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Williams, Anthony Ronald. "Dramatic interpretations of the metropolis, 1821-1881." Thesis, Birkbeck (University of London), 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.298108.
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Kaderabek, Sarah. "Fyodor Dostoevsky's Netochka Nezvanova." Thesis, McGill University, 1993. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=68109.
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The complex nature of Netochka Nezvanova, one of Fyodor Dostoevsky's early pieces, makes this work an interesting and revealing point from which to study the evolution of the writer's craftsmanship. Written under the influence of major Russian, French, and German prose works of the period, it reflects Dostoevsky's process of creative emulation of the achievement of European realist writing and a process of reworking of Russian Romanticism into what would later be called "psychological realism." The unfinished nature of Netochka Nezvanova testifies to Dostoevsky's struggle with the previous literary tradition and to his search for a new literary form. The character types, themes, and stylistic devices with which Dostoevsky experimented in this work would come to play a central role in the creation of his later masterpieces.
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Levasseur, Francis. "Roman et morale chez Dostoïevski : le problème du héros dans "Les frères Karamazov"." Thesis, Université Laval, 2011. http://www.theses.ulaval.ca/2011/28087/28087.pdf.
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Steiger, Krystyna. "Impeded discourse in Fedor Dostoevskii's Vechnyi muzh." Thesis, McGill University, 1997. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=20476.
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The thesis analyzes Fedor Dostoevskii's novella Vechnyi muzh from the perspective of impeded discourse between the reader and the narrative text. It argues that impediment intrinsic to the narrative text affects the enunciative process of the work on various levels. The workings of impediment in Vechnyi muzh are examined on the levels of theme, genre---both in universal and historical terms---and narration. Frustrated reader expectation, uncertainty, and disorientation are shown to be symptomatic of impediment due to three factors: (1) thematic ambiguity on the basis of Dostoevskii's subversion in Vechnyi muzh of the theme of adultery, and of the cuckold motif; (2) genre ambivalence arising from mixed genre signals embedded in the text; (3) inhibited narrative assessment due to restrained narrative technique, and limited narrative perspective.
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Horst, Stephen Scott. "Dostoevsky as apologist." Thesis, University of Wales Trinity Saint David, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.683031.
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Silva, Ronaldo Teixeira da. "O sagrado no romance "O jogador" de Fiódor Dostoiévski : um roteiro para a leitura." reponame:Repositório Institucional da UnB, 2016. http://repositorio.unb.br/handle/10482/22793.
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Dissertação (mestrado)—Universidade de Brasília, Instituto de Letras, Departamento de Teoria Literária e Literaturas, Programa de Pós-Graduação em Literatura, 2016.Submitted by Camila Duarte (camiladias@bce.unb.br) on 2017-02-23T13:49:53Z No. of bitstreams: 1 2016_RonaldoTeixeiradaSilva.pdf: 1126318 bytes, checksum: c13fbdc3727edb49f22f4d294eebf766 (MD5)
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O presente estudo tem por objetivo identificar o sagrado no romance “O jogador” de Fiódor Mikhailovitch Dostoiévski, a partir da formulação de um roteiro para a leitura. Selecionando os conceitos Semelhança, Imagem, Heterotopia e Circuncisão de Walter Benjamin, Maurice Blanchot, Michel Foucault e Jacques Derrida, respectivamente, elaboramos uma base teórica complementar à teoria do sagrado. Os filósofos da Ciência das Religiões definem o sagrado como a priori, o que vem antes, o inapreensível. Nessa medida, opomos o mundo sagrado ao mundo profano como Émile Durkheim estudou. E, depois, buscamos encontrar no texto literário o numinoso, definido por Rudolf Otto, e a hierofania, de Mircea Eliade, o que resultou em um desafio exitoso na leitura de “O jogador”. O romance escolhido, devido à narrativa, para ser lido na perspectiva do sagrado, nos levou ao estudo das características próprias do jogo. Para tanto, a teoria do jogo, de Johan Huizinga, estudada também por Roger Caillois, possibilitou a compreensão de experiências do sagrado nesse universo. Universo que a antropologia geral de René Girard, há tempo, observa. A teoria mimética referendou o roteiro, emprestando os conceitos de sacrifício e vítima expiatória, de modo particular, bem como a sua visão totalizadora e unitária da humanidade de modo geral. A base teórica escolhida encontrou em Dostoiévski, por meio do romance “O jogador”, mais um capítulo de sua obra que trata do homem do subsolo, agora inserido, contudo, no debate do sagrado. E nesse ambiente literário, a constatação fundamental é que, através do roteiro, a leitura do sagrado flui com efetividade, uma vez que consagra conceitos, apoiados em exemplos, e dialeticamente os renova, aproximando-os da realidade do jogo e apontando uma contribuição orientadora para a análise do sagrado no âmbito da teoria da literatura.
This study aims at identifying the Sacred in the novel The Gambler by Fiódor Mikhailovich Dostoévski providing the formulation of a reading guide. Starting with the concepts of resemblance, imaging, heterotopy and circumcision by Walter Benjamin, Maurice Blanchot, Michel Foucault and Jacques Derrida, we ellaborated a theoretical basis in order to complement the Sacred theory. The philosophers of Religions Science define the concept of Sacred a priori as what comes first, the ungraspable. To that extent, in this work we oppose the Sacred to the profane world as Emile Durkheim studied. Then, we seeked to find the numinous in the literary text, defined by Rudolf Otto, and the hierophany, by Mircea Eliade. This resulted in a successful challenge during the reading of “The Gambler”. The novel was selected due to its narrative and could be read accordingly to the Sacred perspective. It boosted us to study the characteristics of the game itself. Therefore, the theory of the game, by Johan Huizinga, also studied by Roger Caillois, enabled the comprehension of sacred experiences in the Universe. This Universe is been observed by the general anthropology of René Girard, for a long time. The mimetic theory not only endorsed the reading guide, lending the concepts of sacrifice and atoning victim, in particular, but also contributes with its totalizing and unitary views of humanity in general. The theoretical basis found in Dostoiévski, in the novel “The Gambler”, suggests that another chapter of Dostoiévski´s work deals with the underground man, now inserted, however, in the Sacred debate. In this literary environment, the key finding is that, with the reading guide, the act of reading the sacred flows with effectiveness since it enshrines concepts, which is supported by examples and dialectically renews them, approaching the reality of the game and pointing a guiding contribution to the sacred analysis in the context of literary theory.
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L'Hermitte-Howlett, Sylvie. "Malraux, lecteur de Dostoi͏̈evski." Paris 3, 2002. http://www.theses.fr/2002PA030043.
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Cette étude a voulu faire d'une relation implicite qui unit les romans d'André Malraux à ceux de Dostoi͏̈evski une analyse explicite en confrontant systématiquement les deux œuvres. Les différentes lectures de Dostoi͏̈evski, et divers intercesseurs comme Gide, Suarès et Chestov, permettent à Malraux de tisser un dialogue intime avec le romancier russe, de découvrir son " démon " et d'approfondir le problème du Mal. Les premiers romans de Malraux adaptent l'héritage dostoi͏̈evskien aux contextes révolutionnaires asiatique et européen. Progressivement, Malraux s'approprie et transfigure cet héritage au point d'en faire sa signature évidente ; ses derniers écrits rendent à Dostoi͏̈evski un hommage qui ressemble parfois à une identification. Les analyses des romans de Dostoi͏̈evski par Malraux révèlent une conception de la création romanesque formaliste avant la lettre. À travers ses romans, ses essais, ses préfaces, ses comptes rendus, ses discours et ses entretiens, cette étude tente également de reconstituer l'essai sur Dostoi͏̈evski que Malraux n'eut pas l'occasion de publierThe aim of this study is to carry out, by a systematic confrontation of their works, an explicit analysis of the way in which André Malraux and Dostoievsky's novels are implicitly closely related. The different readings of Dostoievsky and various intercessors like Gide, Suarès and Chestov enable Malraux to weave a most personal dialogue with the Russian novelist, so as to discover his " demon " and more deeply fathom the question of Evil. Malraux's early novels adapted Dostoievsky's heritage to the Asian and European revolutionary contexts. Malraux gradually appropriates this heritage for himself to such extent that it becomes his own signature. His last writings pay Dostoievski a tribute which appears sometimes like a form of identification. The analysis of Dostoievsky's novels by Malraux reveals a formalistic conception of novel writing before its time. Through his novels, his essays, prefaces, accounts, speeches and interviews we have sought to piece together the essay on Dostoievsky which Malraux didn't have the chance to publish
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Ceccarelli, Marco. "Revolutionary self-fulfilment? : individual radicalisation and terrorism in Fyodor Dostoyevsky's Notes from underground, Crime and punishment and The devils." University of Western Australia. European Languages and Studies Discipline Group. European Studies, 2009. http://theses.library.uwa.edu.au/adt-WU2010.0007.
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This thesis analyses Fyodor Dostoyevsky's discussion of individual radicalisation and terrorism in three of his major novels: Notes from Underground, Crime and Punishment and The Devils. Whilst the issues of radical ideology and terrorism have often been independently discussed by Dostoyevsky scholars, little attention has been devoted to the study of the process of radicalisation undergone by Dostoyevsky's protagonists, whereby the extreme fulfilment of radical ideals culminates in political violence. This investigation traces the evolution of Dostoyevsky's individual in the context of the radically changing socio-political environment of nineteenth-century Russia. The development of this individual will be examined throughout the novels as he initially questions, and is hostile to, radical ideology, gradually embraces its tenets and tests its validity through the use of violence and eventually engages in terrorist activity. Dostoyevsky felt himself impotent in the face of the gradual assimilation of utilitarian, materialistic and nihilist ideals by the new generation of Russian intellectuals. In the emulation of Western revolutionary culture, he came to see a threat to Russian nationhood, to true Russian identity and to traditional Russian values such as Orthodox Christianity. In his novels he sought to examine and question the ideologies of leading theorists influenced by Western radical thought; ideologies that he believed were flawed, deceptive and contradictory. This study focuses on the development of the themes of radicalisation and terrorism in the three chosen novels. Emphasis is laid on the devastating impact of radical ideology and terrorist activity on the individual.
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DE, LUSTRAC CATHERINE. "Dostoievski : un genie coupable." Montpellier 1, 1990. http://www.theses.fr/1990MON11254.
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Haddad-Wotling, Karen. "Proust et dostoievski : une esthetique du mouvement." Paris 3, 1990. http://www.theses.fr/1991PA030023.
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Cette these ne se propose pas seulement d'eclairer la facon dont proust a decouvert et lu l'oeuvre de dostoievski. Elle se fonde egalement sur une comparaison qui au-dela de la decouverte d'une influence, revele des analogies entre les deux univers romanesques et la mise en oeuvre d'une "esthetique du mouvement". La demarche adoptee est donc double: l'etude du fait comparatiste precede la comparaison des deux oeuvres. La premiere partie precise les conditions dans lesquelles proust a pu avoir acces a l'oeuvre de dostoievski. L'etude de dostoievski dans a la recherche du temps perdu et en particulier dans la prisonniere, montre que le romancier russe offre le modele d'une esthetique de l'etrangete mais aussi celui d'une nouvelle "psychologie" qui n'a d'autre fondement qu'un principe de construction romanesque. La deuxieme partie a pour objet la theorie esthetique des deux auteurs. Proust et dostoievski sont ainsi confrontes a deux questions centrales: celle de l'unite de l'oeuvre et celle du realisme, ce qui les conduit a une reflexion sur la notion de public. La comparaison des deux theories esthetiques fait apparaitre l'importance de la notion de composition, objet de la troisieme partie. Le modele pictural et le modele theatral sont successivement etudies, mettant en evidence des principes de discontinuite et de mobilite. La quatrieme partie est consacree a la presentation des personnages, a l'analyse de l'amour et du secret. Enfin, la derniere partie est consacree a la "recherche de la verite" et permet de preciser les differences de perspectives qui existent entre les deux oeuvresThe purpose of this study is not only to bring to light the way proust discovered and read dostoevsky's works. Beyond the discovery of any influence, it is also based upon a comparison which reveals analogies between the worlds of the two authors, and the development of an "aesthetics of movement". The first part specifies the circumstances under which proust could reach dostoevky's works. The study of dostoevsky's role in a la recherche du temps perdu, and especially in la prisonniere, shows that the russian novelist provides an example of an aesthetics of "strangeness", and of a new psychology, which is based solely upon the principle of the novel structure. The second part deals with the aesthetic theory of both authors. Proust and dostoevsky are thus confronted with two basic questions: that of the unity of the work, ands that of realism. Both of them are led to a reflection upon the notion of public. The comparison between theses two aesthetic theories reveals the importance of the notion of composition, which is the subject matter of the third part. The study of the pictorial and dramatic patterns brings principles of discontinuity and mobility into focus. The fourth part is intended to analyse the way in which characters are presented as well as to study the themes of love and secret. Finally, the fifth part is dedicated to the "pursuit of truth", and enables to clarify the difference of views which exists between the two works
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Eltchaninoff, Michel. "L'expression du corps chez Dostoevskij." Paris 12, 2000. http://www.theses.fr/2000PA120038.
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A travers l'analyse des principaux romans de dostoevskij ( dans le texte russe), il s'agit de mettre a jour une ecriture originale et novatrice de l'essence des personnages romanesques. En l'absence presque complete de description objective du corps et des comportements physiques des personnages, une corporeite que nous appellerons << inobjective >> envahit tout le recit dostoevskien. Elle apparaitdans une attention toute particuliere accordee aux perceptions spatio-temporelles, toujours soumises a une teinte affective determinee, dans l'omnipresence de la maladie et de la violence, metamorphoses fondamentales de la corporeite soumises a une legalite propre, enfin dans l'importance que l'ecrivain accorde a la parole de ses personnages, a l'intensite, au ton, a la << chair >> de cette parole. Les notions directrices du mouvement phenomenologique (de husserl et heidegger a merleau-ponty) - intentionnalite, tonalite affective, chair, chiasme - permettent de mener cette analyse qui met en evidence l'enracinement corporel et affectif de la sphere conceptuelle. Chez dostoevskij, les multiples << idees >> et theories des personnages sont en effet inseparables d'une corporeite vivante, c'est-a-dire d'une ecriture de cette incorporation. Tout en evoquant l'influence des notions-cles de la theologie chretienne orientale sur cette problematique de l'incarnation et de la transfiguration du corps, ce travail cherche donc a proposer une interpretation renouvelee de l'uvre de dostoevskij -dont la qualite premiere de romancier a souvent ete negligee par les philosophes - comme a approfondir certains aspects de la recherche phenomenologique contemporaine.
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Fonseca, Ludmilla Carvalho. "O Homem Extraordinário de Fiódor Dostoiévski e O Homem Revoltado de Albert Camus." reponame:Repositório Institucional da UnB, 2010. http://repositorio.unb.br/handle/10482/8302.
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Dissertação (mestrado)-Universidade de Brasília, Instituto de Letras, Departamento de Teoria Literária e Literaturas, 2010.Submitted by Patrícia Nunes da Silva (patricia@bce.unb.br) on 2011-06-09T18:05:46Z No. of bitstreams: 1 2010_LudmillaCarvalhoFonseca.pdf: 1962877 bytes, checksum: 113087b95b4bdc6af7f21c8846fc36ae (MD5)
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Esta pesquisa tem como finalidade abordar a relação entre os romances Crime e Castigo (2001), de Fiódor Dostoiévski (1821 – 1881), A Morte Feliz (1997) e O Estrangeiro (1982), de Albert Camus (1913 – 1960). Pretende-se mostrar a influência do homem extraordinário sobre o homem revoltado. A pesquisa propõe investigar o comportamento das personagens protagonistas; associar as abordagens filosóficas que permeiam o discurso de Dostoiévski e de Camus; compreender o conceito de homem extraordinário e de homem revoltado. O método consiste em uma revisão bibliográfica apropriada ao tema e na análise dos romances em questão. Os resultados apontam para a semelhança entre o homem extraordinário em Dostoiévski e o homem revoltado em Camus. Pode-se concluir que a semelhança entre ambos se dá na temática do crime e, principalmente, pelas características das personagens protagonistas dos romances estudados. Raskólnikov, de Crime e Castigo; Patrice Mersault, de A Morte Feliz; e Meursault, de O Estrangeiro são indivíduos singulares. Eles buscam – cada um ao seu modo e ao seu tempo – exaurir a sua vontade em uma perspectiva de superação dos valores anteriormente consolidados pela estrutura social. Esse movimento de busca da transmutação dos valores encontra, na ação de revolta, possibilidades de se construir um novo homem, sendo este um além-homem. ______________________________________________________________________________ ABSTRACT
This inquiry aims the relationship between the novels Crime and Punishment, by Fiódor Dostoiévski, The Happy Death and The Stranger, by Albert Camus. Intends to show the influence of the extraordinary man on insurgent man. This work intends to investigate the behavior of the characters protagonists; associate philosophical approaches that permeate the discourse of Dostoiévski and Camus; understand the concept of extraordinary man and insurgent man. The method consists of a literature review appropriate to the subject and analysis of the novels in question. The results point to the similarity between the extraordinary man in Dostoiévski and insurgent man in Camus. Can conclude that the similarity between the two takes on the theme of crime and, especially, the characteristics of the characters protagonists of the novels studied. Raskólnikov, by Crime and Punishment; Patrice Mersault, by The Happy Death, and Meursault, by The Stranger are unique individuals. They seek - each in his own way and his time - his desire to exhaust from the perspective of those values previously consolidated by the social structure. This motion of search of the transmutation of values found, in the act of revolt, the possibilities of building a new man, which is a beyond-man.
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Glehn, Priscila Rodrigues von. "A figura de Cristo em personagens de Dostoiévski." reponame:Repositório Institucional da UnB, 2014. http://repositorio.unb.br/handle/10482/16305.
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Dissertação (mestrado)—Universidade de Brasília, Instituto de Letras, Departamento de Teoria Literária e Literaturas, Programa de Pós-Graduação em Literatura, 2014.Submitted by Jaqueline Ferreira de Souza (jaquefs.braz@gmail.com) on 2014-09-19T13:55:25Z No. of bitstreams: 1 2014_PriscilaRodriguesVonGlehn.pdf: 2371343 bytes, checksum: 0b8a961dff361fad8faa4e5caa394efe (MD5)
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O objetivo deste trabalho é analisar as representações de traços de Cristo em três personagens dostoievskianas – Sônia Marmeládova de Crime e Castigo (1866), o príncipe Míchkin de O Idiota (1868) e de Aliócha Karamázov d'Os Irmãos Karamázov (1880), na tentativa de compreender por que o autor busca aproximar Cristo à imagem e semelhança do homem por meio de personagens que representam uma versão mais humanizada de Cristo. As conclusões deste trabalho mostram que Dostoiévski criou o seu próprio universo religioso essencialmente bíblico e baseado na ética do Sermão da Montanha. Ao buscar a representação do ideal cristão (um homem positivamente belo), que estava na figura do Cristo, ele criou personagens que “inconscientemente” praticam a imitatio christi, ou seja, imitam Cristo em sua pobreza, humilhação, autossacrifício e a compaixão. Esse comportamento se associa a um tipo de kenosis em que o monge imita Cristo e segue literalmente os preceitos dos quatro evangelhos. A partir desses fatos, pode-se inferir uma possível influência do kenoticismo russo no pensamento cristão de Dostoiévski, na criação de suas personagens crísticas, o que pode ser explicado pela forte influência da tradição kenótica no cristianismo russo desde o século XI, com seus primeiros representantes, até meados do século XIX. As aproximações da figura de Cristo à imagem e semelhança do homem talvez se devam à crença de Dostoiévski no Cristo Homem, que se esvaziou de sua divindade para viver na terra como homem e dar o exemplo a ser seguido por toda a humanidade. ___________________________________________________________________________ ABSTRACT
The aim of this dissertation is to analyze the representation of traits of Christ in three Dostoievskian characters: Sonia Marmeládova, from Crime and Punishment (1866); Prince Myshkin, from The Idiot (1868); and Alyosha Karamazov, from The Brothers Karamazov (1880), in order to understand why the author seeks to bring Christ the image and likeness of man by means of characters who represent a humanized version of Christ. The conclusion shows that Dostoevsky created an essentially biblical and religious universe of his own based on the ethics of the Sermon on the Mountain. In seeking to represent the Christian ideal (a man positively beautiful) as in Christ’s portrait, he created characters who practice a “unconscious” form of imitatio christi, that is, they imitate Christ in his poverty, humiliation, selfsacrifice and compassion. Such behavior is associated with a type of kenosis in which the monk imitates Christ and literally follows the precepts of the four gospels. From these facts, one can infer a possible influence of Russian Kenoticism on Dostoyevsky’s Christian thought in his creation of Christic characters, which can be explained by the strong influence of Kenotic tradition on Russian Christianity since the Eleventh Century, with the first representatives of Russian Kenoticism, until the mid-Nineteenth Century. Approaches to the figure of Christ with the image and likeness of man may be due to Dostoyevsky’s the belief in a humanized Christ, who emptied himself of his divinity to live on Earth as a man, thus setting an example to be followed by the whole mankind.
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Sutterman-Asseo, Marie-Thérèse. "Abord psychanalytique des processus psychiques déterminants dans l'épilepsie essentielle." Paris 10, 1989. http://www.theses.fr/1989PA100128.
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Borges, Guilherme Almeida. "Crime e castigo nos modos de "fazer justiça" : um estudo sobre representações sociais da criminalidade urbana, punição e justiça." reponame:Repositório Institucional da UnB, 2009. http://repositorio.unb.br/handle/10482/5272.
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Dissertação (mestrado)—Universidade de Brasília, Instituto de Ciências Sociais, Departamento de Sociologia, 2009.Submitted by Allan Wanick Motta (allan_wanick@hotmail.com) on 2010-07-12T18:24:22Z No. of bitstreams: 1 2009_GuilhermeAlmeidaBorges.pdf: 589635 bytes, checksum: 9aa4a55bbd0bcb55f9a7b6911243d490 (MD5)
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As percepções, valores e representações formuladas sobre a criminalidade urbana e a forma de combatê-la consistem no objeto central da pesquisa empreendida. A categoria central a partir da qual a pesquisa se estruturou é a que aqui se está denominando “Fazer Justiça”. Diz respeito a arranjos discursivos difusos encontrados na população civil que reivindica que, frente à criminalidade, a Justiça seja feita. Esses discursos demonstram a forma como a população interpreta determinados princípios de Justiça frente à realidade na qual vive. Foram pesquisadas pessoas que tiveram contato com o crime violento na condição de vítimas, parentes de vitimas ou testemunhas dos crimes. Por meio do contato com a instituição policial, foram realizadas observações nas delegacias de polícia do Distrito Federal, no intuito de buscar contato com vitimas de crimes violentos e analisar a forma como seus discursos eram gerados e estruturados após o crime ter acontecido. As localidades pesquisadas foram escolhidas a partir de uma categorização das diversas Regiões Administrativas do Distrito Federal de acordo com suas características socioeconômicas. Foram pesquisados o Lago Sul e o Plano Piloto como regiões cuja população possui perfil socioeconômico próximo e poder aquisitivo mais alto e a Ceilândia e o Paranoá foram pesquisadas como áreas representativas das localidades com poder aquisitivo mais baixo do DF. Para a análise dos discursos sobre “Fazer Justiça” foi utilizada a teoria das representações sociais no intuito de buscar o quadro cognitivo e as lógicas que davam subsidio a uma interpretação do crime e das formas de combatê-lo. A análise das Representações Sociais do Crime e do “Fazer Justiça” buscam evidenciar os moldes cognitivos que formam a experiência do crime como uma ordenação dos fatos vividos, de forma que adquiram sentido para a população. O “Fazer Justiça” mais do que uma série de discursos representa uma forma de interpretar a realidade vivida e representar o crime, o criminoso e a criminalidade urbana. _______________________________________________________________________________________ ABSTRACT
The perceptions, values and representations that are constructed about urban criminality and the way to fight against it consist in the main object of this ressearch. The central category from which that research had structured itself is the “Doing Justice”. It refers to a setting of difuse discourses found in civil population that demands Justice to be done in the criminal issues. This discourses demonstrate the way how population interpretates some principle of Justice in the reality they live. The research was made with people who have contact with the crime as victims, victim’s relatives or witnesses of crimes. Through the contact with police authorities, it has been made observations in the police offices of Distrito Federal, with the propose of getting in touch with violent crime victims and analyzing the way the discourses was strutuctured after the crime happened. The places explored was chosen through a categorization of Administrative Regions of Distrito Federal according to its socioeconomic characteristics. Lago Sul and Brasilia was explored as a sample of high income population and Ceilândia and Paranoá was explored as a sample of low income population. The Social Representation Theory had been the base to analyse the “Doing Justice” discourses with the intention of search the cognitive references and the logics that based an interpretation of crime and the ways to fight against it. The Social Representation analysis of Crime and “Doing Justice” discourses evidenciates the cognitive pattern that construct the experience of crime while it put in order the facts in a way it make sense for the population. “Doing Justice” is more than some discourses, it is a way to interpretate crime, the criminal and the urban criminality.
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Guignard, Sandrine. "Le problème philosophique de la conscience chez Dostoi͏̈evski." Paris 10, 2004. http://www.theses.fr/2004PA100048.
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L'étude propose une lecture de la conscience dans les oeuvres de Dostoi͏̈evski à partir de son intrication originelle dans l'organique et présente le phénomène d'accaparement comme déterminant cette relation essentiellement chosifiante de la conscience par le pulsionnel qui la porte au monde. Cette approche conduit à la dé-construction de toute définition métaphysique de l'homme afin de l'observer relativement à ce qui fonde et anime le vivant : le vouloir aveugle, le Dionysiaque. Cette inscription de la conscience dans la corporéité conduit à lire le sujet dostoi͏̈eviskien comme possédé et à étudier les manifestations de ce caractère monolithique : l'idée obsessionnel, l'état compulsif comme rapports au monde et à l'Autre. Ces différents modes d'expression de ce statut de la conscience remettent en question les notions d'intersubjectivité, d'être-avec et de sens commun pour la conscience chosifiée par l'organique jusqu'à ce qu'elle bute sue Autrui révélé comme résistance organique. Autrui, dans la relation érotique apparaît alors comme l'événement qui désunit la conscience du corps pour une métamorphose par la chair mais indique aussi comme limite à l'être-avec le retrait de la conscience dans l'organique qui signale une solitude ontologique irréductible et indépassableThe study presents a lecture of the sense of the consciousness in Dostoi͏̈evski's literature according to its primary adherence to the organic system and presents the "possession's phenomena" as a determination of the consciousness which explains the relationship from the impulse. This study describes the destruction of every metaphysical definition of the human condition in order to observe humanity acording to its origin : the impulse. Then, the characters found in Dostoi͏̈evski's literature seem to be captured by themselves, slave to desire and are determinded by obsession which can be translated by a compulsive idea or a compulsive behaviour. The,; common sense, universal sense loose their meaning until the meeting with the Other in the erotic relationship which metamorphoses body in flesh but also shows the limit imposed by the organic nature and that the ontological organic solitude can't counter-balanced by flesh
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Lamblé, Pierre. "Le système philosophique et métaphysique de l'histoire de Dostoi͏̈evski." Versailles-St Quentin en Yvelines, 1999. http://www.theses.fr/1999VERS1001.
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Le but de cette thèse est de démontrer que Dostoi͏̈evski ne fut pas seulement un romancier, mais surtout un philosophe authentique, possédant un système de pensée logique et cohérent. Le premier tome part de l'analyse des carnets de l'idiot et s'attache à montrer comment les personnages, dans leur conception, sont destines à incarner des idées ou des principes philosophiques; puis, partant de l'analyse des personnages, à énoncer les principes de base de la philosophie de Dostoi͏̈evski, en soulignant les influences essentielles, allemandes et russes, dont s'est inspire l'auteur. Le deuxième tome explore une des parties essentielles de cette philosophie: la métaphysique de l'histoire. La première partie. Physique de l'histoire, dégage les lois de fonctionnement de l'histoire telle que la conçoit Dostoi͏̈evski, en mettant particulièrement en lumière le fait que ces lois suivent dans leur ensemble les lois de ce que la physique moderne appelle un "système chaotique". . . .
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Dória, Renato Palumbo. "Oswaldo Goeldi, ilustrador de Dostoievski." [s.n.], 1998. http://repositorio.unicamp.br/jspui/handle/REPOSIP/278644.
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Orientador: Jorge ColiDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas
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Mestrado
Historia da Arte
Mestre em História
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Oliveira, Alailson de. "Nietzsche, Dostoiévski e a psicologia do ressentimento / Alailson de Oliveira ; orientador, Antonio Edmilson Paschoal." reponame:Biblioteca Digital de Teses e Dissertações da PUC_PR, 2012. http://www.biblioteca.pucpr.br/tede/tde_busca/arquivo.php?codArquivo=2352.
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Dissertação (mestrado)- Pontifícia Universidade Católica do Paraná, Curitiba, 2012Bibliografia: f. 104-106
Neste trabalho será analisada a possível relação de parentesco intelectual existente entre Nietzsche e o escritor Fiódor Dostoiévski no que tange à psicologia do ressentimento, a partir do confronto das obras Genealogia da moral de Nietzsche e Memórias do
This paper will analyze the possible relationship between intellectual kinship writer Fyodor Dostoevsky and Nietzsche regarding the psychology of resentment from the confrontation of the works of Nietzsche's Genealogy of Morals and Memories from undergrou
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Petchenina, Ludmila. "Une expérience de mise en musique de la prose à travers les deux versions du "Joueur" de Serge Prokofiev." Paris 4, 2006. http://www.theses.fr/2006PA040127.
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La mise en musique des textes en prose devient une pratique courante dans le répertoire vocal du début du XXe siècle. Orienté sur le modèle d’un opéra dit « littéraire », Prokofiev a l’ambition de créer un drame musical moderne. Depuis les années 1910 il adopte une méthode originale fondée essentiellement sur le traitement musical des textes de sa plume élaborés à partir des sources littéraires en prose narrative. Ce choix suscite une question légitime portant sur le caractère de la dimension musicale de son œuvre lyrique dont la spécificité est déterminée par la présence d’un matériau qui, contrairement aux textes versifiés, est émancipé au plan rythmique et irrégulier au plan structurel. Le premier projet majeur de Prokofiev conçu pour le théâtre, Le Joueur est la première adaptation musicale d’un ouvrage de Dostoïevski au XXe siècle qui redécouvre la grandeur de cet écrivain. Le roman de Dostoïevski et les deux versions du livret rédigé par Prokofiev sont examinés à la lumière de la transtextualité, afin de définir la nature du texte de la source littéraire, ainsi que son caractère composite acquis après sa transformation, effectuée par le compositeur dans l’opéra. Cette analyse s’inspire des travaux de Gérard Genette portant sur la littérature au second degré. La suite logique de cette recherche se situe dans la restitution du processus d’agencement du texte de Dostoïevski par le compositeur-librettiste visant son adaptation aux normes d’un livret d’opéra et à la dramaturgie musicale de l’œuvre projetée. La méthode comparative, que l’on applique à deux versions musicale du Joueur met en évidence la spécificité de l‘écriture de Prokofiev et son évolution stylistique, afin de traiter l’interaction entre l’élément verbal et l’élément musical au plan rythmique, structurel et intonatif. La thèse s’achève sur la définition de la nature translinguistique des rapports qui se créent dans une œuvre vocale entre les deux éléments, textuel et musical. Notre recherche soulève également la question de l’étude systématique du traitement musical de la prose dans la musique vocale du XXe siècleThe musical setting of prose texts becomes a current practice in the early-20th-century vocal repertory. On the model of the so called “literary” opera, Prokofiev aims at creating a modern musical drama. Since the 1910’s, he chooses an original method based on the musical setting of his own texts, elaborated from literary sources in narrative prose. This raises a legitimate interrogation on the musical dimension of his lyric work, characterized by the presence of a material that, unlike versified texts, is both rhythmically emancipated and structurally irregular. Prokofiev’s first major project for the theater, The Gambler is the first 20th-century musical setting of a work by Dostoyevsky, of whom the importance was being rediscovered. Dostoyevsky’s novel and the two versions of Prokofiev’s libretto are examined from the point of view of transtextuality, in an attempt to define the nature of the literary source and its composite character after the transformation by the composer in the opera. This analysis is inspired by Gérard Genette’s work on secondary literature. The logically following step of the research is the restitution of the process of elaboration of Dostoyevsky’s text by the composer-librettist aiming at adapting it to the norms of a libretto and to the musical dramaturgy of the planned work. The comparative method applied to two musical versions of The Gambler enlightens the specificity of Prokofiev’s writing and his stylistic evolution, in order to study the interaction of the verbal and musical elements from the points of view of rhythm, structure and intonation. The thesis concludes on a definition of the translinguistic nature of the relationship created in a vocal work between the two elements, textual and musical. The research raises the question of the systematic study of the musical treatment of prose in 20th-century vocal music
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Berry, Robert James. "Conrad and Dostoevsky : an unsuspected brotherhood." Thesis, University of Stirling, 1993. http://hdl.handle.net/1893/2015.
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This thesis attempts a comparative study of Conrad and Dostoevsky. In doing so, it proposes a significant relationship between the ideological, political and literary worlds of both authors. The work is undertaken in eight chapters. Chapter One explores Conrad and Dostoevsky's respective national and cultural identities. It reflects on Conrad's recorded reactions to Dostoevsky and his work, and speculates on the latter's likely response to Conrad. Chapter Two challenges established critical formulae that suggest Dostoevsky is a purely 'Dionysian' writer. The view that Conrad is a consummate 'Apollonian' artist is similarly brought into question. Chapter Three considers Conrad and Dostoevsky as major literary innovators. To support my argument, Bakhtin's critical concepts of 'polyphony' and 'monology' are introduced, and applied in a Dostoevskyan and Conradian context. Especially highlighted is my debate on Conrad's 'polyphonic' narrative technique in Lord Jim (1900). The notable fusion of disparate literary genres in Conrad and Dostoevsky's novels is explored in Chapter Four. Elements of 'adventure', 'thriller', 'romance', and 'detective' fiction are identified in each novelist's world. My argument, however, restricts itself to an extensive analysis of the surprising importance of the 'Gothic' elements in both writers' worlds. Chapters Five and Six, concentrate on Conrad and Dostoevsky's profound insights into the fundamental character of the human personality. Chapter Five considers their parallel interpretations of mankind's quintessentially materialist nature. Chapter Six looks at their strikingly similar visions of man's violent and carnal identity, and his primary urge to dominate other weaker individuals. Chapters Seven and Eight consider two central themes in Conrad and Dostoevsky's fiction, that of anarchist politics and nihilism respectively. Their political and ideological responses to these issues are investigated in some detail, and significant interpretive parallels established. Finally, the conclusion undertakes to once again assure the reader of the surprising and unsuspected bonds that exist between these two seemingly alien writers.
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Chaves, Thaís Figueiredo. "Tanatografia n’Os Demônios de Dostoiévski : arena discursiva e suicídio literário de Stavróguin." reponame:Repositório Institucional da UnB, 2015. http://repositorio.unb.br/handle/10482/18848.
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Dissertação (mestrado)—Universidade de Brasília, Instituto de Letras, Departamento de Teoria Literária e Literaturas, Programa de Pós-Graduação em Literatura, 2015.Submitted by Guimaraes Jacqueline (jacqueline.guimaraes@bce.unb.br) on 2015-11-18T13:41:34Z No. of bitstreams: 1 2015_ThaisFigueiredoChaves.pdf: 1201565 bytes, checksum: 59c2c5442d36ae3c800d64183860226d (MD5)
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Após as Reformas Gerais, em 1861, na Rússia, que libertaram os servos e criaram uma atmosfera propícia para o capitalismo, o país se viu em um período de transição. As mudanças sociais geraram uma onda de suicídios. O tema gerou grande preocupação em Fiódor Dostoiévski e foi amplamente abordado pela obra do autor, principalmente no romance Os demônios [1871]. O trabalho se propõe a analisar como a indecidibilidade, o posicionamento diante da existência de Deus, a polifonia interna dos personagens e a estilização da voz narrativa a partir de ângulos dialógicos dos discursos são importantes para a manutenção ou a extinção da vida. Neste sentido, a tanatografia, n’Os demônios de Dostoiévski, habita uma arena discursiva cujo suicídio – estilizado e vivo – literário instaura-se nas relações de alteridade. __________________________________________________________________________________________________________ ABSTRACT
After the Great Reforms, in 1861, in Rússia, the political event that freed the serfs and originated a propitious atmosphere for capitalism, the country was imersed in a transition period. The social changes created a suicidal wave. The theme was one of Fyodor Dostoevski’s mains concerns and it was broadly discussed in his works, mainly in The Devils [1871]. The present text offers an analysis of how the inability to decide, the failure to position about the question of God’s existence, the internal poliphony of the characters and the estilization of the narrative voices from dialogical angles of the discourse are important for the maintenance or extinction of life. In this sense, the tanatographie, in Dostoevsky’s Demons, inhabits a discursive arena in which literary suicide – stylized and alive – is established in the relations of otherness.
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Ranftl, Josef J. "Von der wirklichen zur behaupteten Schuld : Studie über den Einfluss von F. M. Dostojewskijs Romanen "Schuld und Sühne" und "Der Doppelgänger" auf Franz Kafkas Roman "Der Prozess /." Erlangen : Palm et Enke, 1991. http://catalogue.bnf.fr/ark:/12148/cb40084136c.
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Gomide, Bruno 1972. "Da estepe a caatinga : o romance russo no Brasil (1887-1936)." [s.n.], 2004. http://repositorio.unicamp.br/jspui/handle/REPOSIP/269848.
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Orientador: Francisco Foot HardmanTese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
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Molas, Stéphanie. "Dostoi͏̈evski épileptique, l'influence de sa maladie sur son œuvre littéraire." Bordeaux 2, 1997. http://www.theses.fr/1997BOR2P114.
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Berankova, Eva. "La face cachée, dostoïevskienne d'Albert Camus." Paris 4, 2002. http://www.theses.fr/2001PA040203.
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Destinée à étudier la profonde influence exercée par Dostoïevski sur Camus, ainsi que le dynamisme de la polémique fictive lancée par l'écrivain français contre son prédécesseur russe, cette thèse s'articule autour de trois axes fondamentaux. Sa première partie est consacrée à la cristallisation progressive du " mythe du nord ", cette région de la géographie mentale de camus qui détermine l'horizon d'attente dans le cadre duquel ce dernier interprétait l'œuvre de Dostoïevski. La réaction passionnelle de Camus face aux deux composantes idéologiques majeures de ce mythe (" tentation de la révolte ", " tentation de la sainteté ") se trouve abordée dans les deux parties ultérieures de notre thèse. En analysant les enjeux de cette oscillation typiquement dostoïevskienne entre la révolte et la sainteté qui anime l'univers poétique de camus, nous espérons porter un regard nouveau sur cette " face cachée, nordique " de l'écrivain que la critique littéraire française tend à négligerDesigned to study the profound influence of Dostoevsky on Camus and the dynamism of the fictitious polemics conducted by the French writer against his Russian predecessor, this thesis is constructed along three fundamental lines. Its first part is dedicated to the progressive crystallization of the «myth of the north ", the region of Camus’s mental geography which determines the horizon of expectation within the framework of which Camus interpreted Dostoevsky’s work. Camus's passionate reaction to the two major ideological components of this myth (" temptation of revolt ", “temptation of sanctity " ) is examined in the two other parts of the thesis. In analyzing the manifestations of this typically dostoevskian oscillation between revolt and sanctity that animates Camus’s poetic universe, i hope to introduce a new view of this «hidden, northern face” of the writer which French literary critics tend to neglect
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Abdulmassih, Fabio Brazolin. "Aulas de literatura russa - F.M. Dostoiévski por N. Nabókov: por que tirar Doistoiévski do pedestal?" Universidade de São Paulo, 2010. http://www.teses.usp.br/teses/disponiveis/8/8155/tde-29092010-112244/.
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Este trabalho é composto pela tradução anotada do texto original em inglês Fyodor Dostoevski (1821 1881), que faz parte das aulas de literatura russa que o autor russo Vladímir Nabókov ministrou em universidades americanas de 1941 a 1959, bem como por uma introdução biobibliográfica e crítica sobre o autor, de um modo geral, e de um ensaio crítico sobre suas opiniões a respeito das principais obras de Fiódor Dostoiévski, em particular. Para tanto, serão comentadas as principais opiniões críticas de Nabókov sobre os romances Crime e Castigo, Memórias do Subsolo, O Idiota, Os Demônios e os Irmãos Karámazov de Dostoiévski à luz das concepções de Mikhail Bakhtin, Leonid Grossman, Joseph Frank, entre outros.This research is composed of the annotated translation of the original text in English Fyodor Dostoevski (1821 - 1881), which is part of the lectures on Russian literature that the Russian author Vladimir Nabokov gave in American universities from 1941 to 1959, as well as by a biobibliographical and critical introduction about the author, in a general way, and a critical essay about his opinions concerning the major works of Fyodor Dostoevski, in particular. To accomplish this task, Nabokovs opinions about the novels Crime and Punishment, Memories from the Underground, The Possessed, The Idiot and The Brothers Karamazov have been studied in the light of Mikhail Bakhtin, Leonid Grossman, Joseph Frank, among others.
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Schimelpfenig, Sharla J. (Sharla Jan). "A Comprehensive View of Faith in "The Brothers Karamozov" Through the Collective Personality." Thesis, North Texas State University, 1987. https://digital.library.unt.edu/ark:/67531/metadc501023/.
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In examining Dostoevsky's treatment of faith in The Brothers Karamazov, critics often focus solely on "The Grand Inquisitor." Dostoevsky, however, refutes the Inquisitor's views through the movement of the three Karamazov brothers toward faith. The three Karamazov brothers, as a collective personality, represent the fundamental needs of man and the corresponding aspects of faith, each brother being an individual study of the necessity of integrating soul, heart and mind into faith. The crises that each brother faces force each one to develop a fuller dimension of faith. The final effect of integrating the soul, heart and mind in faith is active love.
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Arteaga, Cristiane Guimarães. "A alma russa de um nordestino : Graciliano Ramos leitor de Dostoiévski." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2005. http://hdl.handle.net/10183/5005.
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A aproximação entre Graciliano Ramos e Dostoiévski se dá quase instantaneamente para quem os lê. No caso de Angústia e Crime e castigo, a semelhança se acentua. Por isso, ao longo desta dissertação, apoiados pelo conceito de influência, traçamos um caminho de leitura em que os pontos de contato entre esses dois escritores pudessem ser percebidos sem, no entanto, privilegiar um ou outro. Para tal, recorremos à História, que demonstrou semelhanças no contexto social na época da publicação das obras escolhidas para análise, e à Psicologia, que, através do conceito de angústia, possibilitou a análise dos protagonistas de Angústia e Crime e Castigo. Nesse trajeto, abordamos também, embora de forma resumida, questões como a tradução, a narrativa autobiográfica e a intertextualidade. Todos esses caminhos, no entanto, convergiram para um único ponto: o ser humano. É, essencialmente, o ser humano que une esses dois escritores. Esse fato, bastante óbvio pelo perfil dos escritores em questão, propicia uma análise da sociedade moderna, apesar da distância temporal, pois a questão humana não se alterou. O Homem continua “angustiado” em sua condição social, especialmente se tem consciência de sua nulidade enquanto indivíduo. Sua liberdade é cerceada por mecanismos sociais que independem de sua vontade. Seu “eu” desaparece em meio a uma multidão de objetos de consumo (des)necessários, que o tornam um “eu-social”. Sem esses objetos, sendo o dinheiro o mais almejado, somos desprovidos de valor, somos “nada”. Sendo o Homem a matéria-prima de Dostoiévski e de Graciliano Ramos, é natural que se encontrem pontos de contato entre eles. Do mesmo modo, é igualmente natural que os dois sejam considerados universais e atuais.
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Maciel, Lucas Vinicio de Carvalho 1983. "Relações dialógicas em narrativas." [s.n.], 2014. http://repositorio.unicamp.br/jspui/handle/REPOSIP/269599.
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Orientador: Raquel Salek FiadTese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
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Resumo: As relações dialógicas, fenômeno constitutivo da linguagem, podem se apresentar dediversas maneiras, como pretendo mostrar ao analisar algumas redações confeccionadas no âmbito do vestibular Unicamp. Os textos examinados e empregados para exemplificação dos pontos debatidos provêm de um corpus de pesquisa constituído por 111 redações de tipologia textual predominantemente narrativa (MARCUSCHI, 2002). São redações eleitas pela Comissão Permanente para o Vestibular Unicamp como as que melhor atenderam à proposta de escrita da "narração". Na investigação empreendida, ancorei-me em reflexões do Círculo de Bakhtin, especialmente expressas nas obras Problemas da poética de Dostoiévski (BAKHTIN, 1929/1963) e Marxismo e filosofia da linguagem (BAKHTIN/VOLOCHÍNOV, 1929), a partir das quais proponho analisar as relações dialógicas considerando os seguintes aspectos: (i) as díspares amplitudes do diálogo (microdiálogo, diálogo composicionalmente expresso e grande diálogo); (ii) os diversos modos de orientação da palavra; (iii) as distintas unidades composicionais do discurso (autoenunciação do herói, discurso do narrador, diálogo entre as personagens); (iv) os diferentes tipos e variantes de discurso por meio dos quais se textualizam os vínculos dialógicos. Na apreciação desses aspectos, por vezes, recorro a exemplos de autores literários, sobretudo a Dostoiévski, a fim de cotejar as explanações do Círculo com os exemplos de redações dos vestibulandos. Por esse procedimento se nota como as relações dialógicas podem se assemelhar em função do caráter narrativo tanto das redações como de obras literárias, mas se possibilita também divisar diferenças na composição e no alcance das relações dialógicas, ao se confrontar um gênero curto como a redação com gêneros longos como romances e novelas. Pela análise realizada é destacada uma série de fenômenos relevantes para o estudo das relações dialógicas, ao se explicitar e detalhar, através dos quatro aspectos anteriormente apontados, os vínculos e os embates entre a voz própria e a voz alheia, entre a que cita e a que é citada. Buscando ir além de concepções de "dialogismo" ou de "relações dialógicas" como uma simples referência de um texto a outro, ou de uma voz a outra, o presente estudo também permitiu debater a respeito dos conceitos de "intertextualidade" e de "polifonia" e até mesmo esboçar uma discussão sobre o caráter literário das redações, considerando-se o modo de organização das relações dialógicas nesses textos
Abstract: The dialogic relationships are a language constitutive phenomenon and can be presented through several ways. This will be shown trough some compositions of Unicamp¿s entrance exam. The texts are part of a research corpus constituted by 111 compositions that present in their constitution some predominance of narrative typology (MARCUSCHI, 2002). Those compositions were evaluated and were considered the best ones by the Comissão Permanente para o Vestibular Unicamp (Unicamp¿s Entrance Exam Permanent Commission). The theoretical foundation of this research are Bakhtin¿s Circle reflections, especially those expressed in Problems of Dostoyevsky¿s Poetics (BAKHTIN, 1929/1963) and Marxism and Philosophy of Language (BAKHTIN/VOLOCHÍNOV, 1929). Based on these bakhtinian texts, the dialogic relationships will be examined through the following aspects: (i) the dialogue amplitudes (microdialogue, compositionally expressed dialogue and great dialogue); (ii) the orientation of the word in its various ways; (iii) the different compositional units of the discourse (the hero self-enunciation, narrator¿s discourse, dialogue between the characters); (iv) the different types and variants of discourse. In the analysis, examples of Dostoyevsky and other authors are compared with the students¿ compositions to show how the dialogic relationships can be similar on both students¿ texts as well as in the literary works. Through this comparison, it was possible to see the differences in the organization of the dialogic relationships, while comparing a short genre such as a composition with long genres as a novel. The four aspects previously indicated allow us to see and detail several phenomena of dialogic relationships, of connections and collisions between oneself voice and the voice of other, the voice that cites and the one that is cited. This thesis demonstrates that the conception of "dialogism" or "dialogic relationships" is more than one simple reference of a text or a voice to another text or another voice. Thereby, this study also leads us to rethink the concepts of "intertextuality" and "polyphony" and yet to discuss the literary features of the compositions, in which dialogic relationships are similar to literary texts
Doutorado
Lingua Materna
Doutor em Linguística Aplicada
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Boyer, Frédéric. "Comprendre et compatir : l'exégèse biblique du récit au secours d'une herméneutique littéraire : Pascal, Dostoievski, Proust." Paris 7, 1988. http://www.theses.fr/1988PA070032.
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L'acte de compréhension des récits de la tradition biblique est inséparable de la pratique de la justice : celle qui nous prescrit l'amour de l'autre homme, notre frère. L'exégèse chrétienne est elle même reconnaissance, à travers les formes de la vie racontée du peuple d'Israel, du corps incarne du dieu fait homme agissant pour nous sauver depuis le commencement. Le couple indissociable de la tradition exégétique chrétienne, interprétation et charité, présuppose la manifestation de ce monde de justice envers mon prochain par l'écriture. Dès son origine biblique, l'écriture glisse hors de son statut de suppléance, devient le champ de liberté d'une tradition fondée sur des figures verbales de sens qui instruisent notre relation au monde plus qu'elles n'en procéderaient. La tache de compréhension des textes n'est plus seulement de surmonter la distance entre l'horizon du texte et celui de l'interprète. L'accès à l'interprétation n'est possible que s'il permet l'affermissement des liens fraternels par la pratique de reconnaissance des significations de l'oeuvre littéraire comme valant pour notre existence a venir. Une étude de la notion biblique de "figure" dans les pensées de pascal fait de l'originalité du christianisme une proposition d'une temporalité herméneutique adresse a l'homme confronte aux apories apocalyptiques de l'existenceAUnderstanding narratives from the biblical tradition can't be separated from the observance of justice which enjoins us to love others, our brothers. The Christian exegesis is acknowledgement in itself, through the forms of the related life of the people of Israel, of the incarnate body of god made human acting to save us from the beginning. The inseparable couple of the exegetic Christian tradition : interpretation and charity, implies the revelation of this world of justice towards our neighbour through scripture. From its biblical origin, writing slides off its status of substitute and becomes the area of freedom of a tradition based on verbal figures the meaning of which educates our relation to the world more than il would proceed from it. The task of understanding texts no longer consists in overcoming the distance between the horizon of the text and that of the interpreter only. Access to interpretation can be reached only if it allows the strengthening of fraternal links by turning the meaning of literary work into meaning for our coming existence itself. With a study of the biblical notion of "figure" in les Pensees by Pascal, the Christian originality is an offer of an hermeneutic temporality to the man who is confronted with the apocalyptic questions of existence. . . .
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Smith, James Gregory. "The Dostoevskyan Dialectic in Selected North American Literary Works." Thesis, University of North Texas, 1995. https://digital.library.unt.edu/ark:/67531/metadc278268/.
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This study is an examination of the rhetorical concept of the dialectic as it is realized in selected works of North American dystopian literature. The dialectic is one of the main factors in curtailing enlightenment rationalism which, taken to an extreme, would deny man freedom while claiming to bestow freedom upon him. The focus of this dissertation is on an analysis of twentieth-century dystopias and the dialectic of Fyodor Dostoevsky's Grand Inquisitor parable which is a precursor to dystopian literature. The Grand Inquisitor parable of The Brothers Karamazov is a blueprint for dystopian states delineated in anti-utopian fiction. Also, Dostoevsky's parable constitutes a powerful dialectical struggle between polar opposites which are presented in the following twentieth-century dystopias: Zamiatin's Me, Bradbury's Farenheit 451, Vonnegut's Player Piano, and Atwood's The Handmaid's Tale. The dialectic in the dystopian genre presents a give and take between the opposites of faith and doubt, liberty and slavery, and it often presents the individual of the anti-utopian state with a choice. When presented with the dialectic, then, the individual is presented with the capacity to make a real choice; therefore, he is presented with a hope for salvation in the totalitarian dystopias of modern twentieth-century literature.
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BELLAT, SAAD. "Dostoievski et bernanos. Etude d'une vision commune de l'homme entre le mal et la grace." Toulouse 2, 2000. http://www.theses.fr/2000TOU20072.
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Au dela de toute recherche d'influence, l'objectif de cette these est d'eclairer les rapports, longtemps restes incomplets, entre dostoievski et bernanos. Elle elabore une comparaison qui devoile les analogies entre les deux univers romanesques et plus precisement la vision de l'homme, saisi entre le mal et la grace, selon les deux romanciers. Notre demarche, qui s'inscrit dans le cadre du symbolisme et de la phenomenologie religieuses, augmente l'interet d'un tel sujet. Nous pouvons donc explorer toute la dimension theologique qui se cache derriere une humanite prise dans le peche et condamnee a la damnation. Le mal, selon dostoievski et bernanos, est egalement satan, presentation anthropomorphe, mais surtout, conformement a la vision biblique, ange dechu et tentateur. Enfin, le visage du christ de l'incarnation represente un autre point commun entre les deux oeuvres. Il est la figure archetypale des saints sous le regne de la grace et artisans de la redemption.
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Ribeiro, Vitor Alexandre. "Subsolos portenhos : o intertexto Arlt-Dostoiévski." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2007. http://hdl.handle.net/10183/24841.
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Este trabalho trata do jogo de contextos envolvidos no intertexto Arlt-Dostoiévski. Ele sustenta que, por trás do espaço intertextual, há um choque e uma interação de contextos através da representação literária e da modelação, em que a representação literária de um contexto a media e estrutura a interpretação e a ficcionalização de um contexto b. Nisto consiste o conceito de intercontextualização, o qual lança a base para o presente estudo acerca do intertexto Arl-Dostoiévski. No caso da transtextualização da ficção dostoievskiana por Arlt, a constituição literário-arquetípica é de importância fundamental. Portanto, o arquétipo do subsolo é investigado como a instância representacional de tradições clandestinas, subversivas e não-canônicas. Essas tradições – às quais eu chamo de tradições subterrâneas –, mediadas através do material ficcional dostoievskiano, representam para Arlt uma alternativa global e ampla à tradição crioula tal como fabricada pela elite argentina como suporte cultural para seu projeto político. Não pretendo aqui apresentar uma análise histórica em profundidade dos elementos contextuais específicos ligados a cada um dos textos em diálogo. Em vez disso, proponho estabelecer os princípios teóricos para a leitura intercontextual dos arquétipos literários e seu papel no processo de recepção-criação.This work deals with the interplay of contexts involved in the Arlt-Dostoevsky intertext. It asserts that, behind the intertextual space, there is a clash and an interrelation of contexts through literary representation and modeling, where the literary representation of a context a mediate and structure the interpretation and the fictionalization of a given receptive context b. In this consists the concept of intercontextualization, which lays the basis for this study on the Arlt-Dostoevsky intertext. In the case of Arlt’s transtextualization of Dostoevskyan fiction, the literary-archetypal constitution is of fundamental importance. Therefore, the underground archetype is investigated as the representational instance of clandestine, subversive and noncanonical traditions. These traditions – which I call underground traditions –, mediated through the Dostoevskyan fictional material, represent to Arlt a global and wide alternative to the criollo tradition as fabricated by the Argentinean elite as a cultural support for their political agenda. I do not intend here to present an in-depth historical analysis of the specific contextual elements connected to each of texts in dialog. Instead, I propose to set the theoretical principles to the intercontextual reading of the literary archetypes and their role in the process of reception-creation.
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Amandio, Manon. ""Comme un poison lumineux" : représentations de la souffrance au XIXe siècle (Fédor Dostoïevski, Charles Baudelaire, Edgar Allan Poe)." Thesis, Paris 10, 2019. http://www.theses.fr/2019PA100123.
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À partir d’une étude des représentations de la souffrance, notre recherche entend mettre en lumière les enjeux et les conséquences d’un effet de lecture qui consiste à confondre le discours d’un auteur et la parole d’une instance élaborée dans son œuvre. Aisément rattachée aux potentialités créatrices de Fédor Dostoïevski, Charles Baudelaire et Edgar Allan Poe, la souffrance joue un rôle essentiel dans la réception internationale des auteurs. Les représentations complexes de celle-ci au sein de leur œuvre ont donné lieu au développement d’une esthétique particulière, au centre de laquelle se trouve un sujet dont la vie intérieure peut aisément être confondue avec celle de celui qui écrit. La souffrance vient ainsi montrer la fragilité de l’identité dont les représentations sont toujours fragmentées, paradoxales, ou encore oxymoriques. Dans ces conditions, la souffrance agit bien, selon le poème de Baudelaire, « comme un poison lumineux ». Répandue dans et par un sujet toujours en mouvement, elle se dérobe à mesure qu’elle révèle, abandonnant ainsi le lecteur à l’insoutenable mystère de l’identitéBased on the study of the representations of suffering, our research considers the issues and consequences of a reader’s tendency to confuse the author’s voice with one of an instance which is created within his writing. Suffering being easily presented in relation to the creative potential, it plays a large part in the authors international reception. Its complex representations in the works of Fyodor Dostoevsky, Charles Baudelaire and Edgar Allan Poe led these writers to develop a particular aesthetic, in the center of which is a created subject with an inner-self which is easily confused with that of the author. The embodiment of suffering thus shows the fragility of identity, of which the representations are always fragmented, paradoxical or even oxymoronic, because it allows the coexistence of multiple approaches regarding its representations. From that perspective, suffering acts, as the prose poem of Charles Baudelaire said, as a “luminous poison”. Spread inside and from a moving subject, suffering hides and reveals at the same time, thereby confronting the reader with the unbearable mystery of identity
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Silva, Maria Antonia Couto da. "Um monumento ao Brasil = considerações acerca da recepção do livro Brasil Pitoresco, de Victor Frond e Charles Ribeyrolles (1859-1861)." [s.n.], 2011. http://repositorio.unicamp.br/jspui/handle/REPOSIP/280228.
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Orientador : Cláudia Valladão de MattosTese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas
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Resumo: Nesta tese analisei a recepção do livro Brasil Pitoresco, de autoria dos franceses Charles Ribeyrolles e Victor Frond (1859-1861), considerado pelo crítico Alexandre Eulálio como um dos "mais altos momentos da nossa iconografia oitocentista". A consulta aos periódicos do fim dos anos 1850 e inicio da década seguinte revelou novos dados sobre o contexto histórico em que a publicação foi realizada e, sobretudo, acerca de sua importância no meio artístico brasileiro. O livro apresenta um conjunto de imagens que associam fotografia e litografia, duas inovações técnicas relacionadas ã modernidade. Em relação à repercussão do livro, duas cartas do escritor Victor Hugo destinadas a Ribeyrolles, amplamente divulgadas em sua época, nos levam a refletir sobre o papel relevante que a fotografia e a litografia assumiram no campo artístico brasileiro no século XIX, e sobre a importância do livro enquanto obra de caráter abolicionista e liberal. Concebido para representar o Brasil na Exposição Universal de Londres em 1862, o livro causou grande impacto em sua época, tanto pelo texto como pelas ilustrações. Entre as litografias, produzidas na França a partir das fotografias de Frond, podemos destacar a série de vistas do Rio de Janeiro e a que registra o trabalho escravo nas fazendas fluminenses, a mais conhecida atualmente. As imagens do Brasil Pitoresco, amplamente divulgadas, ganharam autonomia em relação ao livro, e trouxeram inovações formais que se revelaram importantes para a produção de pintores e fotógrafos do período.
Abstract: In this thesis I have analyzed the reception of the book the Brazil Pittoresco (Picturesque Brazity, produced by the French Charles Ribeyrolles and Victor Frond (1859-1861), and considered by the critic Alexandre Eulálio as one of the "highest moments of our 19th century iconography". The search on periodicals of the end of the 1850's and the beginning of the following decade has revealed new data about the historical context of the book's publication and, moreover, about its importance to the artistic Brazilian realm. The book presents a series of images that associate photography with lithography, two technical innovations that relate to modernity. Repercussion wise, two letters from the writer Victor Hugo to Ribeyrolles, amply publicized back then, lead us into reflecting upon the relevant role assumed by the book regarding the 19th century Brazilian artistic realm and upon its importance as a liberal and abolitionist work. Conceived in order to represent Brazil in the 1862's London Universal Exhibition, the book produced a huge impact on its times, be it because of its text or because of its illustrations. Among the lithographs, which were produced in France from Frond's photographs, we call attention upon the Rio de Janeiro's landscape series and the one that records slave work at haciendas in the Fluminense region. The latter is the most studied nowadays. The Brazil Pittoresco images, which were amply publicized, gained autonomy and brought about formal innovations that proved to be important for the production of painters and photographers of the period.
Doutorado
Historia da Arte
Doutor em História
37
Reisen, Thomas. "L'Immoraliste d'André Gide : édition génétique et critique." Caen, 2001. http://www.theses.fr/2001CAEN1338.
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L'Immoraliste a cent ans. Le premier récit gidien méritait bien à cette occasion qu'on lui consacre ce que Claude Martin appelle " un travail fondamental ". Le premier tome de cette thèse est construit sur le modèle classique de l'édition critique. L'introduction présente l'œuvre dans son contexte historique en étudiant notamment les sources et les influences de Nietzsche et de Dostoi͏̈evski et en retraçant les différentes phases de rédaction de L'Immoraliste. A la suite du texte établi d'après l'édition du Mercure de France de 1928, on trouvera un important appareil critique. Des lettres d'amis et de critiques, souvent inédites, ainsi qu'un dossier de presse regroupant les articles parus dans des revues françaises, belges, italiennes et allemandes permettent de mesurer l'impact public de L'Immoraliste lors de sa parution en 1902. Mais ce travail voudrait également ouvrir des perspectives nouvelles pour l'interprétation de l'écriture de Gide in statu nascendi.
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Marinov, Vladimir. "La Psychanalyse et son double romanesque : une analyse psychanalytique du roman dostoievskien "Crime et châtiment"." Paris 7, 1987. http://www.theses.fr/1987PA070031.
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Le roman est le genre litteraire qui peut s'approcher le plus de la connaissance de l'inconscient decouverte par la psychanalyse. Le roman dostoievskien, quant a lui, a la fois precede de peu et s'apparente le plus a l'esprit de l'oeuvre freudienne. Si son roman peut etre considere comme un "double" de la psychanalyse c'est dans la mesure ou il s'interroge de maniere implicite sur le rapport entre l'etat de veille et l'etat de reve, sur la racine des meurtres originaires (parricide, matricide, infanticide), sur la nature "polyphonique" de l'appareil psychique, sur le rapport des figures de langage (metaphore et metonymie) avec les mecanismes de fonctionnement de l'inconscient (condensation et deplacement) et la structure des fantasmes originaires (scene originaire et seduction originaire). Le roman dostoievskien, avec sa capacite d'emboiter la structure d'autres genres litteraires et artistiques et son talent a evoquer l'unite et la degradation, a travers les ages, de phenomenes religieux tels que le sacrifice et les rites d'initiation a l'age adulte, est en meme temps une source de reflexion sur la structure de l'appareil psychique et sur la nature de l'activite de l'ecriture. La demarche methodologique utilisee a ete elle-meme "double": d'un cote la psychanalyse s'est revelee comme etant l'outil le plus simple qui permette l'intelligibilite du texte romanesque; d'autre part ses elaborations theoriques elles-memes ont ete mises a l'epreuve au cours de leur "application"The novel is the literary type which comes nearest to the understanding of the unconscious discouvered through psychoanalysis. Dostoevsky's novel goes just before and is closely related to the spirit of freud's work. It can be considered as a counterpart of psychoanalysis insofar as it implicitly examines the relation between the waking state and the dreaming state, the roots of primal crimes (parricide, matricide, infanticide), the "polyphonic" nature of the mental apparatus and the connection between figures of style (metaphor and metonymy), the working mechanism of the unconscious (condensation and displacement) and thestructure of primal phantasies (primal scene and primal seduction). Dostoevsky's novel, with its capacity for merging the structures of different literary and artistic styles and its talent for calling forth the consistency and degradation, throughout time, of such religious phenomena as sacrifice and initiation rites at the adult age, is also a main source of reflection on the structure of the mental apparatus and on the action of writing. The methodological approach itself unfolds into part and counterpart: on one hand psychoanalysis is shown to be the best and easiest means of understanding fiction; on the other hand the theoretical elaborations of psychoanalysis are themselves put to the test in the course of their "application"
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Faustino, Jean Carlo. "A etica do amor em Dostoievski : uma analise sociologica do romance O idiota." [s.n.], 2004. http://repositorio.unicamp.br/jspui/handle/REPOSIP/281883.
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Orientador: Elide Rugai BastosDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas
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Resumo: Este trabalho tem o propósito de realizar uma análise sociológica do romance "O Idiota" de Dostoiévski, escrito em 1868. Após uma revisão bibliográfica, a análise é apresentada em três diferentes momentos. No primeiro momento, é realizada uma verificação de como as estruturas sociais da época encontram-se presentes no romance. No segundo momento, é analisada a idéia central do romance e a separação entre essencial e acessório através da integração das partes ao todo. No terceiro e último momento, o resultado dessas duas partes da análise são resgatadas para se construir uma síntese que é contraposta ao pensamento de outros autores da época em que o romance foi elaborado
Abstract: This work intends to carry out a sociological analysis of Dostoevsky novel "The ldiot", written in 1868. After a bibliographical revision, the analysis is presented at three different stages. At the first moment, it is conducted a verification of how the current social structures are present at the nove!. Later, the novel's central idea and a separation between the essential and secondary are analysed through the integration of the parts of the whole. Finally, the result of these two parts is recovered in order to build a synthesis that confronted with to the thought of other authors of the time when the novel was written
Mestrado
Mestre em Ciências Sociais
40
Rivas, Márcia Guimarães. "Sofrimento e sentido: uma clínica fenomenológica de Ivan Karamázov." Pontifícia Universidade Católica de São Paulo, 2006. https://tede2.pucsp.br/handle/handle/1985.
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The present dissertation seeks to grasp the relation between suffering and meaning in the Human condition in Dostoiévski s The Brothers Karamázov , with a particular emphasis on its significance to modern man as well as the purpose of finding a place for a possible contribution from the clinical practice of phenomenology. For that purpose I make use of the method of existential phenomenology in an effort to grasp the intentionality issues involved. In the first chapter I strive to understand Dostoiévski s work in the light of its Russian Orthodox sources, dealing with the authors who studied and commented it and concentrating in further detail on the reading of such categories as suffering, Christianity and Human condition as they appear in this masterpiece of Russian Literature. The Second Chapter is a descriptive compilation of the life of Ivan Karamázov (the main carachter of the book) followed by a phenomenological analysis of his personality and actions, whereby one is led to see how the failure of the notion of Man s sufficiency, which the carachter embodies, and his increasing alienation from the supernatural source of his being, is likely to tear him apart as he seeks to avoid the Human consequences of his passions. Finally, in Chapter 3, I endeavour, in the light of my prime subjects, i.e., suffering and meaning, to establish how Dostoiévski s thought, the main carachter of his book and modern man may be referred to each another, what leads me to the conclusion that the meaning of suffering resides not in suffering itself, but in Man s attitude towards it, be it one of confrontation or denial, acceptance or revolt. Although it in fact exists, is necessary and cannot be denied (denial of suffering is dangerous as it may lead to greater, infernal suffering), suffering is no drive to transformation apart from the diverse meanings which may be attributed to it. Nevertheless, for its acceptance and transformation to be operative, the supernatural aspect in the Human condition must be incorporated. Psycotherapy may contribute to this process of Man s self-revelation by facilitating the first step: not lying to one s self
Nesta dissertação buscamos compreender a relação entre sofrimento e sentido da condição humana, em que pudéssemos transpor a questão para o sofrimento do homem moderno, com a finalidade de encontrar um lugar de contribuição da clínica fenomenológica, em seu entendimento. Para tal, utilizamos o método da fenomenologia existencial de compreensão do fenômeno, de busca de compreensão de intencionalidade. No primeiro capítulo, buscamos a compreensão da ortodoxia e da obra dostoievskiana, através dos autores que trabalham estas questões, focando-nos mais detidamente na leitura do sofrimento, do cristianismo e da condição humana. O segundo capítulo foi uma compilação descritiva da vida de Ivan Karamázov e a subseqüente análise fenomenológica da personagem, quando pudemos testemunhar o fracasso da mentira de suficiência do homem, esquecido de sua sobrenatureza, desaguando em cisão e despedaçamento, no evitamento de suportar suas paixões. Por fim, trabalhamos a tessitura da discussão entre o pensamento dostoievskiano, a personagem na obra e o homem na modernidade, à luz do sofrimento e sentido. Após ter feito este percurso e concluído os resultados, podemos afirmar que o sentido do sofrimento está na atitude que temos diante dele, de enfrentamento ou negação, de aceitação ou revolta. O que nos transforma não é o sofrimento, mas o sentido que damos a ele. Mas, sem sombra de dúvidas, o sofrimento é necessário para que possamos dar sentido e nos transformar em pessoas melhores. O sofrimento existe, é necessário, e negá-lo é garantia de um sofrimento maior ainda, um sofrimento infernal. Portanto, para esta aceitação e transformação pelo sofrimento, o resgate da condição de sobrenatureza é imprescindível. A psicoterapia pode contribuir quando em seu processo de desvelamento o individuo dá seu primeiro passo: o de não mentir a si mesmo
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Arteaga, Cristiane Guimarães. "O herói da modernidade em Dostoiévski e Graciliano Ramos." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2011. http://hdl.handle.net/10183/32832.
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Este trabalho é uma continuação de minha dissertação de mestrado, na qual analisei as possíveis relações de contato entre Crime e Castigo, de Dostoiévski, e Angústia, de Graciliano Ramos. Aqui, pretendo dar continuidade aos pontos de contato entre esses escritores, mas usando a questão da modernidade como ponto comum entre os dois autores. Levando em consideração que, apesar da distância temporal que os separa, as questões da modernidade, como fator de desenvolvimento tecnológico, ou seja, como sinônimo de modernização, e suas consequências para a sociedade estão presentes na literatura de ambos os escritores. No romance de Dostoiévski, por exemplo, teremos várias inovações: o romance dialógico ou polifônico, ao invés do tradicional monológico; a fragmentação da narrativa, “desrespeitando”, muitas vezes, o tempo cronológico; uma maior preocupação com o social; e, principalmente, como decorrência desses fatores, o surgimento de um novo tipo de herói, cujos valores - ou a ausência destes – indicam a existência de uma nova estrutura social gerada pela modernidade e pelo capitalismo. Em consequência disso, as narrativas romanescas passam a apresentar anti-heróis, que oscilam entre o bem e o mal, sem ao menos saber o que de fato é o bem e o mal. Esses “anti-heróis”, como diz Paulo Honório de São Bernardo, podem realizar atos bons que causam prejuízos, mas também atos ruins que geram lucros. Essa nova realidade desconcertante faz com que a sociedade perca seus valores éticos e morais e volte-se para “o que realmente importa”: o dinheiro. Desse modo, conforme Jameson, é compreensível que modernidade e capitalismo sejam considerados sinônimos, pois é o dinheiro que “atribui” o valor ao indivíduo e, em sua ausência, esse “valor” é invalidado na sociedade moderna. Traçamos um panorama da modernidade e das obras de Graciliano Ramos e Dostoiévski antes de partirmos para a análise das obras escolhidas: São Bernardo e Os Demônios, respectivamente. Essas obras foram escolhidas devido a seus protagonistas representarem com precisão o perfil do “anti-herói” da modernidade: cometem “maldades” contra tudo e contra todos, inclusive contra eles mesmos. O destino trágico do herói da modernidade é a impossibilidade de ser feliz e de fazer os outros felizes, numa angustiante sucessão de infelicidades.This work is the continuation of my master's dissertation, in which I analyzed the possible relations between Dostoyevsky's Crime and Punishment and Graciliano Ramos’s Anguish. My intention, here, is to further develop the points of contact between these two writers; however, the discussion will be carried out from the point of view of modernity, a common notion between both writers. Despite the chronological distance between them, the issues of modernity as technological development – that is, technology as a synonym for modernization – and its influence on society are present in the writing of both authors. Dostoyevsky’s novels, for instance, introduce several innovations: dialogism or polyphony in the place of the traditional monologic discourse; narrative fragmentation, often “breaking” the chronological order; greater concern for social issues; and, mainly as a result of these factors, the emergence of a new type of hero whose values – or the absence of values – point to a new social structure, created by modernity and capitalism. As a consequence, the romantic narratives begin to portray anti-heroes, who oscillate between good and evil unaware of what good and evil really mean. These “anti-heroes” – in the words of Paulo Honório, protagonist of Saint Bernard – may do good deeds that cause harm, but also wrongs that generate benefits. Such new unsettling reality causes society to deviate from its ethical and moral values and turn to “what really matters”: money. Thus, according to Jameson, it is obvious that modernity and capitalism be regarded as synonyms. It is money that “assigns” value to the individual and, in modern society, this “value” is considered null when there is no money. We provide an overview of modernity and the work of Graciliano Ramos and Dostoyevsky before analyzing the selected pieces: Saint Bernard and Demons, respectively. These literary works were selected due to the fact that their protagonists are an accurate portrayal of the “anti-hero” of modernity: they are cruel and mischievous towards everything and everyone, including themselves. The tragic destiny of the modern hero is the impossibility of being happy and making others happy. He is forever trapped in an anguishing succession of mishaps.
Este trabajo es una continuación de mi disertación de maestría, en la cual analicé las posibles relaciones de contacto entre Crimen y Castigo, de Dostoievski, y Angustia, de Graciliano Ramos. Aquí, pretendo dar continuidad a los puntos de contacto entre esos escritores, pero usando la cuestión de la modernidad como punto común entre los dos autores. Llevando en consideración que, a pesar de la distancia temporal que los separa, las cuestiones de la modernidad, como factor de desarrollo tecnológico, o sea, como sinónimo de modernización, y sus consecuencias para la sociedad están presentes en la literatura de ambos escritores. En el romance de Dostoievski, por ejemplo, tendremos varias innovaciones: el romance dialógico o polifónico, en vez del tradicional monológico; la fragmentación de la narrativa, “desrespetando”, muchas veces, el tiempo cronológico; una mayor preocupación con lo social; y, principalmente, como consecuencia de esos factores, el surgimiento de un nuevo tipo de héroe, cuyos valores -o su ausencia- indican la existencia de una nueva estructura social generada por la modernidad y por el capitalismo. En consecuencia de eso, las narrativas romanescas pasan a presentar antihéroes, que oscilan entre el bien y el mal, sin al menos saber qué de hecho es el bien y el mal. Esos “antihéroes”, como lo dice Paulo Honório de São Bernardo, pueden realizar actos buenos que causan perjuicios, pero también actos malos que generan lucros. Esa nueva realidad desconcertante hace que la sociedad pierda sus valores éticos y morales y vuelque hacia “lo que realmente importa”: el dinero. De ese modo, conforme Jameson, es comprensible que modernidad y capitalismo sean considerados sinónimos, pues es el dinero que “atribuye” el valor al individuo y, en su ausencia, ese “valor” es invalidado en la sociedad moderna. Trazamos un panorama de la modernidad y de las obras de Graciliano Ramos y Dostoievski antes de que partamos al análisis de las obras escogidas: São Bernardo y Los Demonios, respectivamente. Esas obras se escogieron debido a que sus protagonistas representen con precisión el perfil del “antihéroe” de la modernidad: cometen “maldades” contra todo y contra todos, inclusive contra ellos mismos. El destino trágico del héroe de la modernidad es la imposibilidad de ser feliz y de hacer a los otros felices, en una angustiante sucesión de infelicidades.
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Manela, Aaron Daniel. "Arthur Saint-Leon’s The Little Humpbacked Horse in Context." Thesis, University of Oregon, 2011. http://hdl.handle.net/1794/11507.
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x, 91 p. : ill., musicIn this study I examine representations of antisemitism, fantasy, and cultural imperialism in the 1864 ballet The Little Humpbacked Horse, composed by Cesare Pugni and choreographed by Arthur Saint-Leon. As the creative team adapted the story from verse to ballet, they literally morphed the titular character into new fantastical forms. They also added Jewish, Muslim, and other oriental characters and ended the ballet with a parade of the Russian nations. Drawing on the works of Richard S. Wortman, Julie Kalman, and Roger Bartra, I place these transformations in the context of a larger Russian ambivalence around the shift from a rural and woodland economy to an urban one, the inclusion of Eastern provinces in the rapidly expanding nation, and the emancipation – and inclusion of – internal minorities. I then explain how the music, choreography, and focus of the ballet change as the relevance of these mid-nineteenth century concerns fades.
Committee in charge: Loren Kajikawa, Co-Chairperson; Marian Smith, Co-Chairperson; Anne Dhu McLucas, Member
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Sakamoto, Jacqueline Izumi. "Religião e niilismo: paidéia crítica em Os demônios de Dostoiévski." Pontifícia Universidade Católica de São Paulo, 2007. https://tede2.pucsp.br/handle/handle/2046.
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Objective: To deal with the philosophy of the religion in Dostoiévski as a testimony, that not only discloses a powerful religious criticism to the modern atheism unfolding, but still, extending our repertoire, for the access to this religious thinker as form to know the religion. Justification: In The Devils, Dostoiévski treats the excesses of education and ethics secularization indicating the holiness category forgetfulness, characterized mainly by the symmetry relation between man and the transcendent, the atheism as an anthropocentric legacy of the modern rational project, produces moral myopia rendering useless the discernment amid the relativity chaos. Hypothesis: The nihilism dynamic, characterizes the visceral movements of human being towards self-destruction, is rooted in what Berdiaev defined as an uncreated liberty, where sprout our Imago Dei, not subject to the norms, that inhabits human soul with the Nothing. We will try to show that the path through Nothing, the reality of the sin and the evil is considered the axis of Dostoiévskis pedagogy, constitutes a critical and religious Paideia. Theoretical-methodological aspects and obtained result: As a procedure this research deepened the sense of the work interpretation, and the characters dynamic, by the analysis of its content a narrow relation and dialogue amongst the prominent theoretical yardsticks for the comprehension of the theological foundations presented in the thought of Dostoiévski. In this sense, the obtained result reached the proposed objective: the clash of modern atheism with the instruments of the philosophy of religion that seeks an extended comprehension as a necessary repertoire for the dialogue between education, religion and moral, a critical Paideia, and still, the up to date depth of this work for the contemporary man
Objetivo: Tratar a filosofia da religião em Dostoiévski como um testemunho, que nos revela não só uma poderosa crítica religiosa aos desdobramentos do ateísmo moderno, mas ainda, ampliando nosso repertório, pelo acesso a este pensador religioso como forma de conhecer a religião. Justificativa: Dostoiévski trata em Os Demônios os excessos da secularização em ética e pedagogia e indica que o esquecimento da categoria de santidade, caracterizada principalmente pela relação de simetria entre o homem e o transcendente, o ateísmo como legado antropocêntrico do projeto racional moderno, produz miopia moral inviabilizando o discernimento em meio ao caos relativista. Hipótese: A dinâmica do niilismo, caracterizando os movimentos viscerais do ser humano em processo de auto-destruição, está enraizado no que Berdiaev definiu como liberdade incriada, de onde brota nossa Imago Dei, não passível às normas, que habita a alma humana com o Nada. Procuraremos demonstrar que o atravessamento deste Nada, o eixo da pedagogia dostoiévskiana que considera a realidade do pecado e do mal, constitui uma Paidéia crítica e religiosa. Aspectos teórico-metodológicos e resultado obtido: Como procedimento esta pesquisa aprofundou a interpretação do sentido da obra, e da dinâmica dos personagens, pela análise de seu conteúdo, em estreita relação e diálogo com os referenciais teóricos relevantes para a compreensão dos fundamentos teológicos presentes no pensamento de Dostoiévski. Neste sentido, o resultado obtido atingiu o objetivo proposto: o enfrentamento do ateísmo moderno com os instrumentos da filosofia da religião, que busca uma compreensão ampliada como repertório necessário para o diálogo entre educação, religião e moral, constitui uma Paidéia crítica, e identificou ainda, a atualidade desta obra para o homem no mundo contemporâneo
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Genevray, Françoise. "Quelques lecteurs russes de George Sand au dix-neuvième siècle : contribution à une étude de réception." Aix-Marseille 1, 1990. http://www.theses.fr/1990AIX10020.
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Le travail concerne les oeuvres publiees par george sand de 1832 a 1850. Il evoque leur diffusion en russie (revues, censure), la renomee faite a l'ecrivain dans la presse et par une pleiade d'intellectuels "occidentalistes". Deux d'entre eux sont distingues : herzen, surtout marque par "spiridion" et "horace", belinskij, qui popularisa leur auteur. On examine les themes qui ont attire l'attention ou influence la reception : l'arriere-plan philosophique, qui inclut p. Leroux (ami, collaborateur de sand a la "revue independante"); le plaidoyer en faveur des femmes; les composantes realistes des romans sandiens; le message religieux, souligne par pecerin, debattu par belinskij et dostoevskij. La derniere partie traite de dostoevskij essayiste et romancier. Elle releve les traces de ses lectures sandiennes et met au point des questions de sources ("spiridion", mauprat", "le compagnon du tour de france"); explique l'annexion de sand par l'auteur du "journal d'un ecrivain" (1876); compare leurs utopies respectives; esquisse une typologie des personnages feminins de leurs romans.
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Amavi, Ayité Ayi-Koutou. "Jésus, personnage de roman : chez Fédor Dostoïevski, Joseph Delteil, Robert Graves et Nikos Kazantzakis." Montpellier 3, 2005. http://www.theses.fr/2005MON30024.
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Jésus est au cœur d'une croyance religieuse. Fait personnage de fiction, il perd son caractère sacré pour devenir un héros de toutes les aventures possibles. Par une approche comparatiste des textes de Graves, de Kazantzakis, de Dostoïevski et de Delteil, on arrive aux conclusions suivantes : Graves plus mythologue qu'exégète, propose une relecture des Evangiles ; Kazantzakis crée un Christ communiste, héros légendaire qui tente de sauver le peuple grec continuellement menacé et qui meurt à la manière du Crucifié ; Dostoïevski ne fait pas confiance au catholicisme romain de l'Occident. Il crée un Christ russe, seul capable selon lui, de sauver l'humanité ; Avec son Jésus II gaulois, Delteil s'en prend au Pape auquel il reproche d'ignorer sa vraie mission. Il l'enrôle dans une mobilisation Générale. Conscient de son échec, il se retranche dans un maquis où le sort du Crucifié le rattrapeJesus is at the heart of a religious belief. Made fictional character, he loses his holy character and becomes a hero of all the possible fictional adventures. By an approach comparatiste of the texts of Graves, of Kazantzakis, of Dostoïevski and of Delteil of our corpus, we have come out these results: Graves more mythological than exegete suggests a rereading of the gospels, Kazantzakis creates a communist Christ, a legendary hero who tries to save the greek people continually threatened and who dies in the same way as Jesus. Dostoïevski does'nt trust the roman catholicism of the west. He creates a russian Christ, only capable, according to him, to save humanity. With his gallic Jesus II, Delteil takes it out on the pope to whom he reproaches to be unaware of his true mission. Jesus II enlist the pope in a General Mobilization. Conscious of his faiture, he takes refuge in his maquis where the fate of the crucified catches him
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Stefani, Monica. "'You are what you read' : intertextual relations in Patrick White's The solid mandala." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2011. http://hdl.handle.net/10183/32876.
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Este trabalho apresenta uma análise intertextual do romance The Solid Mandala, do escritor australiano, ganhador do prêmio Nobel, Patrick White, publicado em 1966, como parte de um esforço para estimular estudos sobre sua obra no Brasil e para investigar por que sua fortuna crítica tem passado por uma fase negativa recentemente. Primeiro, mostramos brevemente sua biografia e as condições relacionadas à produção e publicação de The Solid Mandala. Em seguida, apresentamos o contexto histórico do romance. As relações de conflito e complementação envolvendo os irmãos gêmeos Waldo e Arthur Brown na narrativa são analisadas, com destaque para a relação deles com a literatura (um tema importante no romance), retratando o papel das personagens como leitores e escritores na história, apreendendo, assim, seus sentimentos, suas visões de mundo e filosofia de vida (Waldo aspira à uma carreira de escritor e Arthur de fato compõe um poema). Os estudos de Gérard Genette sobre Narratologia são utilizados para embasar a análise, particularmente na relação intertextual entre The Solid Mandala e The Brothers Karamazov, do escritor F. Dostoyevsky, que é o título que chama a atenção de Arthur. Na busca pelo todo de sua vida, Arthur incorpora vários elementos (centrados em um único ponto, suas mandalas) e consegue criar sua própria filosofia. No final vemos que Arthur transcende sua realidade ao usar a leitura do romance russo como um instrumento. Esse estudo destaca a pertinência de revisitar a obra de Patrick White (uma vez que ela prova estar em sintonia com as questões filosóficas sendo discutidas atualmente) e coloca The Solid Mandala no contexto da literatura mundial.This work performs an intertextual analysis of the Nobel Prize winning Australian novelist Patrick White’s The Solid Mandala, published in 1966, as part of an effort to boost studies of his novels in Brazil and to investigate why his critical fortune has been undergoing a negative phase recently. First, we briefly present his biography and the conditions surrounding the writing and publication of The Solid Mandala. Later on, we present the historical context of the novel. The relations of conflict and complementation involving the twin brothers Waldo and Arthur Brown in the narrative are analysed, but we focus on their relation to literature (which is an important theme in the novel), depicting their roles as readers and writers in the story, thus, apprehending their feelings towards each other, worldviews and outlook on life (Waldo aspires to become a great writer, and Arthur actually produces a poem). Gérard Genette’s studies on Narratology are used to support our analysis, particularly in the intertextual relation between The Solid Mandala and F. Dostoyevsky’s The Brothers Karamazov, which is the title that calls Arthur’s attention. In his pursue to find the whole of his life, Arthur incorporates various elements (centred at just one point, his mandalas) and is able to create his own philosophy. At the end we see that Arthur transcends his reality by using the reading of the Russian novel as an instrument. This study enlightens the pertinence of revisiting Patrick White’s oeuvre (since it proves to be so well tuned in to the current philosophical issues being discussed), and places The Solid Mandala in the context of worldwide literature.
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Kaderabek, Sarah. "Beyond fidelity : the works of Gogol', Dostoevskii and Chekhov in Soviet and Russian film." Thesis, McGill University, 2000. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=36962.
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The transfer of an artistic work from the literary medium to the filmic medium presents technical, personal, social and political factors for consideration which are capable of revealing important information about the times in which both the literary work and the film work were created. In a Russian context, where both literature and film have played roles of central cultural importance, the study of this interaction can be particularly fruitful. The first chapter of this dissertation considers the theoretical aspects of adaptation, namely fidelity to the original work and questions of metaphor and narrative structure. After examining these issues in a general context, Chapter 1 then views them in the light of specific stages of Russian cinematic history. The remaining chapters of this dissertation consider selected post-revolutionary Soviet and Russian filmic adaptations of the works of Nikolai Gogol', Fedor Dostoevskii and Anton Chekhov in chronological order. Analysis of both text and film is undertaken in order to demonstrate the complexity of literary and extra-literary factors involved in adaptation. The works of Gogol' have provided film makers with the challenge of finding "adequate" filmic equivalents to this writer's narrative devices, particularly his use of skaz [oral folk narration]. Dostoevskii's works have proven to be a stumbling block for film makers, both in terms of their ideological acceptability, and their exploration of complex psychological and religious issues. The adaptations of Chekhov's works have provided cinema with diverse subject matter that reflects the various stages and developments of Russian cinematic history, from pure fabula borrowing to an emphasis on mood and atmosphere. The interdisciplinary approach of this dissertation strives to show both the on-going relevancy of nineteenth-century Russian literature to modern culture, and the cinema's ability to present vastly differing interpretive possibilities of the literary cano
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Sauquet, Géraldine. "Le Journal intime d’Henri-Frédéric Amiel : l’écriture de soi à l’épreuve du temps." Thesis, Pau, 2020. http://www.theses.fr/2020PAUU1079.
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Tenir un journal personnel est une pratique d’écriture qui connaît un véritable essor au XIXe siècle, à la faveur de la laïcisation de l’aveu et du culte de l’intime. Le journal intime configure en outre une écriture des jours et une écriture de soi qui reflètent une nouvelle perception du temps et imposent une autre conception de la personne, héritée du siècle des Lumières.C’est précisément ce qu’illustre le journal intime qu’Henri-Frédéric Amiel écrit de 1838 à 1881, année de sa mort. À la croisée de l’histoire des mentalités, d’une histoire individuelle et de l’histoire littéraire des écritures de soi, les 16900 pages qui composent ce journal au long cours forment un « livre de vie » remarquable. Sa lecture révèle l’évolution conjointe de la notion d’identité personnelle et des modalités de déchiffrement de soi qui émergent durant ce siècle.Considéré comme l’archétype du diariste, Amiel procède en effet à une étude de soi inédite par sa constance, son audace, comme par la poétique de l’écriture de l’intime qu’elle inaugure. Introspectif et analytique, son journal reflète également les représentations imaginaires d’une époque, tout comme il témoigne des bouleversements d’un monde déserté par la transcendance, où l’individu affronte seul sa destinée personnelle. De ce fait, la conscience de soi est tourmentée par de nouvelles formes d’anxiété et de culpabilité qui s’expriment dans le retrait et le secret d’une écriture de soi, où l’aveu intime dessine un autoportrait complexe et émouvant à la fois.Le journal intime d’Amiel est ainsi écrit à la croisée d’un romantisme désenchanté, d’un projet de soi hérité des Idéologues, et de mutations historiques qui font advenir une forme d’individualisme libéral, dans un monde désormais anomique. L’expérience d’un désaccord fondamental libère alors une écriture de la marginalité, de la clandestinité et de la contestation, mais elle favorise également un processus d’analyse de soi inédit, interroge ce qui fonde l’identité personnelle, tente de cerner les contours d’un moi toujours plus fuyant au fil des jours et des fragments d’écriture journaliers.Resté secret du vivant de son auteur, le journal d’Amiel ne fut intégralement édité qu’en 1994 ; sa publication enrichit la réflexion conduite sur l’écriture de l’intime, sur sa destination et sa réception, mais aussi sur la littérarité d’un genre qui fut longtemps questionnée, et que le XIXe siècle éclaire à un moment déterminant de son histoireKeeping a diary is a writing form which is booming all along the XIXth century, where the secularisation of avowal and the cult of the inner self influence the expression of subjectivity. Nevertheless, the diary shapes the story of the days and self-telling that convey a new perception of time and another idea of Man, inherited from the age of Enlightment.That’s exactly what Xthe diary Henri-Frederic Amiel writes in Switzerland, from 1838 to 1881, year of his death. At the junction of the history of mentalities, personal story and the literary history of writing about oneself, the 16900 pages which make up this long-distance diary compose an outstanding « livre de vie ». Its reading reveals the combined evolution of the notion of identity and the different approaches of self-discovering which have arisen all along that century.Considered as the epitome of diarists, Amiel carries out a self-study which is unprecedented for its steady audacity as well as for the poetic writing of his personal impressions it displays. Inward-looking and analytical, this imposant diary stands for the imaginary visualisations of that time as well as it is an evidence of the fast-changing disruptions of a world abandoned by transcendence, and where the persons become the only masters of their destiny. Self-conscience generates new forms of guilt and anxiety, and their confession makes up a complex and moving self-portrait.Spurred on by a desillusioned romanticism, by a thirst of self-knowledge aligned with the Ideologists project, but also by the undergoing changes that create a kind of individualism in a world that henceforth has become anomic, the diary from Amiel is derived from a basic disagreement which sets free an unconventional, secret and challenging form of writing, but which also allows him to be sincere and dedicated to the self-awareness. If the time-related progress of a writing, whose heuristic purpose scatters mixed pieces of an ego getting more and more elusive, unwinds the spindle of a unique life and a fascinating story, it grabs attention by its large-scale project.Garded secret during the author’s lifetime, Amiel’s diary was only published in its entirety in 1994 ; its publication enhances the reflexion carried out on the writing of the intimate area, on its destination and reception, but also on the problematic literariness of a genre tackled at a decisive period of its history
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Jakani, Yasmine. "Résurgences dostoïevskiennes dans "Lord Jim" de Conrad, "La Chute" de Camus et "Le Maître de Pétersbourg" de Coetzee : la figure de l'errant." Thesis, Toulouse 2, 2014. http://www.theses.fr/2014TOU20093/document.
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Joseph Conrad, Albert Camus et John-Maxwell Coetzee s’intéressent au travers de leurs romans au thème de l’errance. C’est plus particulièrement la figure de l’errant confronté aux paradoxes de l’altérité et de la culpabilité que nous nous proposons ici de mettre en évidence. Avant eux, Dostoievski instaure, avec la figure de Raskolnikov, le schisme puissant de la conscience tourmentée qui se met en errance. Il s’agit, en prenant comme point de départ Crime et châtiment, d’interpeller, d’interroger et de heurter les uns contre les autres des textes où les figures de l’errance entreprennent la paradoxale et laborieuse quête de l’identité. Lord Jim, La Chute et Le Maître de Pétersbourg permettent d’identifier la nature des interactions qui unissent, au travers du prisme raskolnikovien, culpabilité et souffrance, autarcie et rôle social. Au-delà, il s’agit de ramener le questionnement identitaire à ce socle commun qu’est celui du chemin de l’errance au sein de romans du XXe siècle. A travers l’analyse de ces romans, cette thèse se propose donc de montrer comment l’évolution de la figure de l’errant renverse les paradigmes traditionnels liés au mécanisme salut-souffrance et comment elle permet à un nouveau nihilisme de voir le jourJoseph Conrad, Albert Camus and John-Maxwell Coetzee take an interest in the theme of wandering through their novels. Especially, confronting the figure of the wanderer with the paradoxes of alterity and guilt is what we offer to highlight. Before them, Fyodor Dostoevsky establishes with the figure of Raskolnikov the powerful tormented conscience’s schism about to wander. Taking as a starting point Crime and punishment, it is about calling out, questioning and bringing the texts face to face where the wandering figures undertake the paradoxical and laborious identity quest. Lord Jim, The Fall and The Master of Petersburg allow to identify the nature of interactions that bond guilt and suffering, autarky and social role through the raskolnikovian prism. Beyond that, it is about bringing back the identitary questioning to the common base of the wandering way in the 20th century novels. Through the analysis of these novels, this PhD offers to show how the evolution of the wanderer’s figure inverts the traditional paradigms linked to the salvation-suffering mechanism, and how it allows a new nihilism to see the light of the day
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Boag, Cara Ingrid. "Solitude, suffering, and creativity in three existentialist novels." Thesis, Stellenbosch : University of Stellenbosch, 2009. http://hdl.handle.net/10019.1/1713.
Full textAbstract:
Thesis (MA (English Studies))--University of Stellenbosch, 2009.ENGLISH ABSTRACT: As existent beings, we identify with the world through our thoughts and perceptions. Man is driven to seek meaning by the very complexities and contradictions of existence. As self-conscious beings, we cannot live without a sense of awareness and understanding. Creativity allows an individual to develop a unique understanding of the nature and destiny of man. This study draws attention to writers who were able to transcend their external environment and immerse themselves in a setting where man’s individuality is fundamental to living an authentic life. Camus, Dostoevsky and Kafka made every effort to live consciously and authentically. They believed that inwardness was not to be defined by an external, social setting, but rather through an intimacy of consciousness. This awareness and unveiling of being enables us to create meaning. These authors removed their social mantles and were willing to sacrifice acceptance in the pursuit of this cause. They believed that every man has a responsibility to live an individual and authentic life. This psychological and even physical isolation is not easy, however, and often causes much suffering. Using existentialism as a framework, this thesis will focus on solitariness, suffering and creativity, all of which point to the importance of individual consciousness rather than living a life of societal pressures and conformity.
AFRIKAANSE OPSOMMING: As lewende wesens identifiseer ons onsself met die wêreld deur middel van gedagtes en waarnemings. Die mens word gedryf deur die soeke na betekenis in die kompleksiteit en teenstellings van sy bestaan. As wesens met selfkennis kan ons nie leef met ‘n gebrek aan bewustheid en begrip nie. Kreatiwiteit laat die individu toe om ‘n unieke begrip van die aard en lot van die mens te ontwikkel. Hierdi verhandeling vestig die aandag op skrywers wat verby hul uiterlike omgewings kon uitreik en hulself kon indompel in ‘n mileu waar die mens se individualiteit grondliggend is om ‘n onvervalste lewe te lei. Camus, Dostoevsky en Kafka het alles in hul vermoë gedoen om bewustelik en suiwer te lewe. Hulle het geglo dat die innerlike nie gedefinieer kan word deur die uiterlike, sosiale omgewing nie, maar eerder deur ‘n intimiteit van bewustheid. Hierdie bewustheid en openbaring van bestaan laat ons toe om betekenis te skep. Hierdie skrywers het hul sosiale mantels afgewerp en was bereid om sosiale aanvaarbaarheid op te offer in hul strewe na hierdie doelwit. Hulle het geglo dat elke mens oor ‘n individuele en onvervalste lewe beskik. Die sielkundige en selfs fisieke afsondering is egter nooit maklik nie en het dikwels groot lyding tot gevolg. Met eksistensialisme as raamwerk sal hierdie tesis focus op afsondering, lyding en kreatiwiteit.