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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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Taylor, Eric J. "Dostoevsky and his kingdom vision." Online full text .pdf document, available to Fuller patrons only, 2003. http://www.tren.com.
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Woodson, Lisa Elaine. "Dostoevsky as theologian in The idiot." Theological Research Exchange Network (TREN) Access this title online, 2005. http://www.tren.com.
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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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Burgess, David Fred. "Narrative fits : Freud's essay on Dostoevsky /." Thesis, Connect to this title online; UW restricted, 2000. http://hdl.handle.net/1773/6659.
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Fung, Kai Yeung. "Dostoevsky and the epileptic mode of being." Thesis, University of Manchester, 2011. https://www.research.manchester.ac.uk/portal/en/theses/dostoevsky-and-the-epileptic-mode-of-being(cc8d3ece-3ac8-48bd-93d2-a706b78407e4).html.
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This thesis explores the relationship between Dostoevsky and epilepsy, suggesting that his works can be characterized by a mode of existence which is epileptic by nature. An attack of epilepsy is depicted in two phases: immense anxiety of the outbreak of a seizure; and its sudden attack, during which consciousness completely collapses. I suggest that Dostoevsky's writings can be understood in terms of these two phases: an infinite alternation between the desire to seize upon a critical moment and the impossibility of experiencing it. The thesis examines five of Dostoevsky's post-Siberian novels to illuminate this particular existence, this epileptic mode of being. Chapter 1 looks at Humiliated and Insulted to show that the seemingly selfless pursuit of moral ideals is a form of egoism. Vanya (Ivan Petrovich) sacrifices his personal interests and strictly binds himself to the moral law, incarnating Kantian moral imperatives. Discussing Freud on masochism and Jacques Lacan on Kantian ethics, this chapter shows that philanthropy is a form of idealism which privileges the ascetic ideal and despises the body. The chapter also shows how moral idealism is mocked and suspended under the power of epilepsy. Chapter 2, on Crime and Punishment, demonstrates how Dostoevsky's Petersburg is depicted as enigmatic, even 'epileptic', disconfirming subjectivity. The eclectic style of the city's architecture - specifically St. Isaac's Cathedral - makes the Petersburger disoriented and decentred. Similarly, the chapter demonstrates that the meanings of 'crime' and 'punishment' are pluralized in Raskolnikov's dreams, revealing a splitting of identity. Due to this schizophrenic nature of the urban subject, there can be no single knowledge of why Raskolnikov commits the murder. Chapter 3 explores the split subject in The Idiot. Prince Myshkin wants to reflect on the final moment just before consciousness collapses. He likes to freeze that moment and contemplate the possibility of an afterlife. But this wish is eclipsed by the seizure or, in the case of a guillotine execution, the immediate arrival of death, which continues to create a contradictory existence. Chapter 4 examines Kirilov and his suicide plan in Demons to show that the epileptic has a will to master death: he has a will to the knowledge of death. But paradoxically, death is something ungraspable and cannot be appropriated into the realm of experience. Death as well as epilepsy eludes the self who wants to grasp it. This chapter also discusses Nietzsche on nihilism and Maurice Blanchot's comments on Kirilov's suicide. Chapter 5 suggests a form of 'feminine' epilepsy in The Brothers Karamazov, which I link with the hysterics who suffer from their reminiscences. I show that epilepsy is a moment of rupture of repressed violence. Epilepsy not only disrupts Vanya's moral idealism, Petersburg's pure architectural style, the Prince and Kirilov's wishes for an eternal life, but it also evokes what is repressed beneath these thoughts. This chapter ends with Walter Benjamin's angel of history, showing how the novel unveils a family history which is violent and silenced. The thesis concludes with Blanchot's The Instant of My Death, suggesting that the epileptic mode of being demands the Dostoevsky's heroes to live in infinite postponement, which necessitates a Dostoevskian subject which is infinitely deferred and unfinalized.
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Lary, Nikita M. "Dostoevsky and Dickens : a study of literary influence /." London : Routledge, 2009. http://opac.nebis.ch/cgi-bin/showAbstract.pl?u20=9780415482516.
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Prown, Katherine Hemple. "Flannery O'Connor, Fyodor Dostoevsky and the Antimodernist Tradition." W&M ScholarWorks, 1988. https://scholarworks.wm.edu/etd/1539625432.
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Yee, Sin-cheung. "Sleepwalkers in the cities of Dostoevsky and T.S. Eliot." Click to view the E-thesis via HKUTO, 2005. http://sunzi.lib.hku.hk/hkuto/record/B31579541.
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余善翔 and Sin-cheung Yee. "Sleepwalkers in the cities of Dostoevsky and T.S. Eliot." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2005. http://hub.hku.hk/bib/B31579541.
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McCoubrey, Sam. "Suffering and Redemption in the Works of Fyodor Dostoevsky." Thesis, Boston College, 2004. http://hdl.handle.net/2345/449.
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Thesis advisor: Peter Kreeft<br>In The Brothers Karamazov, Ivan Karamazov was convinced it is not right that there is so much suffering in the world, and was convinced nothing could make it right. As a result he was left with no choice but to reject the ticket for this world, or to be indignant toward the world, which means he was indignant toward life in it. If we listen closely to what Fyodor Dostoevksy had to say in five of his works, The Brothers Karamazov, Crime and Punishment, The Idiot, The Insulted and Injured, and Notes from the Underground, we will find a way in which we can accept the ticket, which is to say that we will find a way to love life<br>Thesis (BA) — Boston College, 2004<br>Submitted to: Boston College. College of Arts and Sciences<br>Discipline: Philosophy<br>Discipline: College Honors Program
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Banta, Bonnie L. "Melville and Dostoevsky a comparision [sic] of their writings /." Instructions for remote access. Click here to access this electronic resource. Access available to Kutztown University faculty, staff, and students only, 2000. http://www.kutztown.edu/library/services/remote_access.asp.
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Thesis (M.A.)--Kutztown University of Pennsylvania, 2000.<br>Source: Masters Abstracts International, Volume: 45-06, page: 2822. Typescript. Abstract precedes thesis as preliminary leaves I-V. Includes bibliographical references (leaves 104-106).
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Woodford, Maria Vladimirovna. "Dreams in Dostoevsky's early works." Thesis, University of Birmingham, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.369338.
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Barron, Antony Howard. "A secret sharing : a comparative study of Conrad and Dostoevsky." Thesis, University of Kent, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.432829.
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Kaplan, Richard Edward. "Dostoevsky, Melville and the conventions of the novel fictional alliances /." Diss., Restricted to subscribing institutions, 1993. http://proquest.umi.com/pqdweb?did=746557821&sid=5&Fmt=2&clientId=1564&RQT=309&VName=PQD.
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Rewinski, Zachary D. "Dostoevsky and Tolstoy's Oblique Responses to the Epidemic of Chernyshevskian Philosophy." Oberlin College Honors Theses / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1277852390.
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Christmas, Simon. "Ideal motives : self-perfection and self-knowledge in the work of Dostoevsky." Thesis, University of Cambridge, 1998. https://www.repository.cam.ac.uk/handle/1810/265428.
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I offer a read ing of Dostoevsky's eth ical philosophy, Jrawing on his fiction and non-fiction work. I argue that coJ1cepts of human oalure and flouri shing are central to Dostoevsky's ethical thought ~d underpin his argum entative strategy in the fiction. ln Part I, l set oul Dostoevsky's ethical philosophy. Dostoevsky rejects the role of reason in ethics and insists that moral action is motivated by spontaneous moral feelin gs . The goal of ethical activity is to develop the se spontaneous feelings and to perfect oneself in the im age of the ideally virtuous agent, Christ. To strive to do so is to flo urish. The i < .lea.l of hum an pe,tect ion is present in un reali sed form in hum an natu re, a.11d self-perfection is n natural process . The process is interrup ted, however. by the desire for autonomy, which undermines one's inner ham10 ny , creating self-des tructive tend encies alongside the natural tendency to self-perfection. This loss of inner harm ony represents t.he opposite of human flourishin g: moral disease. These ideas are apparent in Dostoevsky's views on freedom, res pons ibili y, and the origin of sin. AL the end of Part I, l di scuss Dos toevsky's fict ion al characters in the light of hi s ethi cal thou ght. I sugges t his negative ch :Hacters can be read as experiments des igned to estab lish the conditions Gf hu:11 an fl ourishing. ln Part II , r con si der Dos toevsky's ' cJ011bkd' characters as experiment � . These character ' ar unable Lo es tabli sh the truth abou t their own motivation. a predicament brought abo ut by the ridicule of others . Dosloevsky's ex perim ent assumes that one's confidence in one's account of one's own motivation is affected by Lhe attitudes of others to that account. This as sumption , which is at least pl ausible; is central to Dostoevsky portrayals of interactions between characters. It leads to conclusions that are consonant with his ethical thought - though there are also points of tension.
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Paine, Jonathan. "Buying the story : transaction and narrative value in Balzac, Dostoevsky and Zola." Thesis, University of Oxford, 2017. https://ora.ox.ac.uk/objects/uuid:90b4d56d-ee10-463e-96fc-0cf2fe927ea4.
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This thesis explores narrative as a self-reflexive commentary on the conditions of its own production. It argues that the need for narratives to perform economic functions, such as to provide an income for the author or to promote subscription to a host publication, affects how texts are written. It suggests that this approach is particularly suited to nineteenth-century prose fiction. It proposes a methodology for approaching this analysis based on treating the text as an exchange commodity in a transaction between author and reader whose economic function can be investigated and analysed. The thesis illustrates the application of this approach to major works of three nineteenth-century authors, following the evolution of the book format in France from its subordination to the roman-feuilleton in the late 1830s to its revival as an economically independent format in the 1880s, and contrasting this to the situation in contemporary Russia. A chapter on Balzac, which focusses on Splendeurs et misères des courtisanes, shows how this work can be seen as both a mirror of the rapidly evolving world of publishing during the 1830s and 1840s and as an extended discussion on the constituents of narrative value. It demonstrates how Balzac first adopts, then rejects and parodies, literary devices developed for the rapidly commercialising world of the roman-feuilleton. A chapter on Dostoevsky's The Brothers Karamazov, serialised in 1879-80, examines how an author could develop strategies to create literary and economic value within a contemporary readership which was far less developed than that in France. It demonstrates how important literary devices which Dostoevsky uses can be shown to have economic as well as aesthetic effect. The thesis concludes by an analysis of Zola's role in the industrialisation of narrative, which mirrors the rise of the story itself as a key tool of commercialisation. It illustrates this by a discussion of L'Argent (1891) as an allegory of the rise of the story as big business. The thesis promotes the relevance of economic criticism as an underrecognised critical discipline.
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Breidenbach, Birgit. "Stimmung and modernity : the aesthetic philosophy of mood in Dostoevsky, Beckett and Bernhard." Thesis, University of Warwick, 2017. http://wrap.warwick.ac.uk/95560/.
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This study investigates how the aesthetic concept of Stimmung [‘mood’ or ‘attunement’] informs the affective and experiential dimension of the reading process through the lens of modern philosophy and literature. It seeks to establish ‘mood’ as a key concept in literary theory and to outline the modes and articulations of this aesthetic phenomenon as an integral part of the modern discourse on existentialism and aesthetics. Modernity, I propose, fundamentally redefined Stimmung as an intersubjective phenomenon, and has sparked a sustained exploration of this concept in pivotal philosophical and literary texts of the modern age. The study first examines the conceptual history of this term and its musical origin to then focus on Martin Heidegger’s redefinition of attunement as a crucial aspect of his ontology. From these considerations, a phenomenological theory of Stimmung in literature is developed, in which the reading process is defined through the attunement between text and reader. I subsequently further refine this notion by analysing the central role of Stimmung in the narrative fiction of three key authors of modern literature: Fyodor Dostoevsky, Samuel Beckett and Thomas Bernhard. What these readings demonstrate is a significant shift towards an aesthetic of intensity and immediacy, in which the experience of the reading process takes centre stage. Stimmung as an attunement between text and reader uncovers the dynamic relationality of aesthetic reception, and is inextricably connected to dominant modes of conceptualising existence and experience in the modern age. Ultimately, I demonstrate how the specific modern configuration of Stimmung answers to a sense of crisis and vicissitude that aesthetic modernity has transformed into a mood in its own right.
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Hudspith, Sarah. "Dostoevsky and the idea of Russianness : a new perspective on unity and brotherwood /." New York : RoutledgeCurzon, 2004. http://catalogue.bnf.fr/ark:/12148/cb39268768p.
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Macleod, N. J. "Fictions of authenticity : Dostoevsky's Notes from Underground, Rilke's Notebooks of Malte Laurids Brigge, and Sartre's Nausea." Thesis, University of East Anglia, 1988. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.233571.
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Bloshteyn, Maria R. "The pornographers and the prophet, Henry Miller, Anaïs Nin, and Lawrence Durrell reading Dostoevsky." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0018/NQ27280.pdf.
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Antoniacci, Aliandra. "The crisis of the Russian family in the works of Dostoevsky, Tolstoy and Chekhov." Thesis, University of Canterbury. Department of Global, Cultural and Language Studies, 2015. http://hdl.handle.net/10092/10858.
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This thesis examines the crisis of the Russian family through the eyes of the key Russian writers of the second half of the 19th century: Tolstoy (1828-1910), Dostoevsky (1821-1881), and Chekhov (1860-1904).
The purpose of this thesis is to demonstrate that the works of these authors are not just novels or short stories about the crisis of the family, but representative of the societal situation in Russia at the time. The aim of this study is also to show the continuity in ideas between these authors in the context of family life and marriage and to explore what kind of solutions they envisioned for the future of the Russian family.
Although there has been extensive research on the family in the works of these great classics of 19th century Russian literature, there has been less analysis of the crisis of the Russian family and the solutions they offered as a way out of the crisis. Hence the aim of this research is to fill this critical gap.
The first chapter focuses on the representation of family life in Dostoevsky’s latest works The Brothers Karamazov (1881), “The Dream of a Ridiculous Man” (1877), and The Diary of a Writer (1876-7). The second chapter examines Tolstoy’s The Kreutzer Sonata (1889) and The Power of Darkness (1886). Tolstoy focuses his attention on both upper classes and the peasant family. Chapter three analyses the crisis of the family in some of Chekhov’s short stories and novellas that are particularly concerned with extra marital relations and marriages gone badly; they also address mistreatment of children.
This thesis argues that, on the one hand, these authors depict different types of marriages and family relations, and, on the other hand, their works reflect the changing realities and attitudes regarding love and sexuality of their time. It also argues that, through their fiction and sometimes in a subversive way, these authors influenced the readers’ mentality and came up with new radical ideas about the future of the Russian family.
Finally, this thesis aims to bring more academic interest to an overlooked research area, to explore how family values change through the eyes of these authors, and to contribute to a broader understanding of the crisis and the future of the Russian family through the lenses of the key Russian writers of 19th century Russia.
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Cenedese, Marta Laura. "Russian Suite : the influence of Tolstoy, Dostoevsky and Chekhov on the work of Irène Némirovsky." Thesis, University of Cambridge, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.648159.
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Orr, Meital. "God and the Devil in the Human Heart: The Dialogic Vision of Abramovitch and Dostoevsky." Thesis, Harvard University, 2012. http://dissertations.umi.com/gsas.harvard:10091.
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Scholarship on the founder of modern Jewish literature, Sholem Abramovitch (1836-1917), is a rich field of study, yet it has been largely abandoned today, and the author has hardly been studied at all in nineteenth-century comparative European context. This study uses an unprecedented comparison between Abramovitch and his contemporary, Fyodor Dostoevsky (1821-1881), to reveal the complexity with which Abramovitch pioneered the integration of European and Russian literary trends into Jewish literature. These writers came from very different cultures and literary situations; however, they also shared many of the same influences due to their shared location in Tsarist Russia in the mid nineteenth century. During this time, the cultural sources and social preoccupations of their intelligentsias increasingly converged, producing a shared zeitgeist which – in combination with their similar early experiences and tendencies for dialogism (contradictory duality) – led to their many literary intersections. A comparison of their oeuvres reveals similar replacements of Gogol’s condescension toward poor protagonists with compassion, subversions of the feuilleton in the service of social critique, unprecedented uses of the “dialogic word,” new variations on the European theme of the “fantastic city,” applications of contemporary concepts such as “necessary egoism” and “free will” to the psyche of the downtrodden, enlistments of the Devil to warn against the dangers of Utilitarianism, and literary efforts to bridge the gap between the classes which include a convergence between romanticism and religion. Though Abramovitch has been designated as a satirist and realist, this study shows how he also pioneered the integration of romanticism into Jewish literature through, psychological penetration of the poor, and themes such as: the truth inherent in emotion, the subconscious and folklore, the transcendent wisdom of the people, and the divine meaning of nature. Abramovitch has been compared on isolated themes with other Russian writers, such as Turgenev, Shchedrin and Gogol; however, only a comparison with Dostoevsky can reveal the nuance and complexity of his many formal and thematic achievements.<br>Near Eastern Languages and Civilizations
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Katz, Elena M. "Representations of 'the Jew' in the writings of Nikolai Gogol, Fyodor Dostoevsky and Ivan Turgenev." Thesis, University of Southampton, 2003. https://eprints.soton.ac.uk/50605/.
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The image of 'the Jew' in nineteenth-century Russian literary texts is traditionally viewed as a paradigm of anti-Semitic discourse. Critics have typically accentuated the presence and continuity of negative stereotypes of the Jews. Yet anti-Semitic discourse is not the only approach to the representation of the Jews in Russian literature. This study explores the manifold nature of the portrayal of 'the Jew' in the works of three Russian writers of the highest calibre: Gogol, Dostoevsky and Turgenev. Literature at the time was highly politicized and a writer was expected to examine the issues of the day from an ideological stance. This meant that a writer's fictional representation of 'the Jew' was treated by many as an illustration of Jews' qualities in real life. After the partitions of Poland in the eighteenth century, Russia acquired a large Jewish population. These new Jewish subjects were confined to the Pale of Settlement, which restricted their rights of residence in Russia proper. That in itself meant that the majority of Jews were invisible to Russian society. Writers mainly used Western literary patterns in describing 'the Jew'. Nevertheless, in using traditional mythic stereotypes of the Jews they not only applied the familiar framework of Western authors but also created images based on specifically Russian culture. Moreover, at different periods of the century 'the Jew' was endowed with traits uncharacteristic of previous myths. The writers' constructions of 'the Jew' thus became complex and flexible. In order to investigate the complex constructions of 'the Jew' the following matters are discussed: (1) the depiction of 'the Jew' by these three writers in conjunction with their understanding of their own identity, events occurring during their lifetime, and stereotypical frames of reference for the Jews; (2) the degree of controversy in their representations; (3) their use of the image of 'the Jew' to define the essential qualities of the Russian.
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Garske, Kevin T. "Society and Suffering: City as Character in 19th Century Realism." Scholarship @ Claremont, 2016. http://scholarship.claremont.edu/cmc_theses/1219.
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The aim of this thesis is to investigate the relationship between the city and the individual in literature, thereby acknowledging the anthropomorphic qualities we endow with our cities and in turn, how these qualities consolidate into the trope of the city character. We build this understanding by discussing the social, moral, political, literary, etc. associations of the city, and how these lend themselves to expressions of human energy or reflections of human character. These understandings are then given form through close readings of Gustave Flaubert’s Sentimental Education and Fyodor Dostoevsky’s Crime and Punishment.
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Park, Ji Hyun. "An existential reading of Camus and Dostoevsky focusing on Camus's notion of the absurd and Sartrean authencity." Thesis, Texas A&M University, 2005. http://hdl.handle.net/1969.1/5015.
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Albert Camus (1913-1960) describes morally corrupted society in his later fiction, The Fall (1956), yet, seeks to find authenticity to share the suffering of others to establish communal bonds and responsibility, specifically revealed in "The Growing Stone" (1957). Camus frequently denies his alignment with existentialism; yet, in his major novels, he frequent portrays a dark side of human existence: a sense of weariness with the habitual aspects of daily life and a keen awareness of the absurd lead Camusian heroes to complete nihilism and utter despair, which shows Camus's strong affinity with existentialist ideas. Further investigation of Dostoevsky's anti-hero, the underground man, and the demigod Kirilov reveals that Dostoevsky's vision of kingdom is not so optimistic in spite of dominant thematic concern of Christian resurrection and eternal life in Dostoevsky's major works. Only moral anarchy and spiritual sterility coexist in his kingdom. I, thus, investigate Dostoevksy's unique approach to existence without God, in which he eventually declares himself to be a forerunner of existentialism. Camus does, in fact, recognize Dostoevsky as an important predecessor. In particular, Camus examins Dostoevsky's depiction of alienated characters rebelling against the world as they understand it. Thus, in Chapter I, my focus lies in a discussion of the theory of the absurd, with Camus's The Myth of Sisyphus as a valuable supplement that opens the way for an existential approach to Camus's literary production. Having identified our condition of absurdity as a dilemma requiring a response, Camus (and our study) turns to Dostoevsky's reflections on modern antiheroes. In Chapter II, keeping my attention on The Myth of Sisyphus, I explore Dostoevsky's fictional character, Kirilov, of The Demons. Along the same lines, in Chapter III, I investigate Jean-Baptiste Clamence of The Fall (1956), with respect to the underground man in Dostoevsky's Notes from Underground (1864). Dostoevsky's two pre-existential works, however, fail to provide protagonists who possess authentic selfhood. Their rebellions are ultimately failures. Thus, I analyze D'Arrast of "The Growing Stone," in Exile and Kingdom (1958), who ultimately glimpses a potential for human solidarity and freedom in the fundamental structure of the human personality and social existence. This marks Camus's fullest expression of a response to a fundamental human dilemma which Dostoevsky's fiction helped him to grasp more fully.
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Simitopol, Anca Eliza. "Ideas of Community in the Thought of Pierre Leroux and of Feodor Dostoevsky: Agape, Philia and Eros." Thèse, Université d'Ottawa / University of Ottawa, 2012. http://hdl.handle.net/10393/23280.
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In this thesis I compare Pierre Leroux, a French utopian socialist (1797 – 1871), with Feodor Dostoevsky, the well-known Orthodox Russian novelist (1821 – 1881). I argue that both authors reacted against what they considered to be the dissolution of the social order, brought about by the increasing nineteenth-century bourgeois individualism. On the other hand, they reacted as well against the opposite phenomenon, the idea of a universal socialist state, which was, in fact, according to them, the outcome of bourgeois individualism. My purpose is to bring close and to compare Leroux’s republican socialism with Dostoevsky’s Christian socialism, and to explore to what extent the two authors give similar answers to a common problem. In order to better explain their thought, I divide my thesis into three chapters. The first analyzes and compares Leroux’s and Dostoevsky’s critiques of individualism. If Leroux reaches the conclusion that the ultimate expression of individualism is Malthusianism, Dostoevsky argues that individualism ends in nihilism. The second chapter analyzes the type of socialism against which Leroux and Dostoevsky reacted, as well as the critiques of the two authors. I argue here that Saint-Simonian socialism – the main object of Leroux’s critique – and the socialism of the Grand Inquisitor – a Dostoevskyan character – are the expression of a certain utopian thought which considers the requirement for freedom incompatible with the requirement for unity. In the last chapter, I analyze the ideas of community of Leroux and of Dostoevsky, which are centered on philia, in the case of the former, and on agape, in the case of the latter. Philia and respectively agape are the expression of organic social relations, through which the two requirements, of freedom and unity, are made compatible, and which create unity in multiplicity. Their ideas of community appear as active utopias, grounded on the life of relation in a spontaneous, organic community.
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Brazier, Paul Henry. "'Die Freiheit in der Gefangenschaft Gottes' : the nature and content of the influence of Dostoevsky on the Swiss theologian Karl Barth 1915 to 1922 : a study of the influence of the Russian novelist Fydor Mikhailovich Dostoevsky on the Swiss theologian Ka." Thesis, King's College London (University of London), 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.420880.
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Chadwick, Philip. "The ethics of the novel in the life of the town : provincial communities in the works of Fyodor Dostoevsky and George Eliot." Thesis, University of Oxford, 2017. https://ora.ox.ac.uk/objects/uuid:22c60742-d0e1-4570-9360-b6b90e1abeaa.
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This thesis analyses the function of the provincial town in the novels of Fyodor Dostoevsky (1821-1881) and George Eliot (1819-1880). It demonstrates that the small town, far from being a neutral backdrop to their narratives, functions as a sociological space in which to appropriate or challenge the discourses of modernity with which Dostoevsky and Eliot were explicitly preoccupied. The first chapter examines how their provincial communities negotiate biblical narrative in a world in which, thanks to nineteenth-century attempts to historicise the Bible, an acceptance of the Bible's authoritative status is no longer a given. The instability of language itself is then interrogated in my second chapter, which shows that the transition from denotative, referential meaning to connotative, abstract forms causes ethical and narrative tension within the world of the novel, and which explores the aesthetics and ethics of gossip in the provincial town and novel. The third chapter details what becomes of the nineteenth-century discourse of heroism when characters seek to enact it in a provincial setting, showing that the environment of the provincial town proves hostile to heroic ambition, whilst the fourth argues that the provincial application of professional discourse (particularly that of medicine and the law) is critiqued and perfected by these authors. Through the analysis of this discourse, it is shown that Eliot and Dostoevsky's treatment of provincialism is ambivalent. As urban intellectuals who did not consent to inhabit the provincial milieu they depict, they in many respects censure the world they describe. However, this censure is not absolute, and through their chosen setting, as well as their chosen genre of the novel, they provide ethical instruction for their readers, then and now. Ethics, for them, are best tested in community, and explored in narrative.
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Kirkman, Mackenzie Raine. ""Man, the Creature": A Dramaturgically Driven Adaptation of Dostoevsky's "Notes from a Dead House"." Miami University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=miami156450135543229.
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Critchley, Lucinda Caroline. "The Russian woman is not a human being': female subjectivity in the works of F. M. Dostoevsky, 1846-1864." Thesis, University of Bristol, 2015. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.687272.
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Dostoevsky's female characters are among the most under-studied in his fiction. They are frequently seen as templates for Dostoevsky's agenda, and very little else. This study contends otherwise, and will attempt to apply my own framework to the female characters, to understand both how they are depicted and what role(s) they play in his novels. I argue that Dostoevsky treats the female characters as subjects: • in a historically accurate manner • through narration and other textual devices • based on a belief in the value of the human person regardless of gender, which takes precedence over considerations of gender. In reading the female characters, I firstly examine the historical situation of women, specifically of the class described by Dostoevsky, in nineteenth-century Russian society, to suggest that Dostoevsky's depiction is detailed and accurately reflects this in its details. I then move on to a consideration for some of the most useful ways of considering narration, character, and the structures through which narrative operates, in order to consider how such techniques of narrative can be used by Dostoevsky to depict his characters as subjects. Finally, I consider what is meant by a 'subject', particularly in Russian thought, in order to understand how a character who possesses such subjectivity would act. In particular, I read female subjectivity in the novels as indicated by female agency, especially in resistance to the constraining forces placed on women by those 'around them. I discuss ways in which Dostoevsky's depiction changes in the works depicted here, noting particularly his shift in narrative stance and the more explicitly religious and Orthodox conception of personhood in the final two works I analyse.
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O'Neill, Victoria Ruth Woodgate. "The role of the feminine in masculine cycles of death, rebirth and new life : Dostoevsky, Tolstoy, Babel, Bulgakov and Pasternak." Thesis, Keele University, 2015. http://eprints.keele.ac.uk/2352/.
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This thesis uses the narrative framework developed by Theresa de Lauretis’ essay ‘Desire in Narrative’ (1984) to shed new light on the development of male and female characters in texts by Fyodor Dostoevsky, Leo Tolstoy, Isaac Babel, Mikhail Bulgakov and Boris Pasternak. De Lauretis’ narratological framework is based on work by Vladimir Propp and Yury Lotman. She draws attention to the inherently masculine identification of heroes, and argues that it is the development of these masculine heroes that drives narrative. I apply this insight to nineteenth-century texts including Crime and Punishment and The Idiot, War and Peace, Anna Karenina and a selection of Tolstoy’s short stories. From the twentieth century, I consider Red Cavalry, The Master and Margarita and Doctor Zhivago. This range of works, by five different writers spanning two centuries, draws out themes in the portrayal of male heroes changing and developing, spiritually and intellectually ‘moving’, throughout narratives. I show the variety of ways female characters act as helpers, or donors, to their male counterparts; and also as the prize awaiting them at the end of their successful quest. This re-reading highlights the significance of cycles of death, transformation and rebirth for the development of masculine heroes. While in texts by Tolstoy and Dostoevsky, male heroes strive for intellectual and rational mastery, in twentieth-century texts the focus shifts to male characters’ abilities to exercise artistic and creative freedom. In contrast to the cerebral and imaginative freedom associated with masculine heroes, I highlight portrayals of physical and sexual violence against women’s bodies, showing that female charcters are associated with their physical bodies to a far greater extent than male heroes experience embodiedness. The intellectual freedom and development of masculine heroes is privileged, while female characters remain in static positions, more defined by bodily limitations and vulnerabilities than male protagonists.
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Levai, Ruth [Verfasser]. "The concept of truth. Four Works by Annette von Droste Hülshoff, Harriet Beecher Stowe, Fyodor Dostoevsky and Georges Bernanos / Ruth Levai." München : GRIN Verlag, 2021. http://d-nb.info/1228537305/34.
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Ball, Jonathan. "Themes of Self-Laceration Towards a Modicum of Control in Nineteenth Century Russia as Expressed by Dostoevsky in The Brothers Karamazov." Digital Commons @ East Tennessee State University, 2015. https://dc.etsu.edu/etd/2516.
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The majority of the academic discourse surrounding Dostoevsky and his epic, The Brothers Karamazov, has been directed toward the philosophic and religious implications of his characters. Largely overlooked, however, is the theme of laceration. In the greater scope of laceration stands the topic of self-laceration. Self-laceration refers to the practice of causing harm to the self in a premeditated and specifically emotionally destructive fashion. The cause of this experience is varied and expressed in as many ways as there are individuals. The struggle in the Russian psyche between viewing the world as fatalistic or as more of an existential experience finds resolution through self-laceration. By consciously choosing actions that will lead to an abject state, the characters take fate into their own hands. This thesis will explore the themes of self-laceration in a number of characters’ narratives and demonstrate that by utilizing emotional self-destruction they find a modicum of control.
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Canto, Flavio Ricardo Vassoler do. "Dialética do labirinto: a polifonia amordaçada de Fiódor Dostoiévski." Universidade de São Paulo, 2010. http://www.teses.usp.br/teses/disponiveis/8/8151/tde-23112010-121337/.
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A dissertação em questão procura analisar O sonho de um homem ridículo (1877), de Fiódor Dostoiévski, fundamentalmente a partir de uma aproximação crítica em relação à teoria polifônica erigida por Mikhail Bakhtin, em Problemas da Poética de Dostoiévski. O teórico russo buscou desvelar a poética dostoievskiana não por meio de uma síntese parcial em função do discurso ideológico do escritor ou de uma de suas personagens expediente tradicional da crítica partidária, segundo Boris Schnaiderman e Paulo Bezerra , mas através do modo pelo qual o diálogo deixaria de ser contingente para assumir um papel estrutural essencial. A identidade das personagens não se estabeleceria em si e por si mesma, uma vez que o eu, desde a sua expressão primordial, já apareceria formado, enformado e deformado pela inflexão do outro. A alteridade e a altercação, vozes imiscíveis e eqüipolentes a alicerçarem a polifonia. Bakhtin, porém, não pôde demonstrar o modo pelo qual se daria a apreensão da obra de Dostoiévski como uma totalidade polifônica integral. Haveria um norte em função do qual as vozes relacionais e contraditórias seriam estruturadas? Seria possível apreender a poética dostoievskiana por meio do arcabouço tradicional, monológico e sistêmico? O aporte da teoria crítica de Marx, Lukács, Horkheimer, Adorno e Benjamin passou a trilhar as galerias labirínticas do subsolo dostoievskiano de modo a reconstituir a crítica de Bakhtin à abordagem dialética. A polifonia, a partir de então, transforma-se em um momento dialético para a constituição da poética de Dostoiévski. Totalidade alquebrada, polifonia amordaçada, dialética sem síntese, dialética no labirinto, dialética do labirinto. Labirinto da dialética: dialogo com alguns autores da eslavística norte-americana destacadamente, Joseph Frank, Michael Holquist e Gerald Sabo e com o homem ridículo, o narrador equívoco e inequívoco da estória fantástica que, segundo Bakhtin, é quase uma enciclopédia dos principais temas da obra do escritor russo. Assim, o presente trabalho procura erigir um novo modelo que tensione as cordas vocais da polifonia integral de modo a reconstituir suas aporias e trilhar um caminho outro que restitua a contradição como categoria essencial para a apreensão da obra de Dostoiévski.<br>This dissertation seeks to analyze Feodor Dostoevskys The Dream of a Ridiculous Man (1877) fundamentally by a critical approach in relation to Mikhail Bakhtins polyphonic theory in Problems of Dostoevskys Poetics. The Russian theorist searched to unveil Dostoevskys poetics not by a partial synthesis in terms of the ideological speech of the writer or one of his characters traditional expedient of partisan critic, according to Boris Schnaiderman and Paulo Bezerra , but through the way by which dialog would leave its contingent form to assume an essential structural role. Characters identity would not be erected in itself and by itself, once the I, from his primordial expression, would arise shaped, formed and deformed by the inflection of the other. Alterity and altercation, immiscible and equipollent voices grounding polyphony. However, Bakhtin could not demonstrate the way by which it would be possible to apprehend Dostoevskys work as an integral polyphonic totality. Would there be a north toward which the relational and contradictory voices would be structured? Would it be possible to apprehend Dostoevskys poetics by the traditional, monologic and systemic background? The contribution from the critical theory by Marx, Lukacs, Horkheimer, Adorno and Benjamin trod the labyrinthic galleries of Dostoevskys underground allowing the reconstitution of Bakhtins critic to dialectical approach. From this point on polyphony becomes a dialectical moment to constitute Dostoevskys poetics. Prostrated totality, gagged polyphony, dialectic without a synthesis, dialectic in the labyrinth, dialectic of labyrinth. Labyrinth of dialectic: I dialog with some authors of North American slavistics specially Joseph Frank, Michael Holquist and Gerald Sabo and with the Ridiculous Man, the equivocal and unequivocal narrator of the fantastic story which, according to Bakhtin, is almost an encyclopedia of the Russian authors work. Therefore the present work seeks to erect a new model which tenses the vocal cords of integral polyphony in order to reconstitute its apories and tread another way which restitutes contradiction as an essential category for the apprehension of Dostoevskys work.
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Randall, Samuel. "Stellvertretung as vicarious suffering in Dietrich Bonhoeffer." Thesis, University of Cambridge, 2018. https://www.repository.cam.ac.uk/handle/1810/287466.
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Stellvertretung represents a consistent and central hermeneutic for Bonhoeffer. This thesis demonstrates that, in contrast to other translations, a more precise interpretation of Bonhoeffer's use of Stellvertretung would be 'vicarious suffering'. For Bonhoeffer Stellvertretung as 'vicarious suffering' illuminates not only the action of God in Christ for the sins of the world, but also Christian discipleship as participation in Christ's suffering for others; to be as Christ: Schuldübernahme. In this understanding of Stellvertretung as vicarious suffering Bonhoeffer demonstrates independence from his Protestant (Lutheran) heritage and reflects an interpretation that bears comparison with broader ecumenical understanding. This study of Bonhoeffer's writings draws attention to Bonhoeffer's critical affection towards Catholicism and highlights the theological importance of vicarious suffering during a period of renewal in Catholic theology, popular piety and fictional literature. Although Bonhoeffer references fictional literature in his writings, and indicates its importance in ethical and theological discussion, there has been little attempt to analyse or consider its contribution to Bonhoeffer's theology. This thesis fills this lacuna in its consideration of the reception by Bonhoeffer of the writings of Georges Bernanos, Reinhold Schneider and Fyodor Dostoevsky. Each of these writers features vicarious suffering, or its conceptual equivalent, as an important motif. According to Bonhoeffer Christian discipleship is the action of vicarious suffering (Stellvertretung) and of Verantwortung (responsibility) in love for others and of taking upon oneself the Schuld that burdens the world.
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Vieira, Carolina Detoni Marques. "Eros e Ágape: o desejo e o amor cristão em Dostoiévski." Universidade Federal de Juiz de Fora (UFJF), 2010. https://repositorio.ufjf.br/jspui/handle/ufjf/3833.
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Previous issue date: 2010-03-03<br>CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível Superior<br>Este trabalho tem por objetivo abordar as duas faces do amor em Dostoiévski: ágape, o amor altruísta, pela humanidade, regido pela religiosidade cristã; e eros, o amor erótico, regido pelo desejo meramente humano. Ou seja, propõe-se tratar do amor como a representação máxima do sobrenatural ou a própria degradação no excesso de natureza humana e, de uma face a outra, percorrer não só a sua trajetória na obra dostoievskiana, como também os temas com os quais ele se articula. O Idiota apresenta-se, neste estudo, em lugar de destaque por sua relevância para o tema, especialmente, devido à própria divisão de seu protagonista, o Príncipe Mychkin, percebido, aqui, como a representação da tensão trágica entre o humano e o divino, vivenciada através do amor. Além desta obra, outros grandes romances de Dostoiévski também participam da discussão.<br>This work aims to broach the two faces of love in Dostoevsky: agape, the altruist love, the love for humanity, which is conducted by Christian religiosity; and eros, the erotic love, which is leaded by the simply human desire. In other words, it intends to deal with the love as the greatest performance of divine or as the typical degradation in the excess of human nature and, from one face to the other, to search not only throug its course on Dostoevsky’s work but also the subjects which it is connected with. In this study, The Idiot presents itself in a highlighted position because of its importance to the subject mainly due to the selfsame division of its protagonist, Prince Mychkin, who is understood here as a performance of a tragic tension between human and divine, that is lived throughout love. Beyond this work, other great romances of Dostoevsky, also take part in the discussion.
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Fernandes, Arlene Aparecida. "O solo sagrado: crítica da modernidade em Dostoiévski." Universidade Federal de Juiz de Fora (UFJF), 2017. https://repositorio.ufjf.br/jspui/handle/ufjf/6755.
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Previous issue date: 2017-02-23<br>CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível Superior<br>A obra de Dostoiévski entrou no ocidente europeu como uma crítica perversa que lançava nova luz aos movimentos intelectuais que dominavam o contexto de então. A dissertação, portanto, busca analisar as críticas do romancista russo às ideologias ocidentais, bem como em que sentido essa concepção é elaborada enquanto uma crítica da modernidade, porém nos termos de um discurso moderno. O escritor foi condenado por conspiração revolucionária contra o czar e a experiência
do cárcere deixou marcas profundas em sua trajetória literária. A fim de compreender o impacto dessa influência, o presente trabalho investiga a vida e a obra do romancista, no período entre 1845 e 1864. Dostoiévski ancorou sua literatura em um vocabulário religioso adquirido nesse contato com os camponeses russos, enquanto esteve preso. A interpretação do autor acerca do cristianismo do povo russo será determinante na composição de suas obras futuras e redefinirá suas posições artísticas, políticas e religiosas. Partindo de uma defesa do solo russo, enquanto
único espaço capaz de articular uma oposição às teorias racionalista e romântica, o romancista estabelece sua crítica da modernidade. Por fim, o trabalho buscará mostrar que, em vez de uma resposta, Dostoiévski termina sua obra questionando se há um fundamento, religioso ou secular, sobre o qual o homem pode justificar a virtude.<br>The Dostoevsky’s works were received in Western Europe as a perverse criticism that casted new light into the dominant intelectual movements of the period. Therefore, this thesis seeks to analyze the Russian novelist’s criticism of Western ideologies, and how that critical conception is designed as a critique of modernity, but formulated in the terms of a modern discourse. The writer was convicted for taking part in a revolutionary conspiracy against the czar, and this experience as a prisoner left deep marks in his literary trajectory. Aiming to understand the impact of these dramatic and difficult years in the author’s creations, the present research investigates his life and works between 1845 and 1864. Dostoevsky anchored his literary production in a religious vocabulary aquired through the contact with the Russian peasents while imprisoned. Thus, the writer’s interpreation regarding the christianity of the Russian people will be vital to the composition of his future works and will redefine his artistic, political and religious positions. Starting from the defense of the Russian soil, considering it the only
space able to articulate an oposition to the rationalist and romantic theories, the novelist will establish his critique of modernity. Lastly, this study proposes to demonstrate that, instead of an answer, Dostoevsky finishes his work questioning the possibility of a foundation, religious or secular, upon which man can justify virtue.
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Hebbeler, Michael H. "The Sister Karamazov: Dorothy Day's Encounter with Dostoevsky's Novel." Dayton, Ohio : University of Dayton, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=dayton1250126537.
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Barros, Douglas Rodrigues [UNIFESP]. "O jovem Lukàcs e Dostoiévski." Universidade Federal de São Paulo (UNIFESP), 2015. http://repositorio.unifesp.br/handle/11600/39236.
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Previous issue date: 2015-05-20<br>O presente estudo pretende analisar as categorias expostas por Lukács na teoria do romance. Nela, procuraremos esmiuçar seus conceitos, para facilitar o entendimento sobre os gêneros e as formas da literatura para o jovem filósofo. Feito esse caminho, passaremos para uma análise das fragmentadas Anotações sobre Dostoiévski, buscando
compreender o perturbante final d’A teoria em que o autor afirma que: “Dostoiévski não escreveu romance algum”. Tem-se com isso, o objetivo de desnudar em que medida a estética e a ética estão imbricadas no pensamento do Lukács da juventude. Além disso,
busca-se também examinar as conjecturas expostas nas duas obras com o intuito de captar os momentos de viragens das formas do romance que, para Lukács, irá culminar na obra dostoievskiana. Obra essa, que, ao que tudo indica, o permite antever as mudanças
profundas ocorridas no século XX. Com efeito, a obra de Dostoiévski – Os irmãos Karamázov – será aqui considerada, a partir dos conceitos expostos por Lukács tanto na teoria, quanto nas anotações. Tentaremos compreender, portanto, como Lukács via, na obra do escritor russo, uma nova forma que ademais indicava que algo no mundo real e concreto estava mudando radicalmente.<br>This study aims to analyze the categories set out by Lukács in The theory of the novel. In it, try to control their concepts to facilitate understanding of the genres and literary forms for the young philosopher. Done this way, move on to an analysis of fragmented Notes
on Dostoevsky, trying to understand the disturbing end of the theory in which the author states: "Dostoevsky doesn’t wrote a romance at all." It has been with this, in order to lay bare the extent to which aesthetics and ethics are embedded in the thinking of youth Lukács. In addition, we seek to also examine the conjecture exposed in the two works in
order to capture the moments of color changes of the novel ways that, for Lukács, will culminate in Dostoevsky's work. This work, which, it seems, the foresee ability the profound changes that have occurred in the twentieth century. Indeed, the work of Dostoevsky - The Brothers Karamazov - will be considered here, based on the concepts exposed by Lukács both in The theory, the in the notes. Try to understand, therefore, as Lukács saw in the work of the Russian writer, a new way that in addition indicated that something in the real world and concrete was changing radically.
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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.<br>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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Almeida, Giuliana Teixeira de. "Pelo prisma biográfico: Joseph Frank e Dostoiévski." Universidade de São Paulo, 2013. http://www.teses.usp.br/teses/disponiveis/8/8155/tde-25062013-095450/.
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Muitas biografias foram escritas sobre Fiódor Dostoiévski, nome central da literatura russa do século XIX. Dentre os títulos dedicados à vida do escritor russo destaca-se Dostoiévski de Joseph Frank, um grande esforço de investigação elaborado ao longo de quase três décadas. A obra escrita pelo scholar norte-americano consiste em uma síntese da história cultural da Rússia no século XIX, contexto no qual Dostoiévski viveu, além de um esforço de interpretação da ficção do romancista. Essa pesquisa visa analisar a biografia de autoria de Joseph Frank, assim como efetuar uma comparação entre essa obra e outras biografias importantes escritas sobre o escritor russo. Paralelamente, pretende-se investigar as questões teóricas e metodológicas concernentes ao gênero biográfico. Tendo em vista a grande repercussão da obra nas publicações norteamericanas, essa pesquisa também examinará de modo panorâmico a recepção da biografia de Frank nos Estados Unidos e os percursos da eslavística norte-americana nas últimas décadas.<br>Many biographies have been written about Fyodor Dostoevsky, a prominent 19th century Russian literature novelist. Among all these titles, Joseph Frank\'s Dostoevsky stands out as a great synthesis of the Russian writer\'s life and era. Written along three decades, Frank\'s work recreates the Russian cultural history in the second half of the 19th century and proposes an interpretation for Dostoevsky\'s literary works. After this biography, Frank has become one of the most important North American\'s experts in Russian literature and Dostoevsky. This research aims to analyze this monumental biography, to compare this work with other biographies written about the thrilling life of Dostoevsky and to investigate the theoretical and methodological problems of the biography genre. Finally, considering the repercussion of Dostoevsky for the intellectual community of United States of America, we will also analyze the reception and the critiques of Frank\'s biography and the situation of the last decades of Slavic studies in that country.
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Fraga, José Donizete. "A ESTÉTICA DA DISSONÂNCIA EM FIÓDOR DOSTOIÉVSKI, OS IRMÃOS KARAMÁZOV." Pontifícia Universidade Católica de Goiás, 2018. http://tede2.pucgoias.edu.br:8080/handle/tede/3911.
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Previous issue date: 2018-02-20<br>This dissertation aims at the study of dissonance as one of the characters forming the
poetics of Fyodor Dostoevsky in the corpus The Brothers Karamazov. Its internal
structure is based on the dialogue between the aesthetic definition of the literary work of
art, its reception and aesthetic effect and the correlation with the Dostoevskian work. It
proposes a hermeneutic and phenomenological approach, with the theoretical support of
Edmund Husserl and assisted by Maurice Merleau-Ponty, Mikel Dufrenne and Hans-
Georg Gadamer. An analysis of his poetics is also made in the light of aesthetic
reception and effect, with the theoretical support of Hans Robert Jauss and other
researchers of the reception aesthetics, Wolfgang Iser, Hans Ulrich Gumbrecht and
Karlheinz Stierle. The dissonant bias is addressed in the thematic composition of the
work, in the structure of the characters and in the internal economy of the narrative.
There are several critical looks on the work, highlighting Mikhail Bakhtin, Joseph
Frank, Luiz Felipe Pondé and Luigi Pareyson.<br>Esta dissertação tem como objetivo o estudo da dissonância como um dos caracteres
formadores da poética de Fiódor Dostoiévski, na obra corpus Os Irmãos Karamázov.
Sua estruturação interna baseia-se na dialogia entre a definição estética da obra de arte
literária, sua recepção e efeito estéticos e a correlação com a obra dostoievskiana.
Propõe-se uma abordagem hermenêutica e fenomenológica, com amparo teórico de
Edmund Husserl e coadjuvado por Maurice Merleau-Ponty, Mikel Dufrenne e Hans-
Georg Gadamer. Faz-se também uma análise de sua poética à luz da recepção e do
efeito estéticos, com o suporte teórico de Hans Robert Jauss e demais pesquisadores da
estética da recepção, Wolfgang Iser, Hans Ulrich Gumbrecht e Karlheinz Stierle.
Aborda-se o viés dissonante na composição temática da obra, na estruturação dos
personagens e na economia interna da narrativa. Expõem-se vários olhares críticos sobre
a obra, destacando-se Mikhail Bakhtin, Joseph Frank, Luiz Felipe Pondé e Luigi
Pareyson.
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Marques, Priscila Nascimento. "Polifonia e emoções: um estudo sobre a construção da subjetividade em Crime e castigo de Dostoiévski." Universidade de São Paulo, 2010. http://www.teses.usp.br/teses/disponiveis/8/8155/tde-26082010-144511/.
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O presente trabalho consiste num esforço de aproximação entre literatura e psicologia que procurou manter a integridade de ambas as pontas do diálogo. O objetivo foi estudar o romance Crime e castigo de Dostoiévski, com foco na análise do protagonista, Rodion Raskólnikov. Para uma satisfatória compreensão da construção da subjetividade deste personagem fez-se necessário visualizá-lo em suas relações intersubjetivas. Assim, a análise foi estruturada em capítulos, cada qual destacando o diálogo entre duas \"vozes\", a do protagonista e a de outra personagem para que fossem explicitadas as contradições e implicações deste diálogo no processo de autoconsciência de Raskólnikov. Foram analisadas as relações do protagonista com Marmieládov, Razumíkhin, Lújin, Porfíri, Svidrigálov e Sônia. Além disso, foram tecidas considerações acerca do epílogo, considerando suas particularidades formais e funcionais em relação ao restante do romance. A entrada da psicologia está na tentativa de reconstituição do efeito estético do romance a partir da estruturação poética do texto, de modo que o protagonista seja considerado em sua ficcionalidade, e não como paciente da clínica psicológica, conforme os pressupostos teóricometodológicos da psicologia da arte de Vigotski. Para compreensão da organização formal do texto lançou-se mão da teoria polifônica de Bakhtin, bem como de outros autores da eslavística, mais ou menos congruentes a essa visão. Por fim, são apresentadas, em anexo, traduções de cinco textos da eslavística norte-americana e inglesa, todos precedidos por uma nota introdutória sobre os textos e seus autores.<br>This dissertation consists of an effort of bringing together literature and psychology, which tries to keep the integrity of both areas. The objective was to study Dostoevsky\'s novel Crime and Punishment, with an analysis of its main character, Rodion Raskolnikov. For a satisfying understanding of the construction of this character\'s subjectivity it was necessary to visualize him in his intersubjective relations. Thus, the analysis was structured in chapters, in which we underlined the dialogue between two \"voices\", the protagonist\'s and another character\'s, so that we could explicit the contradictions and implications of this dialogue in the selfconscience process of Raskolnikov. The relations of the protagonist with Marmeladov, Razumikhin, Luzhin, Porfiri, Svidrigailov and Sonia were analyzed. Besides, some notes were taken on the epilogue, considering its formal and functional particularities. The psychological goal rests in the attempt of reconstituting the novel\'s aesthetic effect through the understanding of its poetic structure, so that the protagonist is considered in his fictiousness and not as a patient in the psychological office, according to the theoretical-methodological presuppositions of Vygotsky\'s psychology of art. For an understanding of the formal organization of the text, we resorted to Bakhtin\'s polyphonic theory, as well as to other slavistic authors more or less congruent to this view. Finally, Portuguese translations of five texts from the American and British slavistics were presented and preceded by an introductory note on the texts and its authors.
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Golin, Luana Martins. "O Evangelho segundo Dostoiévski: uma abordagem intertextual da imagem de Cristo no ro-mance “O Idiota”." Universidade Metodista de Sao Paulo, 2015. http://tede.metodista.br/jspui/handle/tede/1687.
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Previous issue date: 2015-09-29<br>Dostoevsky creates in his novel The Idiot with Prince Myshkin a character with Christ's attributes. The author always had the Bible by his side, specially the New Testament, from childhood to his death.
A theoretical framework is dedicated in the first chapter of this study, which deals with the universe of language. Literary text and biblical literature come from the myth, so that reli-gion and literature stay closer and meet each other.
The second chapter shows how Christ and the Gospels are recurring subjects, motives, and images in Dostoevsky works. Biblical literature is in the several major works (to varying extents) of the Russian writer and not only in The Idiot.
The third chapter hypothesizes, by means of the novel analysis that Dostoevsky creates a Christ and a Gospel with The Idiot. The thesis is that Dostoevsky build a literary gospel with Myshkin: a mixture of a Russian Christ, divine and human at the same time, but also stupid and quixotic. Literature and the sacred are revealed as a divine presence in the intertextual dynamics between the biblical gospels and The Idiot. Christ manifests Himself in Myshkin actions, showing up his light and beauty by the scenes and structure of the plot that com-pounds the novel, but also in the tragedy of a displaced and antinomian trajectory. The love and compassion take shape and life in the prince presence, in his own emptiness, servant of everyone.<br>No romance O Idiota, Dostoiévski cria, por meio do príncipe Míchkin, uma personagem com as características do Cristo. Sabe-se que a Bíblia, principalmente o Novo Testamento, acompanhou o escritor desde sua infância até o momento de sua morte.
O primeiro capítulo, dedicado ao referencial teórico da pesquisa, lida com o universo da linguagem. Tanto o texto literário quanto a literatura bíblica procedem do mito. Neste sen-tido, religião e literatura se tocam e se aproximam.
O segundo capítulo foi escrito na intenção de mostrar como o Cristo e os Evangelhos são temas, motivos e imagens recorrentes na obra de Dostoiévski. A literatura bíblica está presente, com mais ou menos intensidade, em diversas das principais obras do escritor russo e não somente em O Idiota.
A hipótese de que Dostoiévski cria um Cristo e um Evangelho por meio de O Idiota é demonstrada na análise do romance, no terceiro capítulo. A tese proposta é: Dostoiévski desenvolve um evangelho literário, por meio de Míchkin, misto de um Cristo russo, ao mesmo tempo divino e humano, mas também idiota e quixotesco. Na dinâmica intertextual entre os Evangelhos bíblicos e O Idiota, entre Cristo e Míchkin, a literatura e o sagrado se revelam, como uma presença divina. Nas cenas e na estruturação do enredo que compõe o romance, Cristo se manifesta nas ações de Míchkin, na luz, na beleza, mas também na tragicidade de uma trajetória deslocada e antinômica. O amor e a compaixão ganham forma e vida na presen-ça do príncipe, vazio de si, servo de todos.
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VISINONI, Alessandra Elisa (ORCID:0000-0003-2826-1934). "L’“Impero” di Stavrogin: motivi tacitiani nel romanzo I demòni di F.M. Dostoevskij." Doctoral thesis, Università degli studi di Bergamo, 2014. http://hdl.handle.net/10446/30717.
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The aim of my work is to show the results of my research about the influence exerted by the Tacitus' Annals on the composition of Dostoevsky's novel The Devils. This research is part of the debate on the relations between Dostoevsky and Classical literature raised by V. Ivanov, L. Shestov, S. Bulgakov, N.Berdjaev. This field of study has been recently renewed, among the others, by T. Molchukova and Hyung Goo Lee as regards the passion of the novelist to the Homeric epics, by T. Popovich and G. Rosenshield on the similarities with Aeschilean and Sophoclean tragedy, by V. Dudkin on the similarities with Aristophanean comedy and by D.H.Larmour concerning Orpheus' myth and Foma Fomich. An aspect which has not been really taken into account by the critics is the connection between Latin historiography, in particular Tacitus, and the works of Dostoevsky. However, in his Diary of a writer (1876) Dostoevsky draws an immediate link between lawyer V. Spasovich (the model for the character of Fetyukovich) and the Tacitean Vibulenus. The passion of the Russian writer for Tacitean historiography derived not only from a direct reading of Tacitus in French translation with facing Latin text, but also from the mediation of N. Karamzin’s and A.S. Pushkin’s works. This work proposes an analysis of The Devils highlighting how Dostoevsky's style reveals the influence of the Annals in the narrator's delineation of characters and plot development, in order to address fundamental issues such as the role of the usurper and suicide. My purpose is to demonstrate that the dialogue between the Russian intelligentsia and Tacitus, begun by Karamzin and Pushkin, finds in Dostoevsky its ultimate fulfillment.
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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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Pranger, Diana. "Dostoevsky and Joyce write the transcendent soul, the artist forging anew in his workshop out of the sluggish matter of the earth a new souring impalpable imperishable being, Portrait 169." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ57680.pdf.
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