee Member) Subjects: Slavic Literature

Master of Arts, The Ohio State University, 1997, Slavic and East European Studies

This study explores the image and function of the female protagonist as a reader in Alexander Pushkin's Eugene Onegin, Ivan Turgenev's Rudin and Karolina Pavlova's A Double Life. In these novels the motif of reading serves as an indication of and guide to the protagonist's self-knowledge and development or bildung. In The Voyage In: Fictions of Female Development, Elizabeth Abel, Marianne Hirsch and Elizabeth Langland establish the idea of a specifically female type of Bildungsroman. Their expanded definition of the genre takes into account the following classical features: belief in a coherent self, faith in the possibility of development, insistence on a time span in which development occurs, and emphasis on social context. Using these parameters this study identifies each text as a Bildungsroman for the female protagonists and explores the role of reading as a tool for and impetus to their development. Chapter One traces the path of Pushkin's heroine Tatiana as she progresses from a naive to a sophisticated reader whose critical reception of literature enables her to reinvent and refigure her personality. The high authority of Pushkin's novel in verse in the Russian literary tradition has made Tatiana a model which has influenced, either directly or indirectly, many later works. Chapter Two explores the female protagonist of Rudin, (written in prose) Natalia, as an inscribed reader of, among other texts, Eugene Onegin. Turgenev's reconfiguration of the Tatiana model reflects both the differences in referential aspect and literary mode of the two texts. Chapter Three focuses on Pavlova's A Double Life, written partly in prose and partly in verse. It has respectful but nonetheless polemical relations to the Tatiana model. Cecilia, the protagonist, does not present as overt a portrait of an inscribed reader as do the other two heroines, for she can only interact with literature in her dreams. Moreover, unlike Tatiana and Natalia she is not only a (open full item for complete abstract)

Committee: Lyubomira Parpulova-Gribble (Advisor); George Kalbouss (Committee Member); Irene Masing-Delic (Committee Member) Subjects: Slavic Literature

Master of Arts, The Ohio State University, 1971, Slavic and East European Languages and Literatures

Committee: Jerzy Krzyzanowski (Advisor) Subjects: Slavic Literature