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Teixeira, Luciana Fernandes. "O cultivo da liberdade na Pedagogia de Tosltói." Revista Educação e Emancipação 10, no. 1 (June 13, 2017): 58. http://dx.doi.org/10.18764/2358-4319.v10n1p58-75.
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O escritor e educador russo Lev Nikolayevich Tolstoi (1828-1910), ao elaborar concepções e práticas para a instrução popular de seu tempo e criar uma escola rural em Iasnaia Poliana, local de propriedade de sua família, onde também residia, na Rússia, deixou impressionante legado ao campo da educação escolar de todos os tempos. A exposição desse rico ideário educacional e subsequente trabalho pedagógico constitui o principal alvo do presente artigo. Dessa maneira, em contraponto aos tradicionais métodos escolares opressores e especialmente relacionado ao pensamento libertário anarquista, as refl exões e experiências pedagógicas de Tolstói expõem uma concepção educativa de ampla feição humana, ética e cultural, desvelada numa busca e realização educacional contra os constrangimentos da inteligência e da criatividade, especialmente direcionada ao desenvolvimento infantil e juvenil. Uma concepção educativa reconhecida, sobretudo, a partir dos textos pedagógicos de autoria do próprio Tosltói, bem como através de seus métodos e processos educacionais aliados à ideia de proporcionar uma formação escolar compatível com as melhores potencialidades humanas.Palavras-chave: Educação libertária. Tolstói. Escola Iasnaia Poliana.The cultivation of freedom in Tolstoy PedagogyABSTRACTThe Russian writer and educator Lev Nikolayevich Tolstoy (1828-1910), to develop concepts and practices for the popular education of his time and to create a rural school in Iasnaia Poliana, property location of his family, where he also lived, in Russia, left impressive legacy to the fi eld of education of all time. Exposure of this rich educational and pedagogical work subsequent ideology is the primary focus of this article. Thus, in contrast to traditional school methods oppressors and especially related to the anarchist libertarian thinking, refl ections and pedagogical experiences of Tolstoy expose an educational conception of broad human form, ethical and cultural, unveiled a search and educational achievement against intelligence constraints and creativity, especially targeted at children and youth development. An educational design especially recognized from the pedagogical texts authored by Tosltoy himself as well as through his educational methods and processes together with the idea of providing an education consistent with the best human potential.Keywords: Libertarian education. Tolstoy. School Iasnaia Poliana.En el cultivo de la libertad Tosltói PedagogíaRESUMENEl escritor ruso Lev Nikolayevich y educador Tolstoi (1828-1910), para desarrollar conceptos y prácticas para la educación popular de su tiempo y crear una escuela rural en Iasnaia Poliana, ubicación de la propiedad de su familia, donde también residía en Rusia, a la izquierda impresionante legado en el campo de la educación de todos los tiempos. La exposición de este rico trabajo posterior ideología educativa y pedagógica es el objetivo principal de este artículo. Por lo tanto, en contraste con los métodos tradicionales de la escuela opresores y especialmente en relación con el pensamiento libertario anarquista, refl exiones y experiencias pedagógicas de Tolstoi exponen a uma concepción educativa de amplio forma humana, ética y cultural, dio a conocer una búsqueda y el logro educativo en contra de las restricciones de inteligencia y la creatividad, especialmente dirigido a los niños y el desarrollo juvenil. Un diseño educativo especialmente reconocido a partir de los textos pedagógicos escritos por sí Tosltói, así como a través de sus métodos y procesos educativos, junto con la idea de proporcionar una educación coherente con el mejor potencial humano.Palabras clave: Educación libertaria. Tolstoi. Escuela Iasnaia Poliana.
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Bojanowska, Edyta M. "Was Tolstoi a Colonial Landlord? The Dilemmas of Private Property and Settler Colonialism on the Bashkir Steppe." Slavic Review 81, no. 2 (2022): 324–48. http://dx.doi.org/10.1017/slr.2022.148.
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Using new archival research, this article establishes key facts about the most understudied aspect of Lev Tolstoi's biography—his Samara estate—assessing its role in the Tolstoi family economy and property structure. Integrating imperial history with the theoretical perspective of settler colonial studies, the article argues that the estate functioned within the context of Russia's settler colonialism in Bashkiria. While this experience contributed to Tolstoi's rejection of private property, it never erased his enthusiasm for Russia's manifest destiny as a settler civilization. Sympathizing with the plight of Russian settlers, Tolstoi remained perplexingly indifferent to the suffering of the semi-nomadic Bashkirs they displaced. These findings complicate Tolstoi's status as Russia's premier anti-colonial writer, urging a more capacious framing of the problem of empire in Tolstoi's art and thought, one that balances his critiques of the military conquest of the Caucasus against his embrace of settler colonialism.
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Jones, W. Gareth, A. A. Donskov, L. D. Gromova, and T. G. Nikiforova. "L. N. Tolstoi i S. A. Tolstaia, Perepiska s N. N. Strakhovym: The Tolstoys' Correspondence with N. N. Strakhov." Modern Language Review 97, no. 1 (January 2002): 250. http://dx.doi.org/10.2307/3735700.
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Krasnov, Vladislav. "Wrestling with Lev Tolstoi: War, Peace, and Revolution in Aleksandr Solzhenitsyn's NewAvgust Chetyrnadtsatogo." Slavic Review 45, no. 4 (1986): 707–19. http://dx.doi.org/10.2307/2498344.
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The only thing necessary for the triumph of evil is for good men to do nothing.Edmund BurkeSince its first appearance in 1971, Aleksandr Solzhenitsyn'sAvgust Chetyrnadtsatogo(henceforth to be referred to asAugust 1914)has been compared to, and measured by the standards of, Lev Tolstoi'sWar and Peace.One might say that both the subject of the novel and the scope of the historical events described in it, as well as its numerous references to Tolstoi, made such comparisons inevitable. Even though virtually all critics were unanimous that Tolstoi was a predominant presence in Solzhenitsyn's mind when he was writing the first “knot” of the multivolume novel cycle, they disagreed about the precise nature of Solzhenitsyn's relationship to Tolstoi. While some critics have been more inclined to see Solzhenitsyn's novel as an emulation of Tolstoi's masterpiece, others have emphasized the antagonistic and polemic quality of Solzhenitsyn's attitudes toward his predecessor—whether Tolstoi the “historiosoph” ofWar and Peace(1865— 1869) or Tolstoi the moralist and aesthetician of the later period.
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Steiner, Lina. "The RussianAufklärer: Tolstoi in Search of Truth, Freedom, and Immortality." Slavic Review 70, no. 4 (2011): 773–94. http://dx.doi.org/10.5612/slavicreview.70.4.0773.
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Lev Tolstoi, in his dunking about life, death, freedom, and immortality, drew significandy on the German philosophical tradition from Leibniz and Moses Mendelssohn to Immanuel Kant, Johann Gottfried Herder, and Friedrich Schleiermacher, as Lina Steiner argues in this article. Herder, who tried to salvage rationalism by getting away from the mechanistic metaphysics of the French Enlightenment and reintroducing the teleological explanation of nature, was a particularly important influence on Tolstoi. Herder's view of life, including both individual life and the life of community, as organic Bildung underlay the artistic conception ofWar and Peace, Tolstoi's first major fictional narrative. Tolstoi continued to develop this organicist paradigm in his later sociopolitical, religious, and aesthietic writings.
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Newlin, Thomas. "“Swarm Life” and the Biology of War and Peace." Slavic Review 71, no. 2 (2012): 359–84. http://dx.doi.org/10.1017/s0037677900013656.
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In the spring of 1863, Lev Tolstoi, newly married and soon to be a father, began to conceive of the work that would eventually become War And Peace. That same spring he also took up beekeeping. While in practical terms his “bee passion” proved relatively short-lived, it was an exceptionally intense engagement with a miniaturized and uniquely observable biological and social universe. In this article, Thomas Newlin explores how Tolstoi's dual enmeshment in “swarm life”—that is, in the biologically fraught realms of marriage and beekeeping—influenced both the unconventional form of War and Peace and its equally unconventional ideas (in particular Tolstoi's linked conceptions of the nature of history and of consciousness). The implications of a “swarm” model of history ultimately troubled Tolstoi, however; his doubts about the imperatives of biology do not play themselves out fully in War and Peace but instead lurk just beneath its surface.
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Kolstø, Pål. "The Demonized Double: The Image of Lev Tolstoi in Russian Orthodox Polemics." Slavic Review 65, no. 2 (2006): 304–24. http://dx.doi.org/10.2307/4148595.
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As Pål Kolstø explores in this article, attitudes towards Lev Tolstoi's religious teaching differed wildly among Russian Orthodox believers at the turn of the last century. Some felt that his philosophical notions were remarkably congenial to church doctrine, while others saw Tolstoianism as the radical negation of everything the church stood for. An image often conjured up was Tolstoi as the Antichrist. To some, it was precisely the features that made others see Tolstoi as an Orthodox double that led them to this conclusion: The Antichrist will manage to lead the faithful astray precisely because he will seem to imitate Christ himself. This was the point where the most extreme positions in the Orthodox debate on Tolstoi and Tolstoianism converged. All told, some 85 books and booklets and 260 articles on Tolstoi were published by professed Orthodox authors, many of them laymen. Taken together, they bear witness to the breadth and vitality of Orthodox public opinion.
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Herman, David. "Khadzhi-Murat's Silence." Slavic Review 64, no. 1 (2005): 1–23. http://dx.doi.org/10.2307/3650064.
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Khadzhi-Murat, Tolstoi's last major fiction, stands alone in his oeuvre in flagrant violation of his late ethical and aesthetic standards—an unprecedentedly dark apprehension of the human condition and a reconceptualization of piety. At its heart are silences—literal, near-, figurative, and implicit—in unspoken critique of all nontrivial language, narrative, moralizing, and teaching. Silence first strikes the reader in the hero's refusal to murmur against God as he dies, but retrospectively turns up everywhere, despite the obvious presence of lots of words: in the peculiar plot that has nothing to say; in the refusal to perform the usual Tolstoian adjudication of the disparate viewpoints depicted; in the hero's childhood reminiscences, hidden from listeners even as the essential in them is hidden from him; in the painful taciturnity of God himself, which, like the other core themes, is purposefully barely mentioned. Khadzhi-Murat's, indirection enacts an intuition whose mere assertion would fail, since it is an intuition about assertability itself. Something central has shifted for Tolstoi; now it is through silence and absence—the gaps in the said and the sayable—that the most important truths come to us, hence that is the only truthful way to inscribe them.
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Kliger, Ilya, and Nasser Zakariya. "Poetics of Brotherhood: Organic and Mechanistic Narrative in Late Tolstoi." Slavic Review 70, no. 4 (2011): 754–72. http://dx.doi.org/10.5612/slavicreview.70.4.0754.
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In this article, Ilya Kliger and Nasser Zakariya treat Lev Tolstoi's conception of brotherhood from a narratological perspective. In the process, they trace the outlines of late Tolstoian narrative poetics, situating it within a variegated landscape of Tolstoi's own more properly “realist” literary practice, and offering broader suggestions on the workings of narrative in its capacity to model social relations and ethical action. A narratological focus here allows them to elucidate how stories take part in contemporary understandings of social influence, human connectedness, and alienation— not only on the level of themes but also, and more deeply, on the level of the narrative organization of events. Their main focus is on one of Tolstoi's late novellas “The Forged Coupon” and his last novel Resurrection.
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Fajfrić, Željko. "Tolstoj o advokatima." Glasnik Advokatske komore Vojvodine 77, no. 10 (2005): 321–27. http://dx.doi.org/10.5937/gakv0506321f.
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Unutar velike epohe ruskog realizma Lavu Nikolajeviču Tolstoju pripada izuzetno značajno mesto. To je vreme koje će biti obeleženo pojavom nihilizma, negacijom prošlosti, istorije, tradicije i željom (sasvim bezumnom) da se čovek postavi u pustinju, jednostavno da bude „tabula rasa". Tolstoj nije nikada pripadao ovoj struji iz jednostavnog razloga što je bio genije, ali to ne znači da nije ostavio izvesne tragove moralizatorskog anarhizma i nekoga oblika nihilizma koji se u kritikama često nazivao "zdravorazumskim". O Tolstoju je mnogo pisano. Međutim, malo je toga tačno kada se radi o njemu samome. Stoga nemojte verovati nijednom njegovom biografskom portretu, jer nijedan nije tačan. Tolstoj je suviše jedinstven u preobilnoj punoći svoje iskričave prirode. Deset godina nakon Tolstojeve smrti njegova će žena kazati: "Živela sam sa svojim mužem četrdeset osam godina, i nisam saznala kakav je on čovek". Leontjev će ga upoređivati sa hindu božanstvom: "Dve glave, četiri lica, šest ruku i sve - ogromno, i napravljeno od najdragocenijeg materijala". O takvom čoveku nije moguće pisati biografiju…
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Golubkov, Sergey. "Childhood guide. Review of the monograph by M.A. Perepelkin “Around “Nikita's Childhood”: world - word - meaning”." Semiotic studies 2, no. 4 (December 28, 2022): 104–9. http://dx.doi.org/10.18287/2782-2966-2022-2-4-104-109.
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The article is a review of the monograph by M. Perepelkin Around Nikitas Childhood: world word meaning (Samara, 2021). Having established that the monograph author sees his task in introducing extensive factual material into historical and literary use and reasoned comments on both textual and iconographic documents, the reviewer focuses his attention on those aspects that seem to him the most important. Such aspects include, for example, the intricacies of landowners property relations, one of which was A. Bostrom - the A. Tolstoys stepfather, blanks in A. Tolstayas biography - the writer's mother, the objective world of A. Tolstoys childhood and the childhood of his literary hero, the reading circle of the Tolstoy family and the many-faced circle of people who lived or visited the Bostrom-Tolstoy house in Sosnovka. In the reviewers opinion, the most fundamental and meaningful information comprises also the monograph section devoted to the history of perpetuating the memory of writer A. Tolstoy in Samara and the Samara region. All the above stated allows the reviewer to conclude that the monograph under review tends towards the commentary book genre, and after its reading not only the Nikita's Childhood story, but also the Zavolzhsky cycle works, and a whole number.
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Sedakova, Irina, and Marina Valentsova. "Õpetaja mälestuseks." Mäetagused 85 (April 2023): 137–50. http://dx.doi.org/10.7592/mt2023.85.sedakova_valentsova.
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The renowned philologist Nikita Tolstoi promoted revolutionary ideas not only in Russian but also in the worldwide Slavonic studies. He, together with Svetlana Tolstaia, established the Moscow school of ethnolinguistics, the methodology of which is becoming increasingly topical, covering novel themes, and the number of researchers working in this field in different countries grows year by year. The 100th birth anniversary of the academician instigated his disciples to review their mentor’s work in order to evaluate his scientific contribution from the perspective of modernity and to analyse the evolution of his ideas.
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Maguire, Muireann. "Aleksei N. Tolstoi and the Enigmatic Engineer: A Case of Vicarious Revisionism." Slavic Review 72, no. 2 (2013): 247–66. http://dx.doi.org/10.5612/slavicreview.72.2.0247.
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In this article, Muireann Maguire examines the cultural construction of the trope of the engineer-inventor in Russia during the 1920s and 1930s, focusing on the changing representation of this archetype in three science fiction novels by Aleksei Tolstoi: Aelita (1922-23), Soiuzpiati (The Gang of Five, 1925), and Giperboloid inzhenera Garina (Engineer Garin's Death Ray, 1925-26). Tolstoi's fiction portrays engineers as misguided and self-centred at best and as amoral, megalomaniacal, and irredeemably un-Soviet at worst. This increasingly negative portrayal of the engineers in these novels, and in their later redactions and cinema versions, helped to prepare the way for the alienation of engineer and technical specialist within Soviet society, providing cultural justification for Iosif Stalin's show trials and purges of both categories in the 1930s. Tolstoi's alienation of the engineer-inventor, the traditional hero of early Soviet nauchnaia fantastika (science fiction), prefigured the occlusion of science fiction as a mainstream literary genre. As a trained engineer, former aristocrat, and returned émigré whose own status in Soviet Russia was deeply compromised, Tolstoi's literary demonization of engineers effectively purchased his own acceptance within the Stalinist literary hierarchy.
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Dergacheva, I. V., and V. V. Dergachev. "On the criterion of the adequacy of artistic fiction in the image of the Patriotic War of 1812 (to the question of the controversy of A.S. Norov and Leo Tolstoy)." Язык и текст 4, no. 2 (2017): 32–39. http://dx.doi.org/10.17759/langt.2017040204.
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The article deals with the polemical discourse of A.S. Norov, who was the hero of the war 1812, which he leads with Leo Tolstoy from the point of view of the direct participant in the battles with Napoleon. Analyzing then description of the events of the Patriotic War of 1812 in the novel of Leo Tolstoy “War and Peace”, A.S. Norov opposes them to a description which was made by the hero Yermolov of the war of 1812. The authors speculate that the polemics of A.S. Norov with the Leo Tolstoys’ point of view to the driving forces in the war of 1812 would not be so acute if it is considered in the categories of literary criticism, as a polemical discourse of the work with artistic fiction (the novel by Leo Tolstoy) with a work of documentary where fiction is excluded (wroks by A.S. Norov).
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Quesada Soto, Alvaro. "La muerte de Tolstoi en la prensa costarricense." Revista de Filología y Lingüística de la Universidad de Costa Rica 14, no. 2 (August 30, 2015): 175. http://dx.doi.org/10.15517/rfl.v14i2.19012.
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Un análisis de algunos comentarios sobre la muerte de Tolstoi publicados en periódicos de Costa Rica en 1910 y 1911. Estas publicaciones nos pueden dar una idea acerca de la influencia que el pensamiento y la obra del escritor ruso tenían en varios círculos costarricenses sociales y culturales en el comienzo de este siglo.An analysis of some cornments upon Tolstoi's deatb published in Costa Rican papers in 1910 and 1911. These publications can give us an idea about the influence that the thinking and the works of the Russian writer had in several social and cultural Costa Rican circles at the beginning of this century.
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Makhlin, V. L. "New approach instead of new finds. A. Zorin's new book on Tolstoy." Voprosy literatury, no. 2 (June 17, 2021): 83–91. http://dx.doi.org/10.31425/0042-8795-2021-2-83-91.
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V. Makhlin's article deals with the recently published book The Life of Leo Tolstoy: An Experiment in Interpretation [Zhizn Lva Tolstogo: Opyt prochteniya] (Moscow: NLO, 2020) by philologist A. Zorin. Noting that in his attempt to reconstruct the context of L. Tolstoy's life, Zorin does not pursue sensational discoveries, be it facts or rumours, Makhlin argues that the author's main goal was to bridge the gap between three different aspects of Tolstoy's image: that of a man in daily life, an artist engaged in creative work, and a religious proselytiser with his beliefs. According to Makhlin, Zorin managed the task brilliantly by employing a unique method, namely an ‘integrated approach' to writing a Tolstoy biography. The biographer tries to portray Tolstoy's life using the writer's own words, leaving to himself the task to comment on, rather than interpret, the events he describes. It is this precision as well as avoidance of personal judgements that, in Makhlin's opinion, make Zorin's book so precious and make it stand out among other Tolstoy biographies.
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ROSELINO, LUIS FELIPE DE SALLES. "O tema da morte trágica de Liev Tolstói e seu impacto em Max Weber e György Lukács: sobre a autonomia nas ciências e na arte * Leo Tolstoy´s tragic death and his impacts on Max Weber and György Lukács: on autonomy of arts and science." História e Cultura 3, no. 1 (April 28, 2014): 150. http://dx.doi.org/10.18223/hiscult.v3i1.1191.
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<p class="Normal1"><strong>Resumo: </strong>O tema da morte trágica, presente nos escritos de Liev Tolstói, auxiliou tanto a Max Weber como a György Lukács a caracterizarem o <em>pathos</em> moderno de pressentimento da morte como uma contemplação do vazio. Weber e Lukács encontraram, através das leituras de Tolstói, uma interessante maneira de questionar a autonomia da arte e da ciência moderna, considerando pela esfera estética, como se mostra sem sentido a recente realidade imanente. Ambos assumiram o tema central das obras de Tolstói segundo uma mesma imagem, derivada do contraste entre o mundo antigo e o moderno. Max Weber adequou esse tema a sua teoria do desencantamento do mundo e Lukács, de modo muito semelhante, seguindo seu conceito do paradoxo da necessidade religiosa.</p><p class="Normal1"><strong>Palavras-chave: </strong>Tolstói – Weber – Lukács – Desencantamento – Necessidade Religiosa – <em>L’Art Pour l’Art.</em></p><p class="Normal1"> </p><p class="Normal1"><strong>Abstract: </strong>The tragic death in Tolstoy's writings has helped both Max Weber and György Lukács in characterizing the modern <em>pathos</em> as a tragic contemplation of the emptiness of life. Through Tolstoy's readings, Weber and Lukács found an interesting source of denying arts and modern sciences autonomy, considering, from the aesthetics sphere, the meaningless of this new immanent reality. Both has assumed Tolstoy main theme from the same perspective, contrasting ancient and modern worldviews. Max Weber presented this theme in his disenchantment of world theory and Lukács, in a very similar way, following the paradox of religious needing as a mainline.<strong></strong></p><p class="Normal1"><strong>Keywords: </strong>Tolstoy – Weber – Lukács – Disenchantment – Religious Needing – <em>L’Art Pour l’Art.</em><strong></strong></p>
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Araújo, Paula Alves Martins de. "Triunfo do realismo: o que é isso?" Verinotio – Revista on-line de Filosofia e Ciências Humanas 26, no. 1 (June 25, 2020): 64–84. http://dx.doi.org/10.36638/1981-061x.2020.v26.544.
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Ao analisar uma obra literária, Lukács a localiza em seu contexto histórico-social. Em seus estudos sobre Tolstói, por exemplo, ele busca demonstrar como a obra desse escritor supera certas dificuldades impostas em sua época para o “grande realismo”. Para tanto, foram essenciais as reverberações da revolução camponesa russa. Ela permitiu, de acordo com o filósofo, que Tolstói rompesse, até certo ponto, com as limitações de sua própria visão de mundo reacionária e atingisse uma figuração precisa, realista da realidade russa. Isso é o que Lukács chama de “triunfo do realismo”. Ele remonta à compreensão de Engels sobre a relação entre literatura e o posicionamento ideológico do autor, explicando como é possível – sob determinadas circunstâncias – que a visão de mundo reacionária de um autor não só não deforme a figuração da realidade, mas também contribua – positivamente – para sua realização literária. Com essa apreciação, Lukács se distancia de alguns críticos da II. Internacional, em cuja avaliação Tolstoi não passava de um conde reacionário – o que ele era –, aproximando-se e desenvolvendo as análises de Lênin sobre o escritor russo. Para Lênin, Tolstói era o espelho literário da revolução russa de 1905. Lukács busca então desvelar como esse acontecimento histórico se imprime na composição de Tolstói. Por si só, tal reconstrução hermenêutica tem seu interesse; ela sugere, para além, o complexo de questões em torno da decadência ideológica, tão caro à fortuna crítica sobre Lukács . Pois, em paralelo a sua análise sobre Tolstói, Lukács menciona o destino de autores ocidentais como Flaubert, para quem, a despeito de sua honestidade inquestionável, tal caminho já não era mais acessível e sua obra permaneceu inferior às narrativas do grande realismo. em uma tensão constante. Esse e o outro lado da moeda, repleto de elementos que subjazem à compreensão de Lukács sobre a literatura moderna. Nosso artigo visa assim discutir essa tese, perguntando-se quais são as circunstâncias que tornam possível um tour de force realista. Também nos interessa avaliar o contexto em que Lukács desenvolve essa tese, considerando suas polêmicas contra o sociologismo vulgar, bem como seu engajamento na frente popular nos anos 1930.
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Galloway, David J. "Victim of Circumstance: Rastophchin's Execution of Vereshchagin in Tolstoi's Voina i mir." Carl Beck Papers in Russian and East European Studies, no. 1404 (January 1, 1999): 37. http://dx.doi.org/10.5195/cbp.1999.84.
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The Vereshchagin episode, describing the execution of a young student during the fall of Moscow in 1812, occupies Chapters 24 and 25 of Part 3, Book 3 of Lev Tolstoi's Voina i mir (War and Peace). This dramatic scene, in which Mikhail Vereshchagin is cut down by a dragoon on the order of Count Fedor Rastopchin, has received little critical attention given the breadth of work on the novel as a whole. This is understandable on the grounds that the text does not constitute a large portion of Voina i mir and its characters are far from principal players. Yet investigating the episode reveals how Tolstoi deliberately added psychological, ideological, and theological subtexts to the early drafts, marking such subtexts by changes in narration, language, and direct allusions. Episodes such as this one are intricately structured to produce emotions, raise questions, and initiate a philosophical inquiry into the actions and thoughts of the characters concerned.
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Rosenshield, Gary. "The Realization of the Collective Self: The Rebirth of Religious Autobiography in Dostoevskii's Zapiski iz Mertvogo Doma." Slavic Review 50, no. 2 (1991): 317–27. http://dx.doi.org/10.2307/2500207.
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Fedor Dostoevskii was at least as great and ingenious a renovator of old forms as he was a creator of the revolutionary new form, the polyphonic novel. However fond Dostoevskii may have been of old, often "outdated" modes and genres, he never accepted or used them as he found them; rather he seems to have been attracted to them primarily for the possibilities they offered for literary experimentation. Often overlooked, at least in this regard, is Dostoevskii's great semiautobiographical novel Zapiski iz Mertvogo doma. Perhaps in no other work did Dostoevskii perform as daring a literary experiment in the renewal of an "outmoded" genre–in this case, the religious autobiography. Lev Tolstoi, who himself, according to Prince Dmitrii Mirsky, years later wrote a confession on a par with the Book of Job, thought Zapiski the best thing that Dostoevskii ever did, and one of the greatest Christian works of its time. Uplifting, universal, and "infectious," Zapiski iz Mertvogo doma met all of Tolstoi's criteria for great art.
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KRETSCHMANN, Angela. "PREFÁCIO AO V.4, N.7 DA REVISTA DIÁLOGOS DO DIREITO: "A MORTE DE IVAN ILITCH"." REVISTA DIÁLOGOS DO DIREITO - ISSN 2316-2112 4, no. 7 (January 13, 2015): 05. http://dx.doi.org/10.17793/rdd.v4i7.817.
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<p> A Revista Diálogos do Direito chega a seu sétimo número, agora pleiteando construir um diálogo entre professores, alunos, comunidade acadêmica, interna e externa, com a obra de Leon Tolstói, “A morte de Ivan Ilitch”. Sem dúvida, a edição contou com o entusiasmo com que a obra também foi discutida nos corredores, bar, restaurante, biblioteca, trabalhos, provas, e todo tipo de atividade acadêmica em que se poderia – de uma forma ou de outra – revelar e realizar comparações da vida que se tem, com a vida do personagem Ivan Ilitch, construído por Leon Tolstoi.</p><p> Há, portanto, uma transmutação, e não obstante a distância histórica da origem da obra foi realizada com tranquilidade, talvez dado ao fato de que convivemos na atualidade com uma melancolia e uma luta permanente pelo sentido da vida, que certamente transborda os limites da vida do personagem de Tolstoi, para atingir a todos.</p><p> O melhor do diálogo pode ser sempre aquele dos corredores, mas sempre respingos do debate transparecem nas mais diversas formas pelas quais cada professor ou colaborador/autor acaba expressando a forma como percebe a obra, e o contexto no qual deseja inseri-la, a fim de explorar ainda mais suas qualidades literárias. E isso hoje em dia acaba se refletindo inclusive nas conversas pelas mídias, pelos grupos, pelas formas contemporâneas e muitas vezes mais imediatas de referenciar, comentar e relacionar que a tecnologia nos proporciona – o que só enriquece ainda mais o debate!</p>
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Полтавец, Елена Юрьевна. "AXIAL SYMBOLS IN THE NOVELS BY L.N. TOLSTOY AND I.S. TURGENEV." Вестник Тверского государственного университета. Серия: Филология, no. 3(66) (November 6, 2020): 91–104. http://dx.doi.org/10.26456/vtfilol/2020.3.091.
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В статье рассматривается осевой символизм в романах Л. Н. Толстого и И. С. Тургенева: «Война и мир» и «Рудин». Осевой символизм основан на таких символах, как «дерево», «баррикада», «холм», «плотина», «сабля», «река», «дорога» и на вексиллосимволике. Функции «символа знамени» и других осевых символов в романах схожи. Гипотеза, обусловившая такой подход, состоит в том, что осевой символизм определяет основную идею и структуру образа. Герои Тургенева и Толстого - Рудин и князь Андрей - связаны с возвышенным. The article investigates the axial symbolism in Tolstoy`s and Turgenev`s novels: «War and Peace» and «Rudin». The axial symbolism is based on symbols such as «tree», «barricade», «hill», «dam», «saber», «river», «road» and on the vexillology symbolism. Functions of the «banner symbol» and functions of other axial symbols are similar in the novels. The hypothesis governing this approach is that axial symbolism determines the main idea and the structure of the image. Tolstoi`s and Turgenev`s heroes - Rudin and Prince Andrei - both are associated with the sublime.
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Schwarz, Robert, and Gert Hofmann. "Tolstois Kopf." World Literature Today 66, no. 4 (1992): 709. http://dx.doi.org/10.2307/40148675.
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Tamcke, Martin. "Tolstois »Auferstehung«." Concilium 60, no. 2 (2024): 69–76. http://dx.doi.org/10.5771/0588-9804-2024-2-69.
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Smith, Michael G. "Cosmic Plots in Early Soviet Culture: Flights of Fancy to the Moon and Mars." Canadian–American Slavic Studies 47, no. 2 (2013): 170–99. http://dx.doi.org/10.1163/22102396-04702003.
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This article explores two classics of Soviet science fiction – Konstantin Tsiolkovskii’s Beyond the Earth (1918) and Aleksei Tolstoi’s Aelita (1923) – in their related historical contexts. Both had their origins in the popular nineteenth-century “cosmic romance,” owing to their staple characters, settings, and plots. These were extraordinary adventures into the heavens, modern signposts of how the fantastic was becoming real. Yet both novels also became leading texts in the genre of Stalinist Socialist Realism, stories that made “fairy tales come true.” Tsiolkovskii and Tolstoi both appealed to the Bolshevik Revolution as a radical break in time here on earth, much as they predicted that the rocket would become a radical new means to reach beyond into outer space. They centered their stories on real science and technology, articles of comprehension and anticipation. They created characters that revealed the utopian potential of human beings to create new regimes of equality and freedom. Part inheritance from abroad, part innovation at home, the cosmic romance in their hands became a successful medium to situate and justify the Soviet experience.
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Bojanic, Petar. "Violence and “Counter-Violence”. On Correct Rejection. A Sketch of a Possible Russian Ethics of War Considered through the Understanding of Violence in Tolstoy and in Petar II Petrović Njegoš." RUDN Journal of Philosophy 24, no. 4 (December 15, 2020): 657–68. http://dx.doi.org/10.22363/2313-2302-2020-24-4-657-668.
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The articles intention is to construct a possible minimal response to violence, that is, to describe what would be justified (necessary or legitimate) противонасилие (counter-violence). This argument is built on reviving several important philosophical texts in Russian of the first half of the twentieth century as well as on going beyond that historical moment. Starting with the reconstruction of Tolstoys criticism of any use of violence, it is then shown that, paradoxically, resistance to Tolstoys or pseudo-Tolstoys teachings ends up incorporating Tolstoys thematization of counter-violence into various theories, which sought to legitimate the use of force. In particular, Tolstoys discovery of a force, which, on the one hand, is not grounded in violence and, on the other hand, which is capable of countering violence, becomes fundamental in reasoning about the just use of force. The connection is made between Tolstoy and Petar II Petrović Njego, who also thematizes the use of force in Christian perspective. In his view, justice, blessed by the Creators hand, has the capacity to protect from violent force. Any living thing defends itself from what endangers it by means Creator bestowed it with. Living force and protective use of force are conceptually linked in Njegos reasoning. Thus, only protective force can defeat aggressive force. This is shown to be Njegos contribution to the Orthodox Christian discourse on violence. If a force can be counter-violent, the next step in our argument would be to search for a protocol that should have universal validity, that is, it has to be valid for all conflicting sides, The protocol of counter-violence requires that, firstly, it is a response to violence; secondly, it interrupts violence and forestalls any possible future violence (it is the last violence); thirdly, it is subject to verification, it addresses those who are a priori against any response to violence (which usually refers to various forms of Tolstoyism). Finally, it is shown that state power does not create law, but it is being right that makes law or gives life to social order, and thereby can authorize the use of force. This is the innovation in the histories of justification of force, absent in the West. Aggressive violence can necessarily be opposed only in the way that implies the possibility of constituting law and order.
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Darabus, Carmen. "The Dance – tension of communication in literature." Current issues of social sciences and history of medicine, no. 2 (August 14, 2023): 109–13. http://dx.doi.org/10.24061/2411-6181.2.2022.365.
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The aim of investigation: is the role of dance as social coagulation and background for intense feelings, in connection with the new branch of neuroscience. The method of research: is a comparative one, choosing writer from different cultural spaces and epochs: Gustave Flaubert, Henrik Ibsen, Nikos Kazantzakis, Liviu Rebreanu, L. N. Tolstoi. Conclusion: neurosciences analyze the intersection of corporal contact with the control of movements, learning by imitation, emotional expression and the psycho-dynamic of subliminal. The article analyzes the function of emotional communication by dance, with reference to Dionysian manifestation of art, and to neuroscience. The authors and the works to which it refers are: Madame Bovary by Gustave Flaubert, A doll’s House by Henrik Ibsen, Anna Karenina by L. N. Tolstoy, Ciuleandra by Liviu Rebreanu and Zorba the Greek by Nikos Kazantzakis - three female characters and two male character. Their common element it is the feeling of an internal liberation and the communication of an erotic tension, the fusion with the person you love and with the universe
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Abud Filho, Régis Mikail. "Administração da morte: A aposentadoria de Senhor Bougran, de J.-K. Huysmans e A Morte de Ivan Ilitch, de Lev Tolstoi." Scriptorium 5, no. 1 (June 19, 2019): 33211. http://dx.doi.org/10.15448/2526-8848-2019.1.33211.
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O presente artigo compara duas narrativas – A aposentadoria de Senhor Bougran, de J.-K. Huysmans e A morte de Ivan Ilitch, de Lev Tostoi – partindo de uma análise do funcionalismo público e da noção de labor na literatura. Busca-se mostrar de que maneira o anúncio da morte afeta as protagonistas a partir de certos lutos e frustrações em suas vidas. De que maneira o discurso literário confrontase com o discurso administrativo e a vida no serviço público se manifesta nessas situações? São analisadas aqui topoi frequentes no realismo e no naturalismo, presente nas obras em questão, como a vegetação, a decoração e o retrato da vida comum do servidor no serviço público. Como são representadas essas existências comuns? De que maneira suas existências comuns se acomodam no espaço do discurso literário? *** Administrating death in J.-K. Huysmans’s Mr. Bougran’s Retirement and Leo Tolstoi’s The Death of Ivan Ilitch ***This article compares two short novels – J.-K. Huysmans’s Mr. Bougran’s Retirement and Leo Tolstoi’s The Death of Ivan Ilitch – in an analysis of public service and the concept of labor in literature. We intend to present the way through which the announcement of death affects the main characters from their grief and frustrations in their lives. How does the literary discourse oppose to the administrative discourse? How is life in public service manifested in these situations? Frequent topoi in Realism and Naturalism, present in both texts are analysed, such as vegetation, decor and a portrait of the common public worker’s life. In what sense are these ordinary existences related to the idea of absurd and how do they fit in the literary discourse?Keywords: Labour; Death; Grief; Absurd; Huysmans; Tolstoi.
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Herman, David. "Stricken by Infection: Art and Adultery in Anna Karenina and Kreutzer Sonata." Slavic Review 56, no. 1 (1997): 15–36. http://dx.doi.org/10.2307/2500653.
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Resentment proceeds from powerlessness, said Rousseau. How true! A man is spiteful when he wants to do what is not in his power–he encounters obstacles and grows resentful. (57:136)Lev Tolstoi had originally intended to open Anna Karenina with a scene in Princess Betsy’s salon, later moved to part 2 of the novel, in which the work’s central themes are all touched on in the conversation of the gathered guests. This introductory discussion primarily concerns illicit liaisons, but alongside the talk of adultery, one guest states, “The theme is everything. Once one has a theme, it is easy to embroider on it” (121). These words obliquely acknowledge a debt to one of the novel’s sources, Aleksandr Pushkin’s “Egyptian Nights,” a story about improvisation in which that art is conceived not merely as the instantaneous or impromptu invention we usually think of, but even more importantly as the appropriation of someone else’s topic. Anna Karenina, and some of Tolstoi’s later works as well, make important borrowings from Pushkin’s story about borrowing, employing both themes from “Egyptian Nights” and therefore the methods of the Italian improvisor in it.
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Mecke, Klaus. "Tolstois physikalische Geschichtsdynamik." Physik in unserer Zeit 51, no. 2 (March 2020): 102. http://dx.doi.org/10.1002/piuz.202070219.
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Urso, Graziela Schneider. "Por que ler os russos?" Tradterm 28 (January 24, 2017): 35–60. http://dx.doi.org/10.11606/issn.2317-9511.v28i0p35-60.
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No Brasil, cada vez mais, há várias traduções de uma mesma obra russa, o que só amplifica as possibilidades de leituras. Como afirma Paz (1971), "Cada tradução é, até certo ponto, uma invenção e, como tal, constitui um texto único." Quanto mais traduções, mais leituras possíveis. No momento, existem pelo menos dez editoras que trazem constantes traduções diretas de textos russos e uma que edita unicamente literatura russa, além de contarmos com um número significativo de tradutoras e tradutores literários do russo, herdeiros diretos ou indiretos do legado de Boris Schnaiderman. Para além de Dostoiévski e Tolstói, atualmente temos publicações de nomes tão diversos como Aleksêievitch, Bulgákov, Búnin, Chalámov, Dobýtchin, Kharms, Koroliênko, Leskov, Tolstáia, Tsvetáieva, entre outros, sem contar inúmeros outros autores presentes nas antologias de contos e textos críticos. Este texto visa apresentar um breve panorama da literatura russa em tradução direta no Brasil, desde as primeiras publicações, na década de 1930 do século XX, até os dias atuais.
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Pursglove, Michael, W. Gareth Jones, and Patrick Waddington. "Tolstoi and Britain." Modern Language Review 94, no. 1 (January 1999): 276. http://dx.doi.org/10.2307/3736109.
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Cooke, Brett, and W. Gareth Jones. "Tolstoi and Britain." South Central Review 15, no. 1 (1998): 78. http://dx.doi.org/10.2307/3189905.
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McLean, Hugh, and Richard F. Gustafson. "Tolstoi Made Whole." Russian Review 46, no. 3 (July 1987): 321. http://dx.doi.org/10.2307/130567.
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Navajas, Gonzalo. "Galdós y Tolstoi." SIGLO DIECINUEVE (Literatura hispánica), no. 22 (May 8, 2016): 71–89. http://dx.doi.org/10.37677/sigloxix.v0i22.58.
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El siglo XIX genera una extensa narrativa en torno al hecho de la guerra y el modo en que la guerra determina el núcleo más intrínseco y definitorio de la comunidad nacional. Los casos de León Tolstoi y Benito Pérez Galdós son ilustrativos de este modo de narración en torno a la guerra y del análisis y cuestionamiento de los principios legitimizadores de la agresión bélica para la obtención de unos fines políticos. A partir del análisis de obras determinantes de ambos autores, desde Guerra y paz a Trafalgar y Bailén en particular, el trabajo muestra que ambos autores destacan los elementos de destructividad y crueldad de la guerra que no pueden enmascararse, como en otros momentos de la historia, con la grandilocuencia épica. Al mismo tiempo, los actos de conducta sobrehumana y extraordinaria que la guerra segrega pueden reconceptualizarse para fundamentar un paradigma nuevo de la nación como un hogar o Heimat subliminalmente inclusivo. Dentro de él, todos sus miembros podrían sentirse instalados y reconocerse, al menos ocasionalmente, en episodios excepcionales, como Bailén o Borodino, y compartir una misma visión de acontecimientos que siguen siendo susceptibles de una hermenéutica histórica fluida y abierta.
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Sokolov, Boris V. "A Prototype of Vadim Roshchin in the “White” Version of Alexey N. Tolstoy's Trilogy The Road to Calvary." RUDN Journal of Studies in Literature and Journalism 26, no. 1 (December 15, 2021): 16–32. http://dx.doi.org/10.22363/2312-9220-2021-26-1-16-32.
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The article is devoted to the reconstruction of the idea of the white version of the second volume of A.N. Tolstoy's trilogy The Road to Calvary , created by the writer in the emigration in 1921-1923. This idea was fundamentally different from the one embodied by A.N. Tolstoy after his return to the USSR. Materials published in 1918 in the Rostov magazine Donskaya Volna ( Don Wave ) are used for the reconstruction. Those materials help to identify Colonel V.K. Manakin as a supposed prototype of one of the main characters, Vadim Roshchin, in the final chapters of the first volume of the trilogy and in the first chapters of the second volume of the white version. The prototype makes it feasible to reconstruct the possible idea of the second volume of the white version of The Road to Calvary . A.N. Tolstoy's notebooks are also used for the reconstruction. The reconstruction of A.N. Tolstoys plan turned out to be more logically consistent compared to the only existing Soviet version of the second and third volumes of the trilogy The Road to Calvary. Both Roshchin and Telegin, in the emigrant version of the first volume of the trilogy act as ideologists of the White Movement, find themselves in the White Armies of Southern Russia, and then in exile. The study shows that the transition of the main characters to the Red Movement in the Soviet version of The Road to Calvary is artistically unconvincing, since it does not correspond to the original plan of A.N. Tolstoy, embodied in the emigrant version of Sisters .
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Brioso Sánchez, Máximo, and Manuel Bernal Rodríguez. "Tolstoi y A. Machado: «A un olmo seco»." Philologia Hispalensis 1, no. 6 (1991): 285–93. http://dx.doi.org/10.12795/ph.1991.v06.i01.25.
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Montefameglio, Alessandro. "Un “diferencial de la historia”. Vico, Tolstoi, Deleuze." Cuadernos sobre Vico, no. 37 (2023): 161–80. http://dx.doi.org/10.12795/vico.2023.i37.10.
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El presente artículo examina algunos tópicos histórico-teoréticos que ligan la filosofía de la historia de Giambattista Vico con el pensamiento postmoderno, particularmente el de Gilles Deleuze. Concepto sostenedor de nuestro trabajo es el de diferencial tal como es elaborado por León Tolstoi en Guerra y paz para construir, a partir de su significado matemático, una original teoría de la historia como integración de la multiplicidad de pulsiones humanas. No obstante, Vico, a diferencia de Deleuze, no emplea directamente dicho concepto, lo que resulta teórica e históricamente relevante ya sea para comprender cómo Vico, a partir de las consideraciones físico-metafísicas implementadas en el De antiquissima en torno a los conceptos de momento y conato y a su confrontación con las físicas estoicas y epicúreas, desarrolla su original idea de una circularidad providencial de la historia, o sea para la construcción, en Deleuze, de una filosofía de la diferencia opuesta en los fundamentos a la de Vico, pero sorprendentemente cercana a ella por lo que respecta al palimpsesto autoral y conceptual del que el filósofo se sirve.
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Oliveira, Juliane Bassanufa, and Carlos Francisco de Morais. "Anna Karenina no cinema: o primeiro encontro de Anna e Vronski nos filmes de 1935, 1948 e 2012 / Anna Karenina on the cinema: the first encounter of Anna and Vronski in the movies from 1935, 1948 and 2012." Texto Livre: Linguagem e Tecnologia 10, no. 2 (December 28, 2017): 254–70. http://dx.doi.org/10.17851/1983-3652.10.2.254-270.
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RESUMO: Este estudo surgiu da participação no grupo de pesquisa intitulado Literatura em Diálogo, que tem como objetivo o estudo e a pesquisa sobre as diversas adaptações cinematográficas do romance Anna Karenina, de Leon Tolstói. Neste estudo, em particular, é feita uma análise da primeira cena de encontro entre Anna Karenina e Alexei Vronski, nas adaptações cinematográficas de 1935 (Clarence Brown), 1948 (Julien Duvivier) e 2012 (Joe Wright), e no texto literário de Tolstói (1877). A apropriação do texto literário pelo cinema fez com que os olhares de teóricos de ambas as artes se voltassem para a relação entre elas. Sendo assim, há diversos conceitos a serem analisados e articulados, entre eles: fidelidade, tradução, elementos fílmicos e intertextualidade. Nesta pesquisa, investiga-se o material literário, sua recriação cinematográfica e as múltiplas possibilidades que surgem dessa relação de linguagens artísticas diferentes e com particularidades específicas. Dentro das próprias produções fílmicas serão apontadas, ao longo do artigo, as diferentes formas de realizar adaptações, que carregam as ideologias do seu realizador, condições de realização e contextos históricos diferentes. A perspectiva teórica que norteia esta pesquisa é a literária em conjunto com a cinematográfica, segundo os estudos de Stam (2006), Pereira (2009), Hutcheon (2011) e outros. Em outras palavras, investiga-se qual(is) representação(ções) pode(m) ser percebida(s) nessas adaptações fílmicas feitas através da apropriação do texto. Pretende-se observar não somente o deslocamento do literário para a obra cinematográfica, mas também as diferentes formas de se fazer a adaptação dentro das próprias produções para a tela do material ficcional, pois não existe uma única maneira de produzir adaptações.PALAVRAS-CHAVE: Anna Karenina; adaptações; cinema; literatura; pesquisa.ABSTRACT: The origin of this study is the participation in the research group Literature and Dialogue, that seeks to study and research the many filmic adaptations of the novel Anna Karenina, by Leon Tolstoi. In this particular study, an analysis of the first encounter between Anna Karenina and Alexei Vronski was conducted, as it was portrayed in the filmic adaptations from 1935 (Clarence Brown), 1948 (Julien Duvivier) and 2012 (Joe Wright), as well as in the literary text by Tolstoy (1877). The appropriation of the literary text by the cinema made the theoreticians from both fields turn their attention towards the the relationship between them: fidelity, translation, filmic elements and intertextuality. In this research, the literary material was investigated, as well as its filmic recreations and the multiple possibilities that come from the relationship between different artistic languages with specific particularities. Within the filmic productions themselves, throughout the article, different ways to conduct adaptations are going to be pointed at, as they carry the ideologies of their auteurs, the conditions in which they were produced and their different historical contexts. This study was informed by literary and cinematographic theoretical perspectives, according to the studies of Stam (2006), Pereira (2009), Hutcheon (2011) and others. In other words, this study investigates which representations may be found in the filmic adaptations conducted through the appropriation of the text. The study aims not only at looking at the movement from literature to cinematographic work, but also at the different ways to conduct an adaptation within the productions of the fictional material for the screen, since there are many possible ways to produce adaptations.KEYWORDS: Anna Karenina; adaptations; cinema; literature; research.
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Grebennikov, Valery, Victoria Kalinovskaya, Ekaterina Sviridova, and Denis Shiryov. "Human rights activities of Leo Tolstoy." OOO "Zhurnal "Voprosy Istorii" 2019, no. 12_3 (December 1, 2019): 54–58. http://dx.doi.org/10.31166/voprosyistorii201912statyi56.
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Jahn, Gary R., and Liudmila Ivanovna Kuz'mina. "Lev Tolstoi v Peterburge." Slavic and East European Journal 32, no. 4 (1988): 653. http://dx.doi.org/10.2307/308779.
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Love, Jeff. "Introduction: The “Late” Tolstoi." Slavic Review 70, no. 4 (2011): 747–53. http://dx.doi.org/10.5612/slavicreview.70.4.0747.
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Tavis, Anna. "The Life of Tolstoi." Slavic Review 49, no. 2 (1990): 278–80. http://dx.doi.org/10.2307/2499487.
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GUSTAFSON, RICHARD F. "LIDIIA GINZBURG AND TOLSTOI." Canadian-American Slavic Studies 28, no. 3 (1994): 204–15. http://dx.doi.org/10.1163/221023994x00422.
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Köpf, Gerhard. "Tolstoi, Wodka und Dopaminierer." NeuroTransmitter 27, no. 3 (March 2016): 56–59. http://dx.doi.org/10.1007/s15016-016-5498-3.
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Kovaleva, Galina N. "P. V. Palievsky as My First Reader." Two centuries of the Russian classics 5, no. 2 (2023): 198–205. http://dx.doi.org/10.22455/2686-7494-2023-5-2-198-205.
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The article is devoted to memories of P. V. Palievsky’s role in the preparation by its author of the unfinished novel by L. N. Tolstoy from Peter the Great’s era for the Complete works of the writer. Comparison of the episode about Prince V. V. Golitsyn from L. N. Tolstoy’s unfinished novel with an episode of the same content from A. N. Tolstoy’s novel “Peter the Great” reveals correspondences and parallels between the two episodes. It gives every reason to conclude that the episode about Prince V. V. Golitsyn from L. N. Tolstoy’s work is a literary source of an episode from A. N. Tolstoy’s novel. The article establishes the source of A. N. Tolstoy’s acquaintance with the rough fragments of his predecessor’s work, that is their publication, carried out in 1925 by T. I. Polner in one of the emigrant publications in Prague. The role of P. V. Palievsky in this discovery lies primarily in the proposal to the author of the article to search for points of convergence between the novels of the two Tolstoys about the first Russian emperor and his time.
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Kolstø, Pál. "A Mass for a Heretic? The Controversy over Lev Tolstoi's Burial." Slavic Review 60, no. 1 (2001): 75–95. http://dx.doi.org/10.2307/2697644.
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When Lev Tolstoi emerged as a religious teacher in the 1880s, taking a sharply polemical stance against the Orthodox faith, the leadership of the Russian church groped for ways and means to stem the spread of the pernicious new heresy among the Russian public. The most ambitious but also the most disastrous attempt was made in 1901 when the synod promulgated an official pronouncement (poslanie) against him. This document, which created a worldwide scandal, was undertaken by the church itself and not, as has been widely assumed, at the instigation of the state authorities. In its poslanie the synod declared that Tolstoi could not receive an Orthodox burial unless he repented. This strategy badly backfired, since Tolstoi under no circumstances wanted such a burial and therefore made no move toward repentance. At the same time many Russians, including fervent believers, felt that the church itself with its requiem ban had sinned against the Christian injunction of all-embracing love. When Tolstoi died in 1910 and the burial issue became acute, the synod strenuously, but unsuccessfully, searched for a way out of its predicament.
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Pino, Claudia Amigo. "Roland Barthes e o combate do bem e do mal." Alea : Estudos Neolatinos 14, no. 2 (December 2012): 231–44. http://dx.doi.org/10.1590/s1517-106x2012000200006.
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O presente artigo parte da releitura de Barthes de Guerra e paz, de Tolstoi, para entender alguns movimentos de escritura presentes nos manuscritos de seu romance "Vita Nova". Para isso, procuramos encontrar um elemento no livro de Tolstoi que ele pretendia desenvolver em seu romance: o combate do Bem e do Mal, questão desenvolvida no último texto escrito por Barthes antes de morrer.
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Bôas, Glaucia Villas. "Max Weber, leitor de Tolstoi." Estudos Avançados 34, no. 100 (December 2020): 307–20. http://dx.doi.org/10.1590/s0103-4014.2020.34100.019.
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resumo Este artigo discute a formulação que Max Weber dá ao problema do sentido da ciência e do sentido da vida, com base na conferência Ciência como vocação, que ele proferiu na Universidade de Munique em 1917. Em primeiro lugar, esboço o contexto intelectual em que se dá a “redescoberta” da obra de Weber, na Alemanha, nas décadas de 1970 e 1980; em segundo lugar, comento a recepção da conferência por especialistas; e, em seguida, retomo o sentido que Weber atribui à ciência e ao progresso. Finalmente, exploro uma dimensão literária da reflexão weberiana: tendo em vista que Weber considerou o escritor russo Liev Tolstoi como aquele que melhor havia respondido à pergunta sobre a relação entre e a ciência e o sentido da vida, e relembro o conto “A morte de Ivan Ilitch”, de Tolstoi.
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William Nickell. "New Directions in Tolstoi Scholarship." Kritika: Explorations in Russian and Eurasian History 9, no. 3 (2008): 555–66. http://dx.doi.org/10.1353/kri.0.0029.
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