Abstract
This study analyzes the theatrical oeuvre of the Russian empress Catherine II. from political, cultural and literary perspectives. Among other questions, it addresses what goals the monarch was pursuing with her writing, how she herself reflected on her works, where she drew inspiration from, what kinds of forms she selected, and - above all else - which themes she worked with.
The authors work within the theoretical concept borrowed from cultural history of cultural transfer (interlinking of cultures) and reject the outdated theory of the Europeanization and modernization of Russian culture. Instead, they prefer the term "diffusion" in the sense of "dissemination of cultures".
They also agree with the main theses of the Tartu-Moscow Semiotic School, that on the basis of "culture transplant" a "dual culture" developed in the Russian Empire. The authors arrive at the conclusion that Catherine the Great did not rank among the best authors of theatrical works of her period, but she was able to gain an audience.
At the same time, with this activity she also legitimized her rule and built a positive image for herself and for her empire abroad. Her significance for women's emancipation also must not be neglected, because she was one of the first women in the Russian Empire to have her own works issued in print.