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Dissertations / Theses on the topic 'Dostoyevsky'
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1
van, Velzen Nicolas Herman. "Literature and existentialism, the case of Dostoyevsky (Fyodor Dostoyevsky, Russia)." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ44894.pdf.
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Van, Velzen Nicolas Herman. "Literature and existentialism, the case of Dostoyevsky." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ40179.pdf.
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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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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.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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Kilgore, Karen Marie. "Starets Zosima, exemplar of spiritual generation a study of the spiritual father in Dostoevsky's The brothers Karamazov /." Theological Research Exchange Network (TREN), 1995. http://www.tren.com.
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Wells, Olga V. "Time and space as artistic conventions in Chekhov and Dostoyevsky." Diss., Columbia, Mo. : University of Missouri-Columbia, 2005. http://hdl.handle.net/10355/4307.
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Thesis (M.A.)--University of Missouri-Columbia, 2005.The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file viewed on (month day, year) Includes bibliographical references.
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Welsh, Robert. "Brotherly love in Dostoevsky's The Brothers Karamazov /." View online, 1989. http://repository.eiu.edu/theses/docs/32211998832126.pdf.
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Croft, Mary Elizabeth. "From Siberia to the underground : the thought of Dostoyevsky in the early 1860s." Thesis, University of Bristol, 1993. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.386016.
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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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Arndt, Charles Henry. "Dostoevsky's engagement of Russian intellectuals in the question of Russia and Europe : from "Winter notes on summer impressions" to "The devils" /." View online version; access limited to Brown University users, 2004. http://wwwlib.umi.com/dissertations/fullcit/3134245.
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Shlyak, Tatyana. "Secret as a key to narration : evolution from English Gothic to the Gothic in Dostoyevsky /." Thesis, Connect to this title online; UW restricted, 2004. http://hdl.handle.net/1773/6667.
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Smith, Keren. "Scepticism in the novels of Dostoyevsky and Robbe-Grillet: The rejection of pyrrhonian tranquillity." Thesis, University of Canterbury. French, 1993. http://hdl.handle.net/10092/4796.
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林英霞 and Insia Lin. "The mentality of the Russian intelligentsia as seen through the novelsof Dostoyevsky and Turgenev." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2002. http://hub.hku.hk/bib/B31227612.
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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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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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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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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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Semionova, Svetlana. "Vaikystė F.Dostojevskio meniniame pasaulyje." Master's thesis, Lithuanian Academic Libraries Network (LABT), 2006. http://vddb.library.lt/obj/LT-eLABa-0001:E.02~2006~D_20060612_140636-50718.
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The object of research is Dostoyevsky's creative work. The purpose of this paper is to reveal the world of childhood, the writer's personal experience and his ethical and philosophical views as found their reflection in his creative work. The paper comprises an introduction and three sections: Children in Dostoyevsky's Personal Life; The World of Childhood in Creative Work; The Problem of Childhood and Childness in the Novel "The Brothers Karamazov", featuring of the three traceable layers: The childhood of the brothers and Smerdiakov; The symbolic, extra narrative childhood in the stories of Ivan Karamazov and in Mitia's dream; The gymnasium students and their "leader" Aliosha Karamazov. The conclusions deal with the childness of Dostoyevsky's characters, his endless sympathy for the suffering children, the child's innocent tear, childness and early maturity, the cruelty and kindness of children.
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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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Young, Sarah J. "Dostoevsky's The idiot and the ethical foundations of narrative reading, narrating, scripting /." London : Anthem Press, 2004. http://catalog.hathitrust.org/api/volumes/oclc/56540766.html.
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Racu, Alexandru. "Modernity and the Theologico-Political Problem in the Thought of Joseph de Maistre and Fyodor Dostoyevsky: A Comprehensive Comparison." Thèse, Université d'Ottawa / University of Ottawa, 2013. http://hdl.handle.net/10393/24358.
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In this thesis I compare the views of Joseph de Maistre and Fyodor Dostoyevsky with regard to the relation between modernity and the theologico-political problem. I integrate this comparison within the general context of the reflection concerning modernity and the theologico-political problem, as well as within the context of two Christian theological traditions, Catholic and Orthodox, on the basis of which the two authors develop their religious and political thought. In particular, I analyze the views of the two authors with regard to the origins and the defining traits of modernity. Likewise, I present their opinions concerning the consequences which are inherent in the modern project. Viewing modernity first and foremost as an attempt to build a secular world that would define itself by its opposition to what both authors regard as authentic Christianity, Maistre and Dostoyevsky emphasize the fact that, having theological origins that mark the totality of its becoming, modernity should be understood on the basis of a theologico-political reflection. Associating the modern ambition to build a secular world with the fate of the biblical Tower of Babel, both authors adopt a prophetic posture, announcing the collapse of the modern project as well as the ultimate eschatological resolution of the modern crisis. Yet, the two authors are differentiated by their interpretations of the relation between modernity and the theologico-political problem, identifying differently the theological origins of the modern crisis. In this sense, while according to Maistre modernity originates in the Protestant Reformation, for Dostoyevsky, modernity’s origins must be located in the transformations of Western Christianity that have finally lead to the latter’s separation from Eastern Orthodoxy. These differences of interpretation lead to the articulation of two different responses to the modern crisis, which are rooted in two different Christian theological traditions. Consequently, if in reaction to the modern crisis Maistre affirms the Catholic principle of authority, whose highest expression is the concept of papal infallibility, Dostoyevsky opposes to this crisis the Orthodox principle of brotherhood in Christ. The critique of modernity culminates in the thought of the two authors with an approach of the complex and troubling problem of theodicy, which, Maistre and Dostoyevsky believe, stands at the origin of the modern opposition to Christianity and its traditional institutions.
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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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Trushakova, Tatiana. "Teodicėjos problemos F.Dostojevskio kūryboje ugdymo aspektu." Master's thesis, Lithuanian Academic Libraries Network (LABT), 2014. http://vddb.library.lt/obj/LT-eLABa-0001:E.02~2013~D_20140106_110200-51592.
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Šiame darbe analizuojama, kas yra teodicėja, pateikiamos filosofijos atstovų teorijos apie jos esmę ir keliamas problemas. Magistro darbe nagrinėjami žmonių patiriamų kančių teisingumo, nuodėmės ir jos išpirkimo, tikėjimo klausimai. Teodicėjos problemos užuomazgų randame Šventajame Rašte, o tiksliau, Jobo Knygoje.
Teodicėjos problemą savo kūriniuose kėlė ir XIX a. rusų rašytojas F. Dostojevskis. Šiame darbe šiuo aspektu analizuojami jo romanai „Idiotas“, „Demonai“, „Nusikaltimas ir bausmė“, „Broliai Karamazovai“ ir apysakos. Nagrinėjant teodicėjos problemą ypač vertingas paskutinis F. Dostojevskio romanas „Broliai Karamazovai“. Rašytoją jaudinantis tikėjimo ar netikėjimo Dievu klausimas sprendžiamas romano veikėjams priimant ar nepriimant Dievo pasaulį. Žmonių kančių problema F. Dostojevskio kūriniuose susiaurinama iki vaikų kančių problemos. Skaitant kūrinius galima įžvelgti dvi kančių priežastis: gimtoji nuodėmė ir žmonėms būdingas nuodėmingumas. Veikėjų teigimu, blogis- būtina gėrio egzistavimo sąlyga. Rašytojas svarsto, kad žmogui suteikta laisvė yra ir Dievo dovana, ir nepakeliama našta. F. Dostojevskis aiškina žmogaus prigimties blogio priežastis ir ribas. Tačiau jis ir teisina žmogų, nes Visagalis dovanodamas žmogui žodžio laisvę, suteikė jam galimybę teisinti arba smerkti Dievą, sukūrusi šį toli gražu netobulą pasaulį.
Iškeltai hipotezei patvirtinti atliktas praktinis tyrimas, kuriame dalyvavo 10 – 12 klasių moksleiviai. Susumavus tyrimo... [toliau žr. visą tekstą]The aim of the current research is to analyze the concept of theodicy. In this Master thesis the theories about the essence of theodicy and the issues that may be raised suggested by various philosophy representatives are to be discussed. The current work is also to consider the questions of justice of human suffering, sins, redemption and faith. The origins of the issues mentioned above can already be found in the Christian doctrine, to be more precise, in the Book of Job. The issue of theodicy is also reflected in the works of 19th century Russian writer Fyodor Dostoyevsky. In this Master thesis some stories and the novels “The Idiot”, “Demons”, “Crime and Punishment”, “The Brothers Karamazov” are to be analyzed. The last novel „The Brothers Karamazov“ raised particular interest. The question of faith and unbelief, which was also important to the author, can be seen in the way the world is accepted or not by various characters. The question of human suffering is narrowed in the novels to the issue of children suffering. Furthermore, in this research the two ways of ‘God’s justification’ for the sufferings mentioned above shall be overviewed, i.e. the original sin of all the people and sinfulness as such present in the lives of people. The presence of evil as an unquestioned condition for the existence of good is keenly discussed by the characters. The issue of freedom as an unbearable gift for every human being is studied by the writer from different... [to full text]
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Pejovic, Milivoje. "Recherche sur la relation entre Proust et Dostoïevski." Paris (47 bis Av. de Clichy, 75017) : Éd. du Titre, 1998. http://catalogue.bnf.fr/ark:/12148/cb36990073t.
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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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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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Cheng, Pik-yee Virginia. "Power in Rousseau's The confessions and Dostoyevshy's Notes from underground." [Hong Kong] : University of Hong Kong, 1994. http://sunzi.lib.hku.hk/hkuto/record.jsp?B13787354.
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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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Weinczyk, Raimund Johann. "Myškin und Christus ein fiktives Gespräch mit J. Ratzinger auf der Basis von F. M. Dostoevskijs Roman "Idiot"." Heidelberg Winter, 2006. http://deposit.ddb.de/cgi-bin/dokserv?id=2808126&prov=M&dok_var=1&dok_ext=htm.
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Somerwil-Ayrton, Shirley Kathlyn. "Poverty and power in the early works of Dostoevskij." Amsterdam : Rodopi, 1988. http://catalog.hathitrust.org/api/volumes/oclc/19071982.html.
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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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Kraeger, Linda T. "Conflict in The Brothers Karamazov: Dostoevsky's Idea of the Origin of Sin." Thesis, University of North Texas, 1992. https://digital.library.unt.edu/ark:/67531/metadc500919/.
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The thesis systematically explicates Dostoevsky's portrayal of the origin of human evil on earth through the novel The Brothers Karamazov. Drawing from the novel and from Augustine, Pelagius, and Luther, the explication compares and contrasts Dostoevsky's doctrine of original conflict against the three theologians' views of original sin. Following a brief summary of the three earlier theories of original sin, the thesis describes Dostoevsky's peculiar doctrine of Karamazovism and his unique account of how human evil originated. Finally, the thesis shows how suffering, love, and guilt grow out of the original conflict and how the image of Christ serves as an icon of the special kind of social unity projected by Zosima the Elder in The Brothers Karamazov.
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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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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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Silva, Claudinei Fernandes Paulino da. "O CRISTO DA LIBERDADE EM DOSTOIEVSKI: TEOLOGIA E LITERATURA EM DIÁLOGO." Universidade Metodista de São Paulo, 2009. http://tede.metodista.br/jspui/handle/tede/523.
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Previous issue date: 2009-09-09Coordenação de Aperfeiçoamento de Pessoal de Nível Superior
Este trabalho se propõe a apresentar o diálogo entre a teologia e a literatura a partir do método da correspondência de Antonio Carlos Magalhães, tendo como foco central do diálogo o tema da liberdade. A literatura de Dostoievski em O Idiota e Os irmãos Karamazovi obras de referência - trabalha a liberdade tendo Cristo como principal referencial, por isto, o Cristo de Dostoievski é o Cristo da liberdade. Esta compreensão de liberdade em Dostoievski se dá a partir de uma consciência antropo-teológica. Na mesma direção caminha o pensamento teológico latino americano de Juan Luis Segundo e de José Comblin, que apresenta um humano tão livre como o próprio Deus, sendo este responsável pela construção ou criação de seu mundo e não preso a determinismos. Neste diálogo, portanto, há uma tentativa de aproximação entre a literatura russa do Séc. XIX, de Dostoievski, com a teologia latino americana dos Séc. XX e XXI de Juan Luis Segundo e José Comblin. A liberdade sendo trabalhada a partir do universo ficcional-literário de Dostoievski em correspondência com a teologia latino americana. Ambos apontando para um humano em construção, portanto não concluído, que constrói a vida a partir da liberdade liberdade incriada ou vocação para liberdade - a qual deve ser vivida no amor, mesmo diante das malditas questões humanas.(AU)
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Razvickas, Anna Clara Versolato. "O universo grotesco em Uma anedota desagradável, de Dostoiévski." Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/8/8155/tde-09122016-135436/.
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Esta pesquisa é composta de uma tradução do original em russo da novela Uma anedota desagradável, de Fiódor Dostoiévski, publicada em 1862 na revista Vriêmia, seguida de um breve comentário sobre ela. Para o estudo do texto considerou-se que seu tema está relacionado com artigos publicados pelo escritor, em que ele expõe as suas observações acerca da intelliguentsia e da sociedade russa da época. No que se refere ao tratamento dado ao tema, o escritor empregou amplamente recursos associados ao universo grotesco, como o riso e a paródia, tanto para a descrição das personagens como para a narração dos acontecimentos.This research is composed of a translation from the Russian novella An unpleasant anecdot, by Fyodor Dostoyevsky, published in 1862 in the periodic Vriemia, followed by a brief commentary about the periodic. To the study of the text was considered that the theme is related to the articles published by the author, on which he exposes his observations about the intelliguentsia and the Russian society of that time. Regarding the treatment given to the theme, the writer largely used resources associated to the grotesque universe, like the laughter and the parody, as to the description of the characters as well as to the narration of the events.
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Noguchi, Eduardo Armaroli. "Revolta, niilismo e religiosidade: a antropologia filosófica de Dostoiévski." Universidade Federal de Juiz de Fora, 2012. https://repositorio.ufjf.br/jspui/handle/ufjf/1890.
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CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível Superior
O objetivo deste trabalho é investigar a possibilidade de se construir uma antropologia filosófica a partir dos romances de Fiódor Dostoiévski. A primeira noção que se destaca neste discurso filosófico é a de revolta, que está intimamente ligada ao fenômeno da liberdade humana. Dostoiévski mostra como a revolta conduz o homem ao niilismo filosófico, em suas várias manifestações históricas. A única alternativa viável para superar estas aporias seria uma nova religiosidade, fundada num verdadeiro sentimento de compaixão. Para Dostoiévski, isto só é possível quando o homem alcança um total domínio de seus impulsos egoístas. A consumação do egoísmo humano é o altruísmo da fé.
The aim of this work is to investigate the possibility to elaborate a philosophical anthropology on Fiódor Dostoyevsky’s novels. The first idea which is to be stressed in this philosophical discourse is that of revolt, and it is closely related to the phenomenon of human freedom. Dostoyevsky show how revolt leads human being to philosophical nihilism, in its different historical manifestations. The only viable alternative in order to surmount those aporias would be a new religiosity, based in a true sentiment of compassion. For Dostoyevsky, this is possible only when human being reaches full dominion of his egotistic impulses. The fulfillment of human egotism is faith’s altruism.
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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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Palma, Rodrigo Barbosa. "A beleza reveladora da cicatriz." Universidade de São Paulo, 2010. http://www.teses.usp.br/teses/disponiveis/8/8146/tde-28042010-093954/.
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Dostoiévski, escritor russo do século XIX, compôs uma vasta obra, na qual procurou dar voz a todos os dilemas e contrastes presentes na alma humana; e conseguiu este feito sem procurar impor suas próprias verdades, sabendo que estas, em realidade, são sempre relativas. Um dos temas mais recorrentes em sua obra é a questão da loucura e do desequilíbrio, não só de seus personagens, mas também de fatos e acontecimentos, mostrando que, muitas vezes, na loucura do caos da vida, reside uma ordem e uma lógica superiores e, portanto, incompreensíveis para a mente humana, a qual acaba por considerar estes acontecimentos como fruto da insanidade. Isto despertou nosso interesse e resolvemos dedicar nosso estudo a este inquietante tema.Dostoyevsky, Russian writer of the 19th century, accomplished a large literary output, in which he sought to give voice to all the dilemmas and contrasts existing in the human soul, and he perpetrated this deed without attempting to impose his own truths, knowing that these, in fact, are always relative. One of the most recurrent themes in his work is the issue of madness and instability, not only of his characters, but also of facts and events, showing that, oftentimes, in the madness existing in the chaos of life reside both a superior order and a superior logic and, therefore, incomprehensible to the human mind, which ends up regarding these events as a fruit of insanity. That aroused our interest and we have decided to dedicate this study to this unsettling theme.
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Porto, Lito Edward. "Naught of words : a novelistic inquiry into the irrepressible quest for silence and emptiness /." Digital version accessible at:, 2000. http://wwwlib.umi.com/cr/utexas/main.
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Castangia, Luigi. "Religiöse Gestalten in Dostojewskijs Werk. Romano Guardinis Interpretation des russischen Schriftstellers." Doctoral thesis, Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2011. http://nbn-resolving.de/urn:nbn:de:bsz:14-qucosa-71472.
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Die Arbeit hat zwei Teile. Zuerst wird eine Analyse von drei großen Romanen Dostojewskijs vorgenommen: Der Idiot, Die Dämonen und Die Brüder Karamasoff. In jedem Roman werden verschiedene Themen in Betracht gezogen: die Schönheit in Der Idiot, die Liebe in Die Dämonen und das Opfer in Die Brüder Karamasoff. Durch diese Themen wird die Komplexität der dostojewskijschen religiösen Welt freigelegt. Im Werk des russischen Schriftstellers ist das religiöse Element wesentlich, wenn man die Handlung verstehen und interpretieren will. Das Drama der wichtigsten Figuren beruht immer auf einer Auseinandersetzung mit religiösen Themen.
Die Religiosität ist auch das Hauptthema der Hermeneutik Guardinis in seinem Buch Religiöse Gastalten in Dostojewskijs Werk. Der zweite Teil der Doktorarbeit untersucht daher die guardinische Interpretation Dostojewskijs. Warum und wie hat der italienisch-deutsche Denker den russischen Schriftsteller gelesen? Welchen Beitrag haben die Romane Dostojewskijs dem guardinischen Denken geliefert? Welchen Beitrag leistet die Deutung Guardinis für die Kritik des dostojewskijschen Schaffens? Diese Fragen eröffnen die Grundzüge des zweiten Teils der Arbeit.
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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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Pinot, Anne. "Expérience et sens du déracinement dans l’œuvre romanesque de Dostoïevski et de Bernanos." Thesis, Paris 4, 2011. http://www.theses.fr/2011PA040045.
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Les romans de Dostoïevski et de Bernanos se rencontrent sur la frontière fragile de la littérature et de la métaphysique ; l’incarnation des personnages dans des espaces et des lieux que leurs cœurs troublés contaminent donne au texte son symbolisme essentiel, qui n’est ni le « paysage choisi » romantique, ni l’espace surdéterminé des réalistes. L’incarnation ne contredit pas les règles de la création romanesque, puissamment remodelées par les deux auteurs, mais les refondent dans des histoires familiales archétypales où la maison paternelle peut être le lieu d’un meurtre moral initial. Derrière les discours de personnages bavards, avides de philosophie et de psychologie (ce qui a longtemps retenu surtout l’attention de la critique), se cache la question du langage et de l’esthétique face à la vérité. Beaucoup sont des menteurs, qui ont oublié le sens du langage enraciné auquel croyait Bernanos, et les soliloqueurs de Dostoïevski se perdent dans les méandres de leurs souterrains verbaux. La question de l’esthétique est tributaire des vicissitudes d’une époque (les années 1880-1930) qui est celle du déracinement des intellectuels ; quelle est cette beauté qui « sauvera le monde » dans un univers qui n’est plus théocentré, et quelle est la légitimité du romancier à en proposer la quête, surtout si elle est spirituelle ? Malgré la présence de figures du salut qui, dans la douleur de confrontations violentes, proposent l’acceptation de l’altérité, les déracinés persistent souvent dans la voie du mensonge et préfèrent le masque démoniaque du double ou le néant de l’«à quoi bon ? »Dostoyevsky's and Bernanos's novels meet up on the frail boundary between literature and metaphysics; the incarnation of characters in spaces and places tainted by their troubled hearts gives the text its essential symbolism, which is neither the romantic "chosen landscape" nor the realists' overdetermined space. Incarnation does not contradict the rules of fictional creation —powerfully remodeled by the two authors— but recasts them in archetypal family stories where the father's home can be the locus of an initial moral murder. Behind the words of garrulous characters, who are eager for philosophy and psychology (which long caught the critics' attention), there lies the question of language and aestheticism confronted with truth. Many of them are liars who have forgotten the meaning of the entrenched language which Bernanos cherished, and Dostoyevsky's soliloquists get lost in the rambling development of their convoluted wording. The question of aestheticism depends on the vicissitudes of a period (1880-1930) which was marked by the uprooting of intellectuals: what is this beauty which will "save the world", a world which is no longer theo-centred, and how legitimate is a novelist who proposes its quest, especially if it is a spiritual one? Despite the existence of salvation figures who, through the suffering caused by violent confrontation, propose the acceptance of otherness, the uprooted characters often choose to lie persistently and prefer the demonic mask of duality or the nothingness of the "a quoi bon", an expression of absolute indifference and disillusionment
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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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Boag, Cara Ingrid. "Solitude, suffering, and creativity in three existentialist novels." Thesis, Stellenbosch : University of Stellenbosch, 2009. http://hdl.handle.net/10019.1/1713.
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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.
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Oliveira, Poliana Gabriel. "A constituição da identidade narrativa de Fiódor Dostoiévski em Recordações da casa dos mortos." Universidade Federal de Goiás, 2017. http://repositorio.bc.ufg.br/tede/handle/tede/7691.
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The current research consist o analyzing the Russian writer Fyodor Dostoyevsky through the constitution of a narrative identity in Memoirs from the House of The Dead, which points to a shift in his writings if compared to former works. This novel is an autobiograph that narrates the events of his in Siberia, from his analysis, is possible to identify elements that, interconnected to a historic reconstruction of that time, forms a narrative identity, a category of studies that is connected to life experience and the act of narrate with the purpose of provide meaning. Through this constitution, is noticeable a shift in his writings, that points to a nihilism concept as the finishing line of his post prison works, bringing forward the Slavophile aspect on his later works in detriment of his previous Occidentalism.
A atual pesquisa consiste em analisar o escritor russo Fiódor Dostoiévski através da constituição de uma identidade narrativa na obra Recordações da casa dos mortos, a qual aponta para uma mudança em sua escrita em relação às obras publicadas anteriormente. Essa obra é uma autobiografia que narra os acontecimentos de sua prisão na Sibéria e, a partir da sua análise, é possível identificar elementos que, quando interligados a uma reconstrução histórica do período, formam uma identidade narrativa, uma categoria de estudos que está ligada a experiência de vida e a atividade de narrar com intuito de oferecer sentido. Através dessa constituição, é perceptível uma mudança em sua escrita, a qual aponta para o conceito de niilismo como ponto de chegada de suas obras posteriores à prisão, ressaltando mais o aspecto eslavófilo posterior em detrimento ao ocidentalismo anterior do escritor.
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McCarthy, Karen Anne. "Transcendance de la pluralité chez Fédor Dostoïevski /." 1997. http://proquest.umi.com/pqdweb?did=738272181&sid=14&Fmt=2&clientId=9268&RQT=309&VName=PQD.
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