Slovo: 20.2 (Autumn 2008) Abstracts

Why did Russia Ratify the Kyoto Protocol? Why the Wait? An Analysis of the Environmental, Economic, and Political Debates
Jessica E. Tipton

Abstract
In November 2004, after years of deliberation, Russia decided to ratify the Kyoto Protocol, an international treaty designed to slow climate change by restricting carbon dioxide (CO²) emissions amongst signatory countries. After the USA withdrew from the Kyoto Protocol in 2002, Russian participation was critical to the future of this global agreement. In the run-up to Russia's eventual ratification, conflicting messages emerged from the country's authoritative voices and there is still no consensus on what occurred in government circles prior to ratification. This article analyses possible reasons for Russia's long-awaited decision to ratify the Protocol by looking at Russian and international sources, including media reports, statements released by the Russian government and international organizations, and academic articles. Russia's circuitous debate over ratification of Kyoto is discussed according to three main sections: environmental, economic, and political. The possible role played by environmental concern is analysed by outlining Russia's history on environmental policy, Putin's attitude towards environmental protection, and public opinion vis-à-vis environmental issues. Economics-based arguments considered include: the potential revenues from carbon credit sales and Joint Implementation projects, the costs of implementing Kyoto, the impact of constraining emissions on economic growth, and the influence of Russia's energy sector. The final section discusses the role of various domestic and international political factors.

Exit, Voice, Loyalty: a Hirschmanian Research Framework for Transition Countries
Zsolt Szabó

Abstract
This article adapts Albert O. Hirschman's conceptual framework of 'exit, voice, and loyalty' in order to raise questions in transition studies, such as: are there any models being developed concerning the transition countries, are there similar models in the Western European region, is there any convergence between the models of Eastern Europe and the models of Western Europe? If the answer to the last issue is yes, in which spheres? Or if not, then is it a special economic, social, and political system that is forming in Eastern Europe? Another issue concerns the strength of the growth potential of the different models. This article examines which models are most successful and which are not and analyzes the role of economic and political elite in the development of these models. On the grounds of borrowing and reforming Hirschman's terminology, this analysis offers both a conceptual and a methodological framework that can be used to answer these questions.

The Reflection of the Napoleonic Legend in Adam Mickiewicz's Pan Tadeusz
Sharon Boak

Abstract
The overall image of Napoleon that emerges from Adam Mickiewicz's Pan Tadeusz is one of admiration and grandeur. Conversely, the poem does not fail to cite controversy surrounding Napoleon; his fidelity to the Polish-Lithuanian cause and his use of Polish troops in San Domingo (1802-1803). Though never physically present, Napoleon's impending arrival appears to direct proceedings and influence the destinies of the characters. Through close analysis of the poem, this piece recovers some of the diverse perspectives of the Napoleonic past, contributing to the larger discourse of the Legend's impact upon literary representations of nineteenth-century Europe.

Dream and Not: The Instrumental Theatre of Bogusław Schaeffer
Magda Romanska

Abstract
An analysis and original translation by Dr Magda Romanska of Bogusław Schaeffer's play Dream and Not: Theatrical Play in the Form of Instrumental Concerto. In her analysis, Romanska elucidates Schaeffer's surreal play about a 'perfect' family imprisoned by its own rhetoric. Written by Schaeffer in 1998, Dream and Not is a play that follows the musical contours of a concerto; scenes are labelled by their Italian musical counterparts and the piece develops in three parts (acts). Romanska's translation, praised by Schaeffer himself, honours the nuance of the original while exposing Schaeffer's work to the English-speaking world.

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