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Starobinska, Ella. "Lev Tolstoy and His Women." Thesis, The University of Arizona, 2012. http://hdl.handle.net/10150/244801.
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In his great novels, War and Peace and Anna Karenina, Lev Nikolaevich Tolstoy created a diverse group of female characters. These women not only reflect the social issues of Tolstoy's time, but also the life of the man who created them. Above and beyond the roles of women in society and household life, the issues of marriage, sex, and love proved to be the most complex to Tolstoy. By creating such diverse and contradictory characters, Tolstoy was able to show clearly his dichotomous views and his inner struggles.
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Rabello, Belkis. "As cartilhas e os livros de leitura de Lev N. Tolstói." Universidade de São Paulo, 2009. http://www.teses.usp.br/teses/disponiveis/8/8155/tde-19022010-163110/.
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A vasta obra de Lev Nikoláievitch Tolstói inclui um intenso trabalho pedagógico. A partir do final da década de 1850, e até o fim de sua vida, Tolstói dedicou-se também a escrever duas cartilhas e quatro livros de leitura, todos empregados na alfabetização do povo russo, durante décadas, não apenas na Escola de Iásnaia Poliana, mas igualmente em várias escolas daquele país. Além de apresentar a tradução do Terceiro Livro de Leitura e de expor algumas das soluções encontradas durante o processo de tradução da referida obra, esta Dissertação procura mostrar a importância desta fase literária de Lev N. Tolstói, ainda pouco conhecida do leitor brasileiro e, em meu entender, essencial para uma melhor compreensão da literatura que ele produziu no período que a crítica literária em geral chamou de crise que acometeu o escritor. Optei por acrescentar a tradução da correspondência mantida entre Lev N. Tolstói e Mahatma K. Gandhi porque entendo estar nela, tratada de maneira mais explícita do que em outros textos, a questão da não-violência, essencial, por sua vez, à compreensão da produção literária que inclui sua obra pedagógica.Lev Nikolayevich Tolstoys vast creative work includes an intense pedagogic activity. From 1858 to 1875 Tolstoy wrote two ABCs and four books of reading for the alphabetization of the Russian people, not only for the pupils of the school of Yasnaya Polyana, but equally for many other schools around the country. Beyond presenting the translation of the Third Book of Reading and exposing some solutions found out during the translation process, this dissertation aims to show how important was this phase in Lev Tolstoys literary life. Although not much known in Brazil, this phase, in our understanding, is essential for a better comprehension of the literary period the critics use to call the crisis time in Tolstoys life. We add a translation of the letters exchanged between Tolstoy and Gandhi dealing with the non-violence question, an essential one to understand the Tolstoyan literary creative work.
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Almeida, Luíza Nascimento. "Movimentos de criação literária em Lev Tolstói: um estudo da representação do homem natural e da tradição musical russa à luz de Cossacos - Novela do Cáucaso." Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/8/8155/tde-04072018-113559/.
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A partir da obra Cossacos, romance de Lev Tolstói cuja narrativa tem como protagonista os cossacos de Grében, a tese faz um extenso estudo acerca do homem natural e de seu principal veículo de expressão, a música, fruto da relação desse personagem com seu meio. A análise se fundamenta nos escritos do filósofo Jean-Jacques Rousseau (maior mestre do autor russo) a respeito do estado de natureza e da origem da linguagem musical primeira forma de comunicação que o selvagem, incitado pelas necessidades morais (e não físicas), ter-se-ia utilizado para travar contato com seu semelhante. O capítulo inicial se atém no Cáucaso, localidade montanhosa ao sul da Rússia, onde a história se desenrola e que é palco de obrasprimas da literatura russa que precederam Cossacos. Os capítulos seguintes, então, dedicamse a elucidar por que motivo Tolstói teria representado seu personagem, herdeiro do bom selvagem de Rousseau, como um homem ávido pela música - um Homem-Música. Para isso, o trabalho se propõe a trilhar o caminho empreendido pelo próprio Tolstói, procurando dimensionar a relação do autor com a música e com esse homem tradicional que, no decurso de sua trajetória, retratou sob inúmeras roupagens.Taking its cue from the novel \"Cossacks\" Lev Tolstoy\'s work that featuring the Grebenski Cossacks as protagonists the thesis develops an extensive study of the \"natural man\" and music, his most remarkable means of expression and a product of his relationship with his surroundings. This study bases itself on the writings of philosophe Jean-Jacques Rousseau the Russian author\'s premier influence regarding the State of Nature and the origins of musical language and, allegedly, the earliest means of communication borne out of his moral (and not physical) need to establish contact with his equal. The first chapter deals with the Caucasus, a mountainous region in southern Russia where the story takes place as do numerous masterpieces that preceded Tolstoy\'s novel. Subsequent chapters attempt to explain the reasons why the author presented his character, a successor to Rousseau\'s \"noble savage\", as a man craving for music a \"Music-Man\", so to speak. As such, this study intends to trail Tolstoy\'s own path and map out his relationship with music and with this traditional man so often portrayed, under numerous guises, in his oeuvre.
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Cliffe, Alan. "Of Earth And Sky: Lev Tolstoy As Poet And Prophet." Cleveland, Ohio : Cleveland State University, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=csu1232032249.
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Thesis (M.A.)--Cleveland State University, 2008.Abstract. Title from PDF t.p. (viewed on Apr. 16, 2009). Includes bibliographical references (p. 48-50). Available online via the OhioLINK ETD Center. Also available in print.
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Erasso, Natalia Cristina Quintero. "Os diários de juventude de Liev Tolstói, tradução e questões sobre o gênero de diário." Universidade de São Paulo, 2011. http://www.teses.usp.br/teses/disponiveis/8/8155/tde-14072011-111923/.
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Liev Tolstói, autor russo do século XIX, reconhecido tanto pelos acadêmicos como pelo público geral como um dos maiores romancistas da história, ao longo de mais de sessenta anos escreveu um diário paralelamente a sua vasta obra artística. No conjunto de toda a produção escrita do autor, o diário constitui a sua obra mais volumosa, contudo, quase inexplorada em língua portuguesa. O presente trabalho propõe-se aproximar o leitor brasileiro dessa faceta menos conhecida de Tolstói por meio da tradução, direta do russo, dos primeiros sete anos do diário (1847 1854). Observa-se o que há de particular nesse texto de Tolstói, no âmbito do diário como gênero literário e, por fim, questiona-se a possibilidade de ler o diário de Tolstói como criação artística independente ou se deve ele ser tratado como um coadjuvante na interpretação das obras literárias do autor.Leo Tolstoy, great Russian writer of the nineteenth century, recognized as one of the leading novelists in the history of the genre, both by scholars and the general public, spent over sixty years writing a diary. Throughout the vast production written by the author, this diary is his most voluminous work, yet still unexplored and almost unknown in Portuguese. This work presents a translation directly from Russian of the first seven years of the diary (1847 - 1854) and also makes a first reflection on the nature of the text which encompasses the characteristics of Tolstoy\'s diary related to the genre. Then it analyzes whether Tolstoys diary can be treated as an artistic creation or as supporting text in the interpretation of literary works of the author.
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Machinek, Marian. ""Das Gesetz des Lebens ?" : die Auslegung der Bergpredigt bei L. N. Tolstoj im Kontext seines ethisch-Religiösen Systems /." Sankt-Ottilien : Eos Verlag, 1998. http://catalogue.bnf.fr/ark:/12148/cb39004163r.
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Merino, Daniela Simone Terehoff. "Mestre de teatro, mestre da vida: Leopold Sulerjítski e sua busca artística e pedagógica." Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/8/8155/tde-09032017-091918/.
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O presente trabalho aborda a herança artística, literária e pedagógica e a tradução diretamente do russo de cartas, trechos de diários e ensaios de Leopold Antônovich Sulerjítski (1872-1916), um dos maiores mestres teatrais e pedagógicos do início do século XX. Artista, pedagogo, literato e diretor de cena profundamente ligado à vida artística e cultural de sua época, Leopold Sulerjítski participou intensamente das atividades do Primeiro Estúdio do Teatro de Arte de Moscou, tornando-se o responsável pela propagação de elementos de tendência tolstoiana entre os atores que guiava. Além de abordar a influência exercida pelo escritor Lev Tolstói (1828-1910) dentro do Primeiro Estúdio via Leopold Sulerjítski, nosso estudo aprofunda o entendimento do papel fundamental que o diretor exerceu na formação do Sistema de Konstantin Stanislávski (1863-1938), sua incessante busca pela interligação entre estética e ética filosófica, e a conexão existente a partir de então entre pedagogia e criação, essencial até hoje à função do diretor teatral. Partindo do estudo da grande massa crítica e teórica de importantes teatrólogos russos como Pavel Márkov, Konstantin Rudniíski e sobretudo Elena Poliakova, ainda inéditos em português, visa-se introduzir as abordagens teóricas russas do papel desempenhado por Sulerjítski na vida cultural da Rússia do início do século XX.The present work deals with the artistic, literary and pedagogical heritage and the Russian translation of letters, excerpts from the diaries and essays by Leopold Antônovich Sulerzhitsky (1872-1916), one of the greatest theatrical and pedagogical masters of the early twentieth century. Leopold Sulerzhitsky , an artist, educator, lithographer and director deeply connected to the artistic and cultural life of his time, participated intensively in the activities of the First Studio of the Moscow Art Theater, becoming responsible for the propagation of elements of Tolstoy tendency among the Actors he led. In addition to addressing the influence exerted by the writer Liev Tolstoy (1828-1910) within the First Studio via Leopold Sulerzhitsky , our study deepens the understanding of the fundamental role the director played in the formation of Konstantin Stanislavski\'s System (1863-1938), his incessant Search for the interconnection between aesthetics and philosophical ethics, and the connection that existed between pedagogy and creation, essential until now to the function of the theatrical director. Based on the study of the great critical and theoretical mass of important Russian theatologists such as Pavel Márkov, Konstantin Rudnitsky and above all Elena Poliakova, still unpublished in Portuguese, the aim is to introduce Russian theoretical approaches to the role played by Sulerzhitsky in the cultural life of Russia from the beginning of the Century.
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Forehand, Paul. "Poetics of Lev Tolstoy's Kholstomer." Thesis, University of Oregon, 2014. http://hdl.handle.net/1794/18396.
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This thesis contains an analysis of the ways in which form and content are combined to create significance within a text, as well as an exploration of the ways in which the mechanics of didactic fiction convey this significance to the reader.
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Almeida, Luiza Nascimento. "A representação da morte na obra de Tolstói." Universidade de São Paulo, 2012. http://www.teses.usp.br/teses/disponiveis/8/8155/tde-16082012-120919/.
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O trabalho ambiciona expor como se efetua a representação da morte na obra de Lev Tolstói. Não há, entretanto, uma análise da totalidade de sua obra, o que seria impossível em face do espaço reservado, mas o exame de uma amostra de três de suas narrativas-cânone a respeito da morte: A Morte de Iván Ilitch, Senhor e Servo e Três Mortes; textos que dialogam entre si. Nesse sentido, a pesquisa também disserta sobre as inter-relações existentes entre a morte e a criação literária, pautando-se em textos de Mikhail Bakhtin e Maurice Blanchot; e aponta os principais acontecimentos de morte na vida de Lev Tolstói, responsáveis por definir sua personalidade dualista e, em um segundo momento, conduzi-lo à conversão, processo narrado no fragmento Uma confissão.The paper aims to show how the representation of death is done in the work of Lev Tolstoy. There isnt, however, an analysis of all of his work, which would be impossible face to the place settled, but the examination of a sample of three of its canon-narratives related to death: The Death of Ivan Ilyich, Master and Man and Three Deaths; texts that talk to one another. In this sense, the research also talks about the interrelations between literary creation and death, basing on texts by Mikhail Bakhtin and Maurice Blanchot, and highlights the main events of death in the life of Lev Tolstoy, responsible for defining his dualistic personality, and latter on, lead him to conversion, a process exposed in the fragment Confession.
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Delaunay, Claire. "Léon Tolstoï, écrivain de l'angoisse." Thesis, Paris 4, 2017. http://www.theses.fr/2017PA040181.
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L’angoisse joue un rôle primordial dans l’œuvre de Léon Tolstoï, principe structurant de son système narratif et aiguillon de sa quête personnelle – littéraire, philosophique et religieuse. Trois grandes familles peuvent être distinguées parmi les personnages tolstoïens : ceux du « on », les « hommes de la société », constituant la masse des personnages secondaires ; ceux du « je », « je » qui émerge dans et par l’expérience de l’angoisse, « héros mobiles » auxquels il est donné d’évoluer ; et ceux du « nous », figures de la communauté des « hommes de la nature », détenteurs du savoir auquel aspirent les héros. L’intrigue se construit autour de la destinée de ces héros, dont l’évolution constitue une forme de parcours initiatique procédant par ruptures. Les étapes de ce parcours s’articulent autour de la crise, de la réaction à celle-ci et de sa résolution dans la révélation. Si les héros aspirent au salut de l’angoisse dans le dépassement de l’être individuel et la communion universelle, cette aspiration se traduit chez Tolstoï par un rapport complexe au moi se révélant à travers ses différentes pratiques d’écriture et par l’élaboration d’un projet éthique et esthétique devant permettre cette communion universelle. L’angoisse de Tolstoï lui-même semble devoir en outre être considérée dans le contexte du tournant du siècle, qui représente un tournant dans la culture et en particulier dans la littérature russe. L’utilisation, dans les textes où Tolstoï fait le récit de sa propre conversion, des schémas narratifs et procédés d’écriture élaborés dans les œuvres littéraires semble suggérer la possible « fictionnalité » de la résolution de sa crise personnelleAngst plays a primordial role in Leo Tolstoy’s writing, being the structuring principle of his narrative system and the heart of his personal – literary, philosophical, and religious – quest. Three categories can be distinguished among tolstoyan characters: the “men of society”, who constitute the mass of the secondary characters; the “mobile heroes”, whose individuality emerges in and from the angst experience; and the figures of the “men of nature”, holders of the knowledge heroes aspire to. The plot is built on these heroes’ destiny, whose evolution represents a form of initiatory path proceeding by ruptures. The steps of this course are articulated around the crisis, the response to it, and its resolution as revelation. While heroes aspire to escape from angst by going beyond the individual “I” and by the universal communion, this desire shows itself in the Tolstoy’s complex relation to the “I”, revealing itself through his various writing practices and by the development of an ethic and aesthetic project that should ensure this universal communion. Tolstoy’s personal Angst should be considered in the context of the century’s turn, representing a turning point in culture and in particular in Russian literature. The use, in the texts in which Tolstoy tells the story of his own conversion, of narrative patterns and writing devices developed in his literary works seems to suggest the possible “fictionality” of his personal crisis’s resolution
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McPeak, Rickie Allen. "Iconoclasm or iconography? : responses to the death of the "other" in Lev Tolstoy's prose /." Thesis, Connect to this title online; UW restricted, 1996. http://hdl.handle.net/1773/7162.
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Stäubli, Christine. "Gesellschaft, Menschenbild und Erziehung bei Robert Owen und Leo N. Tolstoj /." Zürich : ADAG Administration und Druck, 1989. http://catalogue.bnf.fr/ark:/12148/cb35497355d.
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Jahanbegloo, Ramin. "Gandhi et la pensee occidentale (thoreau, ruskin, tolstoi)." Paris 4, 1998. http://www.theses.fr/1997PA040264.
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Cinquante apres son assassinat, m. K. Gamdhi reste indeniablement l'une des figures politiques et morales les plus marquantes de l'histoire de l'humanite. Homme d'une profondeur quasiment insondable et personnage hors de commun, gandhi etait a la fois un grand sage et un grand politicien. Au contraire des vieux sages indiens, gandhi considerait la politique comme une dimension de la vie humaine a trouvers laquelle il fallait essayer d'atteindre ce qu'il appelait "l'esprit de verite". La vision politique de gandhi se presente donc comme un nouvelle attitude dans la pensee politique de l'indemoderne. En verite l'attitude de gandhi en ce domaine releve strictement de son evolution spirituelle. On doit rappeler qu'il a ete profondement marque pas d'autres sources intellectuelles que la pensee indienne et notamment par trois grands penseurs du xixe siecle: ruskin, thoreau et tolstoi. Si le royaum de dieu est en vous de tolstoi permet a gandhi de vivifier sa passion pour la parole du christ et de raffermir sa foi en l'ahimsa, unto this last de ruskin, lui offre une nouvelle vision pratique de la vie de la communaute. Quant a h. D. Thoreau, il consolide intellectuellement la valeur de satyagraha inaugure par gandhi en afrique du sudMahatma gandhi was one of those rare human beings who was simultaneously a theoretician and practicioner of non-violence. Gandhi possessed an inner conviction that non-violence was not only one of the key words of his own century but of centuries still to come. It is in this sense that his ideas on non-violence and tolerance transcend the context of india itself, even though these ideas were initially conceived in relation to india's independence and future. Nevertheless, in spite of what may seem obvious, it is no mere truism to state that gandhi would not have been gandhi had he not been born indian. But at the same time, gandhi also sought support for his ideas of tolerance and non-violence in other cultures. In all likelihood, he was deeply influenced by three thinkers of the west: thoreau, ruskin andtolstoy. It was leo tolstoy who exerted the greatest influence on gandhi's thought through his concept of love. Thoreau's book, on the duty of civil disobedience provided gandhi with a solid foundation for his satyagraha in south africa. And last but not least, ruskin awakened gandhi's conscience on the idea of community and simplicity
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Holm, Gabriella. "Från Lev Tolstoj till Joe Wright : En adaptionsstudie av Anna Karenina." Thesis, Uppsala universitet, Litteraturvetenskapliga institutionen, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-225420.
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Christensen, Henrik. "Lev Tolstoj anländer alltid till Astapovo. : Ett semiotiskt perspektiv på adaption." Thesis, Stockholms universitet, Institutionen för litteraturvetenskap och idéhistoria, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-104790.
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Den här studien är en analys av hur den ryske författaren Lev Tolstoj, genom kanonisering och uppkomsten av vissa mönster av texter, bilder och representationer, reduceras till tecken, symbol och ikon, samt hur denna symbol och ikon behandlas i två filmadaptioner - Leo Tolstoj (Lev Tolstoj 1985) respektive The Last Station (2009). Den teoretiska utgångspunkten är i huvudsak Jurij Lotmans kultursemiotiska teori och i synnerhet hans definitioner av termerna tecken, symbol och ikon. Uppsatsen visar, utifrån denna semiotiska teori, hur adaptionerna väljer att representera en viss bild av Tolstoj som en reduktiv strategi för att kunna skapa ett narrativ som måste infoga och välja bland en komplex uppsättning av bilder och självbilder, representationer och självrepresentationer. Resultaten av analysen visar hur bilden av Lev Tolstoj i Lev Tolstoj fokuserar på bilden av författaren som å ena sidan starjets, som en vis äldre man, som människor uppsöker, och å andra sidan som författare. Hans verk ges följaktligen stort utrymme och det refereras ofta till hans verk, och då i synnerhet till den senare produktionen av filosofiskt och religiöst material. Vad gäller de ikoniska elementen är det bilden av den gamle mannen i de enkla bondekläderna från de sista åren av hans liv som dominerar. Överlag är filmen tydligt centrerad just runt Tolstoj och dessa aspekter och bilder av honom. I stark kontrast står däremot The Last Station som över huvud inte utgår från författaren utan betraktar honom utifrån övriga figurer. Även om de ikoniska elementen här i stort överlappar med den ryska adaptionen är det en betydligt förenklad version av Tolstoj som förekommer - det stora geniet. Den förenklade bilden möjliggör ett fokus på personen Tolstoj, hans privata sidor, förhållandet till människorna runtomkring, utan att behöva i detalj diskutera hans texter eller deras innehåll. Slutligen visar studien på fördelen med att röra sig bort från ett ensidigt och snävt perspektiv på adaption som ett förhållande mellan två texter från två olika semiotiska system, det vill säga från två olika medier. I stället använder studien ett semiotiskt metaspråk för att diskutera adaption och visar på möjliga sätt att diskutera hur texter och bilder tar en viss former då de traderas mellan och inom semiotiska system, hur de omvandlas och omförhandlas, från då till nu och vidare i nya texter.
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Ricco, Elena. "Sof'ja Tolstaja. Amore colpevole il dialogo letterario tra Sof'ja Andreevna e Lev Tolstoj." Bachelor's thesis, Alma Mater Studiorum - Università di Bologna, 2019. http://amslaurea.unibo.it/18396/.
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La presente tesi è un'analisi del dialogo letterario tra i coniugi Tolstoj, volto ad approfondire e analizzare il profondo legame tra la letteratura e la società nella Russia dell'Ottocento. Si intende inoltre dimostrare come, attraverso la letteratura, sia possibile vedere all'interno delle opere prese in esame il riflesso delle norme sociali, soprattutto quelle riguardanti il matrimonio, e il più ampio sfondo storico.
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Roy, France. "L. N. Tolstoï et N. F. S. Grundtvig : connaissance et sagesse, en éducation." Rouen, 2010. http://www.theses.fr/2010ROUEL011.
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Ce travail de thèse consiste en une étude des rapports entre connaissance et sagesse chez deux penseurs de l'éducation : l'écrivain russe L. N. Tolstoï (1828-1910) et le pasteur danois N. F. S. Grundtvig (1783-1872). Il présente les idées pédagogiques de chaque auteur ainsi que leurs fondements philosophiques et religieux, puis il les met en relation afin d'approfondir leurs conceptions respectives de la connaissance et de la sagesse, et de déterminer quels liens ils établissent entre les deux concepts, du point de vue de l'éducation. Pour Tolstoï, la sagesse apparaît comme première, elle sert de fondement à une définition de l'utilité de la connaissance et à une recherche de son usage dans l'action. Chez Grundtvig, c'est au sein même de la pratique éducative que sont incluses sagesse fondamentale, connaissance et sagesse active. Divergentes en apparence, ces conceptions reflètent non seulement la pensée de chacun des auteurs mais aussi le contexte dans lequel elles ont été élaborées. Elles se rejoignent pourtant sur un plan fondamental, celui de la vision de l'homme sur laquelle elles s'appuient, une vision reconnaissant la valeur de la vie humaine en tant que telle, et non en fonction du développement de sa seule raison. Cette analyse, ainsi que l'importance accordée par chacun des auteurs à l'usage de la langue et au principe d'interrelation, ouvre, au plan éducatif, des pistes de rélexion pour la recherche d'un rapport possible entre connaissance et sagesse, à l'heure actuelleThis theses is a study of the relationship between knowledge and wisdom according to two educational thinkers : the Russian writer L. N. Tolstoy (1828-1910) and the Danish pastor N. F. S. Grundtvig (1783-1872). It presents the pedagogical ideas of each author as well as their philosophical and religious standpoints. Then it brings them together in order to deepen their respective conception of knowledge and wisdom, and determine what links they establish between the two concepts from the point of view of education. It transpires that wisdom comes first for Tolstoy ; it serves as the basis to define the usefulness of knowledge and to search for the application of this knowledge in action. For Grundtvig on the other hand, fundamental wisdom, knowledge and active wisdom are at the very heart of educational practice. Seemingly divergent these concepts reflect not only the way of thinking of each author but also the context in which they were conceived. They come together at a fundamental level however, that of their vision of humanity on which their concepts are founded, a vision recognising the intrinsic value in human life rather than one that depends on the development of intellect alone. This analysis, together with the importance given by each author to the usage of language and to the principle of interrelatedness, opens ways of reflecting on the possibility of a relationship between knowledge and wisdom in education today
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Sicard, Hélène. "Réflexions et regards sur la douleur à travers Tolstoï et Le Clézio." Bordeaux 2, 1997. http://www.theses.fr/1997BOR2M134.
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Caesar, Cheryl. "Léon Tolstoï, Anne Tyler et la polyphonie littéraire : une étude d'influence." Paris 3, 2008. http://www.theses.fr/2008PA030035.
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Créateur de la notion de la polyphonie littéraire, Mikhaïl Bakhtine avait trouvé comme exemplaire les fictions de Dostoïevski. Les romans de Tolstoï lui servaient de contre-exemple, selon lui, monologiques et autoritaires. Cependant, des spécialistes de Bakhtine tels que Gary Saul Morson et Caryl Emerson trouvent chez Tolstoï d'autres expressions de la polyphonie. Cette thèse cherchent à explorer tous les concepts principaux de Bakhtine, le dialogisme, l'hétéroglossia, le carnaval, les chronotopes, l'infinalisabilité, et, en place centrale, la polyphonie, dans le contexte des romans de Tolstoï, principalement Anna Karénine. Ces concepts sont étudiés en tant qu'approches narratives aussi bien que sous la forme de thématisations liées à d'autres idées-clés de Bakhtine: l'altérité, l'externalité et l'exotopie. En même temps, nous analysons l'influence éventuelle de Tolstoï sur l'écrivain américaine Anne Tyler, et l'expression de la polyphonie dans ses oeuvresCreator of the concept of literary polyphony, Makhail Bakhtin chose the fictions of Dostoevsky as its exemplar, citing Tolstoy as his monologic counter-example. However, Bakhtin experts such as Gary Saul Morson and Caryl Emerson argue that Tolstoy's works may reveal another kind of polyphony. This dissertation explores the main ideas of Bakhtin, dialogism, heteroglossia, the carnival, chronotopes, unfinalizability and, centrally, polyphony, as they may be found in the novels of Tolstoy, particularly Anna Karenina. The concepts are analyzed as narrative approaches as well as thematizations which may be linked to other pivotal notions of Bakhtin's: otherness (alterity), outsidedness (externality) and other-worldedness (exotopia). At the same time, it examines the possible influence of Tolstoy on the American writer Anne Tyler, through the manifestations of polyphony in her works
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Pang, Lai-kei. "History as a form of narrative dreaming from war and peace to one hundred years of solitude." [Hong Kong : University of Hong Kong], 1994. http://sunzi.lib.hku.hk/hkuto/record.jsp?B13787317.
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Khmeleva, Elena A. "El tríptico Tolstoyano de Doña Emilia Pardo Bazán." Oxford, Ohio : Miami University, 2009. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=miami1242252787.
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Busquets, Alibés Ester. "L'ètica del tenir cura en Lev Tolstoi. Una aproximació a partir del relat "La mort d'Ivan Ilitx"." Doctoral thesis, Universitat Ramon Llull, 2016. http://hdl.handle.net/10803/358816.
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L’objectiu principal d’aquesta tesi doctoral consisteix a fer explícit el contingut de l’ètica del tenir cura en el relat de La mort d’Ivan Ilitx (1886). Per assolir aquest objectiu la tesi es divideix en dues grans parts, independents i alhora complementàries. És cert que el pes de la tesi recau sobretot en la segona part, on s’aborden els aspectes relacionats amb l’ètica del tenir cura, però la primera part, centrada en la vida i en el pensament moral de Tolstoi, permet eixamplar i il·luminar la comprensió de la segona. És més, la primera part és necessària, gairebé obligatòria podríem dir, per enderrocar els tòpics sobre l’obra de Tolstoi, i donar solidesa argumental a la dimensió filosòfica que conté l’obra de l’escriptor, perquè donant valor al Tolstoi filòsof es reconeix també la seva contribució específica i valuosa en l’àmbit de la filosofia pràctica, i concretament en l’ètica del tenir cura. En aquesta tesi es defensa que Tolstoi era un literat i un filòsof, tota la seva filosofia pivota entorn de la idea religiosa, inspirada en Crist, que cal viure per als altres, estimant els altres, per trobar el sentit autèntic de la vida i la immortalitat davant la mort. La mort d’Ivan Ilitx és tot un petit tractat de filosofia moral, que és perfectament aplicable al camp de les ciències de la salut.
L’anàlisi de La mort d’Ivan Ilitx en clau clínica permet descobrir els elements que constitueixen l’ètica del tenir cura en Tolstoi. La novel·la té dos grans protagonistes: Ivan Ilitx, el magistrat burgès que està greument malalt, i Gueràssim, el mugic que té cura del seu amo moribund. Tot el constructe de l’ètica del tenir cura parteix, precisament, de la manera de ser i de fer de Gueràssim, perquè el mugic-serf posseeix les virtuts essencials del qui ha de tenir cura dels altres. El conjunt de virtuts que caracteritzen el mugic representen un paradigma universal, totalment imprescindible per als professionals de l’àmbit de la salut. Entre les virtuts del mugic cal destacar: la cura de si mateix, l’alegria, la serenitat, la disponibilitat, la comprensió, la competència, la confiança, la veracitat, la sensibilitat i el consol. La Mort d’Ivan Ilitx és un relat de ficció que interpel·la radicalment els professionals del tenir cura, perquè els diu, amb molta força, que han de convertir en una realitat la ficció del relat tolstià.El objetivo principal de esta tesis doctoral consiste en hacer explícito el contenido de la ética del cuidar en el relato de La muerte de Ivan Ilich (1886). Para alcanzar este objetivo la tesis se divide en dos grandes partes, independientes y a la vez complementarias. Es cierto que el peso de la tesis recae sobre todo en la segunda parte, donde se abordan los aspectos relacionados con la ética del cuidar, pero la primera parte, centrada en la vida y en el pensamiento moral de Tolstoi, permite ampliar e iluminar la comprensión de la segunda. Es más, la primera parte es necesaria, casi obligatoria podríamos decir, para derribar los tópicos sobre la obra de Tolstoi, y dar solidez argumental a la dimensión filosófica que contiene la obra del escritor, porque dando valor al Tolstoi filósofo se reconoce también su contribución específica y valiosa en el ámbito de la filosofía práctica, y concretamente en la ética del cuidar. En esta tesis se defiende que Tolstoi era un literato y un filósofo, toda su filosofía pivota en torno a la idea religiosa, inspirada en Cristo, que hay que vivir para los demás, amando a los demás, para encontrar el sentido auténtico de la vida y la inmortalidad ante la muerte. La muerte de Ivan Ilich es todo un pequeño tratado de filosofía moral, que es perfectamente aplicable al campo de las ciencias de la salud. El análisis de La muerte de Ivan Ilich en clave clínica permite descubrir los elementos que constituyen la ética del cuidar en Tolstoi. La novela tiene dos grandes protagonistas: Ivan Ilich, el magistrado burgués que está gravemente enfermo, y Guerásim, el mujik que cuida de su dueño moribundo. Todo el constructo de la ética del cuidar parte, precisamente, de la forma de ser y de hacer de Guerásim, porque el mujik-siervo posee las virtudes esenciales del que debe cuidar a los demás. El conjunto de virtudes que caracterizan al mujik representan un paradigma universal, totalmente imprescindible para los profesionales del ámbito de la salud. Entre las virtudes del mujik cabe destacar: el cuidado de sí mismo, la alegría, la serenidad, la disponibilidad, la comprensión, la competencia, la confianza, la veracidad, la sensibilidad y el consuelo. La Muerte de Iván Ilich es un relato de ficción que interpela radicalmente a los profesionales del cuidado, porque les dice, con mucha fuerza, que deben convertir en una realidad la ficción del relato tolstiano.
The main objective of this thesis is to make explicit the content of the ethics of care in the story The Death of Ivan Ilyich (1886). To achieve this objective the thesis is divided into two parts, independent and complementary at the same time. It is true that the weight of this thesis lies mainly in the second half, which developes the aspects related to the ethics of care, but the first part focused on the life and thought of Tolstoy's moral, allows to widen and illuminate the understanding of the second. Moreover, the first part is necessary, we could say almost obligatory to demolish stereotypes about Tolstoy and give arguing strength to the philosophical dimension that contains the work of the writer, so highlighting the philosopher Tolstoy we can recognize his specific and valuable contribution in the field of practical philosophy, and specifically in the ethics of care. This thesis argues that Tolstoy was a writer and a philosopher, his whole philosophy revolves around the religious idea, inspired by Christ, saying we must live for others, loving others, to find the true meaning of life and immortality in front of death. The Death of Ivan Ilyich is a small treatise on moral philosophy, which is fully applicable to the field of health sciences. The clinical analysis of The Death of Ivan Ilyich reveals the elements that constitute the ethics of care in Tolstoy. The novel has two main protagonists: Ivan Ilyich, the bourgeois magistrate who is seriously ill, and Gerasim the peasant who takes care of his dying master. The whole construct of ethics of care starts from, precisely, the way of being and caring of Gerasim because the peasant-serf has the essential virtues of the person who should take care of others. The whole virtues that characterize the peasant represent a universal paradigm, absolutely essential for professionals in the field of health. Among the virtues of the peasant we must distinguish: care of himself, joy, serenity, availability, understanding, competence, confidence, accuracy, sensitivity and consolation. The Death of Ivan Ilyich is a fictional story that appeals radically the professionals of care, because he says, with great force, that they must turn into a reality the fiction of Tolstoy story.
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Souder, Eric Matthew. "The Circassian Thistle: Lev Nikolaevich Tolstoy's 'Khadzhi Murat' and the Evolving Russian Empire"." Miami University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=miami1416407685.
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Bytsenko, Anastassia. "Liev Tolstói e o teatro: texto e contexto de O Cadáver Vivo." Universidade de São Paulo, 2013. http://www.teses.usp.br/teses/disponiveis/8/8155/tde-13022014-114418/.
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A análise aborda o fenômeno artístico e cultural que é o teatro de Liev Tolstói no limiar entre a literatura e a história do teatro russo. A ênfase recai em apenas uma peça e suas quatro versões cênicas, permitindo, por um lado, abranger um grande período de tempo e observar as transformações que ocorrem com O Cadáver Vivo no decurso de um século de história russa; por outro lado, visa aprofundar o estudo dedicado a uma faceta específica da arte de Liev Tolstói.The analysis addresses the artistic and cultural phenomenon that is the theater of Leo Tolstoy on the threshold between literature and history of Russian theater. The emphasis is in one piece and its four scenic versions, allowing one hand, cover a large period of time and observe the changes that occur with The Living Corpse over a century of Russian history, on the other hand, seeks to deepen study dedicated to a specific facet of the art of Leo Tolstoy.
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Schusler, Ralph Willard Jr. "Depictions of Fear in Lev Tolstoy's Sevastopol Sketches and Stephen Crane's The Red Badge of Courage." FIU Digital Commons, 2017. http://digitalcommons.fiu.edu/etd/3180.
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The purpose of this thesis was to examine and compare two iconoclastic works dealing with war as experienced by combatants. So much of modern war fiction takes this perspective that one is hard pressed to imagine a time when such was not the case; the watershed was marked in the above named works by the aforementioned writers, which, and who, were first in putting readers inside the heads of common soldiers facing mortal danger. These pioneering authors opened the door to modernist writing about boundary situations involving existential threat, as well as the psychological reactions they evoke – especially fear. Depicting the toll the horrors of war take on individuals has helped humanize its study and enhanced our understanding of what had been a hidden cost of modern armed conflict.
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Castro, Eliana de. "Religião e romantismo: o adultério de Anna Kariênina à luz da teoria romântica da paixão." Pontifícia Universidade Católica de São Paulo, 2018. https://tede2.pucsp.br/handle/handle/21428.
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This research intends to analyze the novel Anna Kariênina, by the Russian writer Liev Tolstoy, in the light of Romanticism and orthodox Christianity, specifically the question of adultery and romantic love, which ends up leading the protagonist to suicide. We deal with the importance of literature since the earliest times, especially how through literature it is possible to get in touch with the religious customs of a nation, that is, their worldview. We create a panorama of the romantic movement and its influence in literature, just as we present the new way of seeing and living the religion that has been given by the historical romantics; beyond, of course, the very conception of romantic love, which dates back to this period. We observe Tolstoy as a religious agent, passing through his main body of work, thus arriving at the question of the desire that, in the end, closes the research in a detailed analysis of the work, which certainly serves the whole theoretical path.
Esta pesquisa pretende analisar o romance Anna Kariênina, do escritor russo Liev Tolstói, à luz do Romantismo e do cristianismo ortodoxo, especificamente a questão do adultério e do amor romântico, o que acaba por levar a protagonista ao suicídio. Tratamos a importância da literatura desde os tempos mais remotos, principalmente como por meio da literatura é possível entrar em contato com os costumes religiosos de um povo, ou seja, sua cosmovisão. Tecemos um panorama do movimento romântico e sua influência na literatura, da mesma forma como apresentamos a nova maneira de ver e viver a religião que se deu a partir dos românticos históricos; além, claro, da própria concepção de amor romântico, que data desse período. Observamos Tolstói como um agente religioso, perpassando suas principais obras, chegando assim na questão do desejo que, por fim, encerra a pesquisa numa análise detalhada da obra, que se serve, certamente, de todo o caminho teórico percorrido.
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Bernardi, Beatrice. "Anna Karenina: Analisi comparativa di alcune traduzioni italiane." Bachelor's thesis, Alma Mater Studiorum - Università di Bologna, 2020. http://amslaurea.unibo.it/21358/.
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L’obiettivo del presente saggio è quello di prendere in esame la ritraduzione di Anna Karenina a opera di Claudia Zonghetti, pubblicata nel 2016, e compararla a una selezione di traduzioni preesistenti. Nel primo capitolo si è cercato di comprendere lo stato dell'arte degli studi sulla ritraduzione, a partire dall'ultimo decennio del XX secolo fino ai contributi più recenti. Segue un breve capitolo di introduzione all'opera di Tolstoj e alla storia della sua pubblicazione in Italia. Il terzo e ultimo capitolo tratta dell'analisi del primo capitolo della prima parte del romanzo nelle traduzioni selezionate, con particolare riguardo per quella a opera di Leone Ginzburg.
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Oliver, Claudio Ferraz. "Amigos no caminho : o educador e a educadora nas obras de Leo Tolstoi, Ivan Illich e Paulo Freire / Claudio Ferraz Oliver ; orietadora Evelise Maria Labatut Portilho." reponame:Biblioteca Digital de Teses e Dissertações da PUC_PR, 2008. http://www.biblioteca.pucpr.br/tede/tde_busca/arquivo.php?codArquivo=1046.
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Dissertação (mestrado) - Pontifícia Universidade Católica do Paraná, Curitiba, 2008Bibliografia: f. 200-215
Esta dissertação apresenta um estudo sobre o perfil do educador e da educadora que emerge das obras de Leo Tolstoi (1937, 1988, 2000, 2002, 2005), Ivan Illich (1971, 1973a, 1973b, 1975, 1979a, 1979b, 1980, 1988, 1990, 1995, 1996, 1999, 2000, 2002) e Paulo
This dissertation presents a study about the educator's profile that emerges from the works of Leo Tolstoy (1937, 1988, 2000, 2002, 2005), Ivan Illich (1971, 1973a, 1973b, 1975, 1979a, 1979b, 1980, 1988, 1990, 1995, 1996, 1999, 2000, 2002) and Paulo Freir
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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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Aydin, Mehmet. "Saint Augustin et Léon Tolstoi͏̈ : confesser en philosophant ?" Paris 8, 2003. http://www.theses.fr/2003PA082331.
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Romancier, conteur, essayiste, pédagogue, prédicateur, penseur politique et religieux, sociologue, philosophe, Tolstoi͏̈ est une des figures les plus marquantes de la littérature russe et mondiale. Le message universel de son œuvre se présente sous des facettes multiples. Nous avons étudié Tolstoi͏̈ du point de vue philosophique. Notre propos n'est donc ni littéraire, ni artistique, ni même à proprement parler religieux. C'est à la frontière de toutes ses disciplines que la philosophie entendue comme exercice nous permettra de circuler afin de mettre en évidence l'aspect vivant de cet exercice, tel qu'il est pratiqué aussi par Tolstoi͏̈. Le style confessionnel apparaît dans ce cadre comme la clef de l'originalité de l'œuvre tolstoi͏̈enne. La confession dans ses relations contradictoires avec la philosophie identifierait l'Occident. Par delà l'abîme historique qui sépare les deux penseurs, Saint-Augustin est un passage obligé pour comprendre la démarche tolstoi͏̈enne. Tolstoi͏̈ emprunte le genre confessionnel issu d'AugustinTolstoy described his mental anguish and spiritual suffering in his search for the meaning of life in A Confession. He searched for an answer in the writings of theologians, philosophers an scientists but found little to help him there. Finally the peasants gave him the answer he was searching for. Tolstoy's inner conflicts are often unresolved, sometimes even cousing tragic consequences. He perceived reality in its multiplicity, as a collection of separate entities round and into which he saw with a clarity and penetration scarcely ever equalled, but he believed only in on vast, unitary whole. Tolstoy attempted, though without complet complete success, to make his own actions conform to his new beliefs. Tolstoy's philosophy of history has, on the whole, not obtained the attention which it deserves, whether as an intrinsically interesting view or as an occurrence in the history of ideas, or aven as an element in the development of Tolstoy himself
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Souza, Carolina Ramos de. "Napoleão Bonaparte entre russos e luso-brasileiros: um estudo comparado de sua representação em Guerra e Paz e Gazeta do Rio de Janeiro." Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/8/8155/tde-15122016-131203/.
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O presente trabalho tem como objetivo desenvolver uma análise comparada da representação de Napoleão Bonaparte por meio do estudo da obra de Lev Tolstói, Guerra e paz, e dos exemplares da Gazeta do Rio de Janeiro. Para tanto, foi realizado o mapeamento de tais escritos com a finalidade de identificar as referências à figura de Napoleão e o contexto em que estão inseridas. Desta maneira, foi possível identificar as aproximações e os afastamentos entre os dois tipos de representações de Napoleão e a dimensão do mito napoleônico no imaginário de russos e luso-brasileiros.This work aims to develop a comparative analysis of Napoleon Bonaparte representation through the study of Lev Tolstoys work, War and Peace, and Gazeta do Rio de Janeiros issues. Therefore, the mapping of such writings was done in order to find references to Napoleons figure and the context in which they are inserted. Thus, it was possible to identify the approaches and departures between two types of Napoleons representations and the size of Napoleonic myth in the minds of Russians and Portuguese-Brazilians.
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Tampieri, Margherita. "Anna Karenina e la ‘questione femminile’ (ženskij vopros)." Bachelor's thesis, Alma Mater Studiorum - Università di Bologna, 2018. http://amslaurea.unibo.it/16481/.
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Il presente elaborato si propone di analizzare come la protagonista del romanzo di Lev Tolstoj, Anna Karenina, si approcci alla ‘questione femminile’ (ženskij vopros) che, in Russia, è argomento centrale del XX secolo. Obiettivo principale di tale analisi è quindi quello di comprendere se Anna si possa realmente definire come “anticipatrice” del femminismo in Russia. Si cercherà di dare risposta a questi interrogativi anche attraverso l’analisi del background storico, sociale e culturale del romanzo. L’elaborato si articola in due parti principali. Nel primo capitolo viene introdotta la questione del letteraturocentrismo imperante in Russia nel XIX secolo. A seguire si focalizza l’attenzione sulla corrente del romanticismo, sottolineando come abbia influito sul romanzo di Tolstoj e sulla figura della protagonista stessa. Ci si concentra poi sulla rivolta contro la società messa in atto da Anna, mettendo in luce le motivazioni per le quali viene considerata tale. Il secondo capitolo ruota intorno a quello che è il cuore del di tale elaborato: l’analisi dei principali avvenimenti storici che hanno portato all’affermazione della ‘questione femminile’ in Russia e il parallelismo con la vicenda di Anna.
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Min-Chen, Hsin, and 辛旻珍. "On Leo Tolstoy Education Philosophy." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/39542618232022484988.
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碩士臺北市立教育大學
教育學系碩士班
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Tolstoy is widely known for his three master literature pieces, “War and Peace”, “Anna Karenina”, and “Resurrection”; however, his contribution in literature has outshined his effort in education in Russia during the 19th century. The study throws the light on the collections of articles, literature pieces, and textbooks in “On Education—Tolstoy”. Under the Czar autocratic government, Tolstoy stood up and depended for the right of peasants, and also educated the peasants’ children. Not only did he fund schools, he provided good quality textbooks with affordable price. Tolstoy regarded education as free, respectful, and experimental which raised echo and reflection in Russia. Because he faced his life with honesty, his touching and sincere literature pieces provided a solution and inspiration for all. In addition to his understanding to life, Tolstoy researched further in moral self-perfection, anti-violence and universal love which formed “Tolstoyism”. He set himself as an example for all and he educated Russian. Tolstoy’s spirit has established a model which is influential and respected.
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Chiao-ping, Wang, and 王巧萍. "The Study of Leo Tolstoy''s Religious Idea." Thesis, 2001. http://ndltd.ncl.edu.tw/handle/78502255951746516521.
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碩士淡江大學
俄羅斯研究所
89
Tolstoy was one of the greatest and the most representative Russian writers in 19th, the religious problems he presented had already trespassed the debate between the Western schools and the Slavic school. His profoundest religious thoughts were all conveyed in his literary works. The nature of “Russian anarchism” was fully revealed in his “religious anarchism”. In addition, he was even regarded as the representative of “repentant aristocrat” among the intellectuals. Pursuing for the truth enthusiastically, Tolstoy represents the spirit of Russian tradition. In this essay, I would like to employ the methodology of analysis to examine Tolstoy’s works and the related criticism, by classifying and synthesizing them. The major theses and problems are as follows: 1.To analyze the core of Tolstoy’s though; 2.To analyze the interactions between Tolstoy and the Russian society; 3.To fathom the dominant of the cultural development in 19th century Russia; 4.To classify and synthesize the criticism on the religious thoughts of Tolstoy’s by the Russian philosophers of religion; 5.Without any particular research on such topic in, this project may serve as a pioneer, provoking more studies to come. Absorbed the positive and active side of the essence and thought of Christianity, i.e. love and forgiveness, it is necessary for a person to love God as well as one’s neighbor, and even one’s enemy, which is exactly the teaching of Jesus Christ, according to Tolstoy’s religious thought. With the thought that is all-inclusive and harmonic, Tolstoy hopes that with such “religion of love”, it is possible to bring human beings into the realm of union and peace. Although Tolstoy’s thought is not perfect, for the sake of all human beings, he endeavors to promote the well being of moral and the society. He tries his best to rationalize the deities, to save them from being persecuted and oppressed by the Eastern Orthodox Church, by giving the most austere accuse to the Church, pointing directly to their fall and corruption. Further, he also advocates the abolition of death penalty, in order to safeguard the basic human right. Therefore, we should ascertain his contribution to the society and the human right. Through the research on Tolstoy, I have acquired a clearer picture of 19th century Russia, which was a country that emphasized highly on religious culture. No matter whether they were common people or intellectuals, they had their own profound form of religion. Although most philosophers of religion do not recognize Tolstoy’s religious thoughts, his positive thought and moral culture is highly appraised. Therefore, his place in the Russian history of culture cannot be denied because he represents the spirit and tradition of the Russian people in pursing the truth.
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Leachman, Julianna Lee. "Embracing the other : Christian cosmopolitanism in Tolstoy and O'Connor." Thesis, 2010. http://hdl.handle.net/2152/ETD-UT-2010-05-1177.
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In this paper, I am suggesting that instead of using a traditional definition of cosmopolitanism, such as “thinking and feeling beyond the nation” (Cheah and Robbins) or “pluralism” plus “fallibilism” (Appiah), we consider instead Yale theologian Miroslav Volf’s term “embrace” as the framework for expanding our understanding of cosmopolitanism. This term is linked to standard interpretations of cosmopolitanism
through its emphasis on hybridity and openness, but it differs in its undeniably religious implications. By applying Volf’s theoretical framework to concrete literary examples – namely, Lev Tolstoy’s The Death of Ivan Il’ich and Flannery O’Connor’s “Greenleaf” – it becomes clear that Ivan Il'ich’s and Mrs. May’s identity-shaping (religious) encounters with the “Other” are an opening up – or hybridizing – of their identities.
This paper concludes that in Volf’s view, and Tolstoy’s and O’Connor’s as well, religious affinity is an impetus and not a hindrance to cosmopolitanism.text
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Su-, Shin Yang, and 楊素欣. "About Leo Tolstoy --- focus on"What is art?" and "War and Peace"." Thesis, 2000. http://ndltd.ncl.edu.tw/handle/74594262688444626065.
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Clayton, Nadya Yurievna. "From the aesthete to the pedagogue : the Yasnaya Polyana peasant school as the experimental laboratory for Tolstoy's creative transformation." Thesis, 2010. http://hdl.handle.net/2152/ETD-UT-2010-12-2433.
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This dissertation examines Tolstoy’s reevaluation of his creative approaches to writing through the medium of his experimental pedagogical work with the peasant children on his estate. It is argued that Tolstoy’s pedagogical interlude forms an important bridge to the writer’s fiction and should not be viewed as a digression from his development as a writer, but as an integral part of it. This project explores how the educational essays Tolstoy wrote during this period facilitate his transition from championing the aesthetic theory of “pure art” in his formative years as a writer for The Contemporary to a more mature author of War and Peace, the major masterwork that is imbued with conclusions reached during his pedagogical interlude. Tolstoy’s evolution as a writer is examined in the context of his relationship to the aesthetic ideas of the 1850’s that became a springboard for Tolstoy’s later aesthetic concepts. A comprehensive textual analysis of Tolstoy’s lesser known early works such as Notes from Lucerne and “Albert” is undertaken in order to highlight some of their important stylistic peculiarities that provide a valuable insight into the authorial presence and the nature of Tolstoy’s aesthetic rhetoric.
Further, it is demonstrated how the school at Yasnaya Polyana becomes the writer’s experimental workshop, a testing ground for Tolstoy’s pedagogical theories and his creative ideas, which he checks against his students’ perception. Finally, the study is concluded by examining Tolstoy’s most encompassing work, his epic novel War and Peace through the medium of his educational writings and ideas. By locating some of the main concepts of his pedagogical philosophy in the context of this monumental masterwork, we illuminate their meaning more clearly as filtered through the prism of Tolstoy’s creative thought in order to demonstrate to what extent Tolstoy’s educational ideas informed his creative writings. It is established that all the central principles of Tolstoy’s educational thought such as his pedagogy of freedom, his ideas of aesthetic education through reading, art and music, his religious and moral education found their reflections on the pages of War and Peace and commend a great deal to a modern educator.text
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Pfost, Francis MIller Spacagna Antoine. "Pessimism, religion, and the individual in history the meaning of life according to Lev Tolstoy and Émile Zola /." Diss., 2005. http://etd.lib.fsu.edu/theses/available/etd-11212005-161846.
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Thesis (Ph. D.)--Florida State University, 2005.Advisor: Antoine Spacagna, Florida State University, College of Arts and Sciences, Dept. of Modern Languages and Linguistics. Title and description from dissertation home page (viewed Jan. 25, 2006). Document formatted into pages; contains v, 218 pages. Includes bibliographical references.
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Yang, Yachieh, and 楊雅捷. "A study of Lev Tolstoy’s educational thought and practice." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/44372397046967830103.
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博士臺北市立教育大學
教育學系博士班
101
Tolstoy was renowned as one of the greatest novelists in the world, but his contribution was not merely excelled in the literary art. His aesthetics and moral philosophy were also unique in the history of thought. The present study sought to investigate Tolstoy’s educational thoughts from his diverse works. This study concentrates on three books which are most relevant to education, those of Tolstoy on education, What is art, and the textbook written and compiled for children. Starting from What is art, the study tried to investigate his aesthetical thought and its educational. For Tolstoy, a good art can adeptly communicate feelings to others. His diverse compositions fully realized his consistent commitment of “art for the sake of society”. This study also analyzed the moral metaphor of his novels and fairytales by revealing his literary contention of “morality inscribed in literature”. As to his pedagogic implementation, Tolstoy on education was the main text used to analyze the practice of the school of Yasnaya Polyana which included school management, curriculum and instruction, students’ learning situation. By summing up the characteristics of his peasant school, the researcher proposed its contemporary significance. The study finally concluded Tolstoy’s educational thought and practice and provided an assessment.
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Zatsepina, Nataliya. "Leseverstehen als Ausgangspunkt für die Entwicklung der Ausdrucks- und Schreibfertigkeiten." Doctoral thesis, 2009. http://hdl.handle.net/11858/00-1735-0000-000D-F248-C.
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TSO, SHIH WEI, and 左士瑋. "Leo Tolstoy's Historical Thought and Social Concern: A Study on "War and Peace"." Thesis, 1994. http://ndltd.ncl.edu.tw/handle/90363894118055325217.
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Poulin, Francis Peter. "The creation of a Russian moral law in philosophy and fiction the cases of Dostoevskij, Solov'ev, and Tolstoj /." 1995. http://catalog.hathitrust.org/api/volumes/oclc/34175991.html.
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Thesis (Ph. D.)--University of Wisconsin--Madison, 1995.Typescript. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 259-273).
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Machado, Nadejda Ivanovna Nagovitsina. "Literatura russa em Portugal: das vias de difusão aos sentidos de receção: o caso de Leão Tolstói." Doctoral thesis, 2015. http://hdl.handle.net/1822/40481.
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Tese de Doutoramento em Ciências da Literatura (área de especialização em Literatura Comparada).O universo do imenso império dos czares constituiu durante longo tempo, e ainda hoje em parte permanece, uma espécie de um lugar misterioso para todo o ocidente. As relações entre os dois lados eram limitados e pouco frequentes. A situação geográfica portuguesa, no extremo ocidental da Europa, potenciou particularmente esta situação. Todavia, e curiosamente, começaram cedo as relações entre a Rússia e Portugal. Do longo e vasto caminho que percorremos e que apontámos, fazemos sobressair alguns nomes de entre muitos focados: o do ilustrado médico português Ribeiro Sanches, que entrou em vários segmentos na história da Rússia; o daquele que se assumiu sem peias como discípulo do grande Tolstói, o literato Jaime de Magalhães Lima; o do ensaísta e literato António Quadros; e o de um russo residente na Madeira de nome Vakcel. Quanto aos campos escolhidos para análise, demos relevância às memórias de viagens, à imprensa periódica e a um importante estudo escrito do século XIX, em português, sobre a literatura russa. Queremos percorrer um pouco destas relações para melhor entender a importância e os modos do que constitui o núcleo central do nosso percurso: por um lado, proceder à hermenêutica, situar, estabelecer fronteiras e entender os ecos recetivos da literatura russa em Portugal convergindo para o caso de um dos mais notáveis nomes da literatura mundial com incidência relevante numa das suas obras. Falamos do nome de Leão Tolstói e do seu romance-epopeia Guerra e paz; por outro, percorrer uma parte do universo das traduções para a língua portuguesa desta obra através de uma abordagem contrastiva com assento em teorias modelares no sentido de fazer sobressair o funcionamento e as vicissitudes dessas traduções no contexto português de chegada, quer na situação de traduções diretas quer de traduções mediadas através da língua francesa. Para o nosso estudo de caso de Guerra e paz partimos de uma perspetiva comunicativo-funcional que nos permitiu analisar os fatores comunicacionais envolvidos na comunicação intercultural de culturas e línguas muito diferentes e específicas. Desta forma, partimos, em primeiro lugar, da abordagem semiótica de Mikhail Bakhtin e Iúri Lotman, bem como da teoria de polissistemas de Itamar Evan-Zohar. Isso permitiu-nos analisar o comportamento das traduções no polissistema de chegada. Paralelamente, a teoria comunicativo-funcional permitiu-nos realizar a análise do processo comunicacional entre as duas culturas em foco. Estas duas vias eram as que, a nosso ver, mais adequadas se apresentavam para a realização do caminho escolhido, face às características poéticas da obra tolstoiana e às estratégias adotadas pelos tradutores portugueses na resolução dos problemas das traduções realizadas. O caráter inovador da literatura russa em geral, bem como a importância das obras tolstoianas em particular para a literatura e cultura portuguesas, fica claramente demonstrado através do múltiplo material recolhido e analisado ao longo do todo o trabalho. As abundantes traduções portuguesas das obras tolstoianas, mesmo sendo mais tardias do que nas outras línguas da Europa Ocidental, foram, de facto, indicadores evidentes da importância deste autor russo para o polissistema cultural e literário português.
To the West, the vast empire of the tsars has for a long time been, in part or in whole, a mysterious place. The relationship between Russia and Portugal was limited and sporadic. Portugal’s geoposition on the edge of Western Europe facilitated this situation. However, and interestingly, relations between the two countries began early. A few names among many possible ones that are emblematic of the relationship will be highlighted: that of the illustrious doctor Ribeiro Sanches, who appears at various times in Russian history; that of the confessed disciple of the great Tolstoy, Jaime de Magalhães Lima; that of António Quadros, man of letters; and that of a Russian living in Madeira by the name of Vakcel. Travel memoires, the press and an important nineteenth-century written study concerning Russian literature, in Portuguese, will be analysed. The objective of this thesis is to explore the aforementioned relations in order to better understand the importance and customs of the nuclei of this study; on the one hand, proceeding to the hermeneutics, to situate and establish boundaries and to perceive the reception of Russian literature in Portugal, concentrating on the case of one of the most notable names of world literature, namely Leo Tolstoy and his epic romance War and Peace. On the other hand, examining some of the translations into Portuguese of this work in a contrastive methodology based on modular theories, so as to highlight the workings and vicissitudes of the translations in the context of Portuguese as target language, whether in direct translations or translations via French. For the case study War and Peace a communicational-functional perspective was taken that allowed an analysis of the communicational factors involved in the inter-cultural communication of diverse cultures and languages. Thus, firstly we start from the semiotic analysis of Mikhail Bakhtin and Iúri Lotman, as well as the polisystems theory of Itmar Evan-Zohar. This enabled an analysis of the behavior of the translations in the receiving polisystem. In parallel, the theory of communicational-function allowed an analysis of the communicational process between the two cultures under study. These two approaches were considered to be the best suited to achieve the designated objective, given the poetical characteristics of Tolstoy’s work and the strategies adopted by Portuguese translators to overcome translation difficulties, for instance strategies of readability and adaptation. The innovative character of Russian literature in general, as well as the importance of Tolstoy’s work especially for Portuguese literature and culture, is clearly shown through the large amount of material collected and analysed throughout the thesis. The many Portuguese translations of Tolstoy, even if later than those of other Western European languages, were, in fact, evident indications of this Russian author’s importance to the Portuguese cultural and literary polisystem.
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Li, Kuo-Pao, and 李國寶. "Adultery as motive in Theodor Fontanes Effi Briest, Gustave Flauberts Madame Bovary und Leo Tolstojs Anna Karenina." Thesis, 2004. http://ndltd.ncl.edu.tw/handle/06913049660807237837.
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碩士輔仁大學
德國語文學系
93
In the available work is Theodor Fontane’s Effi Briest (1895), Gustave Flaubert’s Madame Bovary (1857) and Leo Tolstoj’s Anna Karenina (1878) become, after aspects like the authors in their works by means of the woman figures and the environment, which respective society moral, society standard and society formation to express. The three woman figures Effi, Emma and Anna commit adultery. Due to the society standards and social order they experience their fate and end. Theodor Fontane’s Effi Briest treats the marriage problem, which entails adultery and the social isolation. Fontane uses a real material from 19. Century and those fateful process. The internal conflict in the novel is in the main figure Effi, and the contradiction is between its preference for unabashed liberty and its social reputation, which are also important for it, so that an unbridgeable discrepancy between fiery heart develops and for normative order of conditions, a not dissolvable contrast of humanity and society. Gustave Flaubert’s Madame Bovary, which describes the poor life of a doctor Charles and his Mrs. Emma from romantic to adultery, treats the secret dear relationship between Emma and her lover Leon, Charles Bovary’s Green-hat and finally Emma’s guilty death symptomatic for the process of Emma’s illness seems above all to be that it never comes to a balanced relationship between desire world and reality, between ideal and reality. Adultery does not lead to the revenge, or to the duel due to the honour, not like the exit in the Effi Briest, but resignation is shown and the fate-clung as matter of course is accepted. Leo Tolstoj’s Anna Karenina treats a family misfortune in one foreignness big-city environment are represented, in which Vronskij with its unfortunate consequences loved by unfortunately married Anna. Tolstoj would like to show its family idea with motive for adultery. It tries also, the material upper strata of social in the Russia 19. Century. To represent century in the novel, those their values in personal honour and the outside behavior view. By the marriage crisis between Anna and Alexis Karenin not only the lie, falsehood of the Russian society one shows, but also the weak position of the women after the divorce. In Fontane’s Effi Briest dies Effi helplessly in one discharging society. A similar criticism to cool and on own honour considered married men addresses the society novel Anna Karenina of Tolstoj. In the France literature Madame Bovary of Flaubert plays the secret dear relationship between Emma and Leon, Charles Bovary’s Green-hat and finally Emma’s guilty death due to the respective social order experiences the three woman a tragic fate and to death is finally floated. The social and moral aspect of the topic becomes clearer than in Madame Bovary. The motive adultery in Madame Bovary is not from more social, but treats from psychological perspective.
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Lerer, Isabel. "The Sport of Spectatorship: Exploring the Agency of Animals through Literature." Thesis, 2015. https://doi.org/10.7916/D8NG4PJQ.
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In recent years, there has been an undeniable shift in how we think about nonhuman animals. A growing philosophical literature on animal rights has encouraged a deep consideration of the moral status of animals, while scientific research has simultaneously confirmed the fact that many animals have complex cognitive, emotional, and social capacities that strongly mirror our own. Although there is still disagreement about what all this implies in terms of our responsibilities to animals, the idea that animals can experience physical or emotional pain or pleasure is the starting point and not the conclusion of the present inquiry. Many species of animals are sentient beings who possess a viewpoint from which they experience and act in the world around them - and hence may be said to be agential.
My dissertation explores what it means for us to extend, conceptually and morally, agency to animals. I address this "extension of agency" predominantly from an aesthetic perspective, although in doing so I in no way intend to limit the range of related philosophical concerns. On the contrary; to extend agency to animals, I argue, calls for a revised understanding of our habitual spectatorial stances--how we look at animals. To grasp these stances, I investigate how animals have been looked at in literary works of art. Does the literature show our spectatorship to extend agency to animals or do we objectify them so as to deny their capacities as agents altogether? My dissertation focuses on excerpts from three significant works of literature--works by Nathanael West, Ernest Hemingway, and Leo Tolstoy--each of which stages a specifically athletic engagement involving animals, in this way bringing focus to the issue of our spectatorship. Each excerpt serves as philosophically illuminating material and as an exemplary case regarding humanity's willingness or refusal to extend agency to animals.
I am particularly interested in the role of animals in human-engineered sports, and in how extending agency to animals in sports changes or ought to change the way we watch sports that involve animals. Within the philosophy of sport, the accepted approach has been to liken animals to sporting equipment or tools, and thus to make no substantive distinction between animal and non-animal sports. This, I argue, reflects a refusal to extend agency to animals, which has led also to an oversimplification and mischaracterization of sports involving animals in the first place.
Nathanael West's The Day of the Locust takes up cockfighting, Hemingway's The Sun Also Rises centers around bullfighting, and Tolstoy's Anna Karenina includes a memorable, emotionally stirring, steeplechase episode. In addition to investigating what I refer to as the "extension of agency" to animals in these literary works, I revise some of the basic assumptions that have recently guided the burgeoning subfield of the philosophy of sports. I argue that we must acknowledge that there exists a fundamental difference between the modes of spectatorship that accompany sports that only involve humans, and those that involve animals. For to extend agency is to extend the moral domain to that or those who are "other" than ourselves.
Once animals are introduced into a sport, they imbue the sport with all the aesthetic complexities that come with looking at an animal outside of sport: the unique exotic beauty of the animal body and its fitness to function, but also its vitality, wild autonomy, expressiveness, and reciprocity of gaze. This means that our interactions with animals, even in the case of organized sport or performance, are not purely aesthetic in a formal artistic sense; they are also expressive and communicative. The concept of the formal aesthetic that many employ when talking about art - the formal qualities that we attribute to the arts - is not sufficient to accommodate sports that involve animals and a spectatorship of animals. Animals are expressive, and this expressiveness is fundamental to correctly understanding our spectatorship of them. Animals are far more than our equipment. The aesthetic of animal sports must, I conclude, accordingly incorporate expressiveness and empathy, such that we see animals in fellowship with us as participants in sports. Extending agency to animals is the core concept of a morally inflected aesthetic of inter-subjectivity.