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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.<br>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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Billington, Josie. "Mrs Gaskell : England's Tolstoy?" Thesis, University of Liverpool, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.309949.
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Seveno-Gheno, Anne-Laure. "Enfance: De Tolstoi a Sarraute." 名古屋大学文学部, 2000. http://hdl.handle.net/2237/5521.
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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 personnelle<br>Angst 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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Whiting, Jeanna Marie. "Tolstoy and the woman question." [Tampa, Fla] : University of South Florida, 2006. http://purl.fcla.edu/usf/dc/et/SFE0001667.
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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.<br>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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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.<br>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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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 sud<br>Mahatma 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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Ormiston, Gregory. "The Prison Worlds of Dostoevskii, Tolstoi, and Chekhov." The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu1492685883985888.
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Watrin, Jorge Paulo dos Santos. "O cristianismo libertário de Tolstoi: implicações políticas de um saber religioso." Pontifícia Universidade Católica de São Paulo, 2012. https://tede2.pucsp.br/handle/handle/1879.
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Previous issue date: 2012-11-29<br>This work aims to know the political‐religious thought from the prominent Russian
thinker Leo Tolstoy (1828‐1910), in his constant literary essays, written at the second
half of the nineteenth century, with emphasis on the work Godʹs Kingdom Is In You.
The problem that we are willing to face, at the heart of this work, goes through the
sense of radical interpretation dismissed by Tolstoy to the Gospel, considering that
his reading of the Good News flows, in crucial aspects, in the opposite direction to
consecrated versions by the heroes of the traditional Christian Churches, particularly
when defining the teachings of Jesus as a guided compass of a transformation aimed
at the establishment of a just and equitable social order, antithetical to private
property and the existence of the state. Matching the hermeneutic of everyday life
with the theory of imaginary, in Tolstoy s Libertarian Christianity: political implications
of a religious knowledge, we emphasize the lines of strength of a contrary spirituality to
Christianities of the State; uplifting pacifist libertarian ethics, inspired by the Sermon
on the Mount, predicated by the author as founded on a rational faith and in a loving
rationality<br>O presente trabalho tem por objetivo dar a conhecer o pensamento político religioso
do eminente pensador russo Leon Tolstoi (1828‐1910), constante em sua produção
literária ensaística, escrito a partir da segunda metade do século XIX, com ênfase na
obra O reino de Deus está em vós. O problema que nos dispomos a enfrentar, no cerne
desta pesquisa, passa pelo sentido da interpretação radical dispensada por Tolstoi ao
Evangelho, haja vista que sua leitura da Boa Nova flui, em aspectos cruciais, na
direção oposta às versões consagradas pelos próceres das Igrejas cristãs tradicionais,
particularmente quando define os ensinos de Jesus como bússola norteadora de uma
transformação voltada à instauração de uma ordem social justa e equânime,
antitética à propriedade privada e à existência do Estado. Compatibilizando a
hermenêutica do cotidiano com a teoria do imaginário, em O cristianismo libertário de
Tolstoi: implicações políticas de um saber religioso, procuramos dar ênfase as linhas de
força de uma espiritualidade contrária aos cristianismos de Estado; enaltecedora de
uma ética pacifista de cunho libertário, inspirada no Sermão do Monte, predicada
pelo autor como fundada em uma fé racional e em uma razão amorável
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Gershkovich, Tatyana. "Held Captive: Tolstoy, Nabokov, and the Aesthetics of Constraint." Thesis, Harvard University, 2016. http://nrs.harvard.edu/urn-3:HUL.InstRepos:33493286.
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This dissertation examines a counterintuitive artistic imperative that emerged from the struggles of Leo Tolstoy and Vladimir Nabokov with an aesthetic problem of Kantian provenance. These two authors are widely considered to be opposed in their vision of art, but I show that their aesthetics in fact converge upon the same goal: to grant the reader a particular kind of freedom. These authors shared the Kantian view that aesthetic enjoyment requires that the reader not be constrained by any interest or concept. This feeling of freedom, they believed, is threatened not only when a reader looks to an artwork to satisfy his appetites (and thus remains bound by his sensuous interests), but also when he employs the artwork for a further intellectual or creative purpose of his own (and thus remains bound by his concepts). On the latter point, they concluded that too much interpretive license, rather than liberating the reader, actually leaves him trapped within his preexisting conceptual framework. To ensure that their own works grant the freedom necessary for genuine aesthetic pleasure, they developed narrative strategies that (in an apparent paradox) restrict how we read the text.<br>Slavic Languages and Literatures
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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.<br>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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Di, Fraia Martina. "Letteratura russa e psicoanalisi. Osipov e Il Diavolo di Tolstoj." Master's thesis, Alma Mater Studiorum - Università di Bologna, 2017. http://amslaurea.unibo.it/13808/.
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L’obiettivo della mia tesi è analizzare i motivi della rapida diffusione della psicoanalisi nella Russia prerivoluzionaria e il ruolo giocato dalla letteratura in questo processo. Nella prima parte è illustrato il contesto storico-culturale della Russia di inizio Novecento. Una particolare attenzione è dedicata al ruolo del movimento simbolista, al discorso sulla sessuologia, e al contributo dato dai russi alla psicoanalisi. Viene inoltre esaminato il metodo utilizzato da Nikolaj Evgrafovič Osipov, pioniere della psicoanalisi nella Russia di inizio Novecento, per diffondere le teorie freudiane tramite la letteratura. A questo scopo vengono presi in esame i suoi scritti su Tolstoj. Nella seconda parte viene esaminato il saggio di Osipov Duševnij konflikt (Ja-seksual’noe) [Conflitto interiore (Io-sessuale)]. Si tratta del sesto capitolo di una monografia su Tolstoj intitolata Detskie vospominanii Tolstogo. Vklad v teoriju libido Frejda (Ricordi d’infanzia di Tolstoj. Contributo alla teoria della libido di Freud). Il saggio in questione si concentra su due opere tolstoiane, D’javol (Il Diavolo) e Krejcerova Sonata (La Sonata a Kreutzer), appartenenti al periodo post-critico dell’autore. Queste opere trattano il problema della sessualità in modi diversi, ma hanno in comune un epilogo tragico. In questo saggio, Il primo scopo di Osipov è approfondire importanti concetti psicoanalitici, come la struttura complessa dell’Io e la rimozione. Il secondo scopo è analizzare quanto le personalità dei personaggi riflettano quella dell’autore, con un approccio cosiddetto patografico. Al termine del saggio, lo studioso fornisce un resoconto dello sviluppo psicosessuale di Tolstoj, dall’infanzia alla crisi, confermando delle ipotesi che erano state formulate nell’analisi dei ricordi d’infanzia dello scrittore. L’ultimo capitolo si concentra sulla biografia e sulle opere più importanti di Osipov. In appendice è infine presente una traduzione del saggio oggetto del lavoro di ricerca.
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Hickey, Steve. "Second Tolstoy : the Sermon on the Mount as theo-tactics." Thesis, University of Aberdeen, 2018. http://digitool.abdn.ac.uk:80/webclient/DeliveryManager?pid=240035.
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Since Jesus first gave his Sermon on the Mount, very few if any have devoted more years to practicing and teaching others to practice its precepts than Leo Tolstoy. Tolstoy's take on the Sermon on the Mount stands apart in the history of Sermon on the Mount interpretation and has had enormous influence on others and other countries. Yet, often Gandhi gets the glory, or others. Tolstoy is remembered as a great writer, but his religious and philosophical works are by and large unknown or disparaged, even in Tolstoyan scholarly circles. It remains his contribution is substantially underappreciated and misunderstood. This project seeks to capture the particulars and dynamics of Tolstoy's interpretation of the Sermon on the Mount from a deliberately sympathetic vantage point. Underlying this project is shared belief with Tolstoy that the Sermon on the Mount is liveable and to be lived. This project assumes that from the vantage point of traditional orthodoxy Tolstoy got much wrong but there remains a lack of consideration of and appreciation for what he got right, radical obedience to the teachings of Jesus. After a careful overview of Tolstoy's post-conversion period, and his subsequent writings which constitute a Second Tolstoy corpus of literature, his hermeneutic is explored and his teachings treated generously. Tolstoy's interpretive adversaries and allies are given voice with the intention of better comprehending his interpretations and their perceived implications and failings. A new vocabulary is proposed to more precisely capture Tolstoyan lived theology, namely the political and social expressions of Tolstoyan Christianity, with the intention these theories and practices will gain a wider consideration, understanding and following.
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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.<br>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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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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Dott, Philippa. "La quête du sens de l'existence dans Anna Karénine de Tolstoï." Thesis, Université Laval, 2012. http://www.theses.ulaval.ca/2012/29446/29446.pdf.
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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 oeuvres<br>Creator 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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Poritsky, John W. "Norris, Zola, and Tolstoy: a study in the aesthetics of naturalism." The Ohio State University, 1986. http://rave.ohiolink.edu/etdc/view?acc_num=osu1407487742.
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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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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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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.<br>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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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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Ferreira, Susana Milena. "Poesia de A. K. Tolstoy em duas abordagens para canto e piano." Master's thesis, Universidade de Aveiro, 2014. http://hdl.handle.net/10773/12783.
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Mestrado em Música<br>Neste trabalho procurou-se fazer uma análise interpretativa e musical de seis poemas de Aleksey Konstantinovich Tolstoy, poeta, novelista de finais do séc. XIX, musicados pelos importantes compositores russos: Tchaikovsky e Rimsky-Korsakov.<br>In this work we tried to make an interpretative and musical analysis of six poems by Aleksey Konstantinovich Tolstoy, Russian poet, novelist and playwright, of the nineteenth-century, composed by great Russian composers such as: Tchaikovsky and Rimsky-Korsakov.
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Kuzmenko, Ekaterina. "La storia di Lev Tolstoj nei «miti», nelle «prospettive» e nelle «immagini» del novecento." Doctoral thesis, Scuola Normale Superiore, 2018. http://hdl.handle.net/11384/86149.
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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 actuelle<br>This 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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Antoniacci, Aliandra. "The crisis of the Russian family in the works of Dostoevsky, Tolstoy and Chekhov." Thesis, University of Canterbury. Department of Global, Cultural and Language Studies, 2015. http://hdl.handle.net/10092/10858.
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This thesis examines the crisis of the Russian family through the eyes of the key Russian writers of the second half of the 19th century: Tolstoy (1828-1910), Dostoevsky (1821-1881), and Chekhov (1860-1904).
The purpose of this thesis is to demonstrate that the works of these authors are not just novels or short stories about the crisis of the family, but representative of the societal situation in Russia at the time. The aim of this study is also to show the continuity in ideas between these authors in the context of family life and marriage and to explore what kind of solutions they envisioned for the future of the Russian family.
Although there has been extensive research on the family in the works of these great classics of 19th century Russian literature, there has been less analysis of the crisis of the Russian family and the solutions they offered as a way out of the crisis. Hence the aim of this research is to fill this critical gap.
The first chapter focuses on the representation of family life in Dostoevsky’s latest works The Brothers Karamazov (1881), “The Dream of a Ridiculous Man” (1877), and The Diary of a Writer (1876-7). The second chapter examines Tolstoy’s The Kreutzer Sonata (1889) and The Power of Darkness (1886). Tolstoy focuses his attention on both upper classes and the peasant family. Chapter three analyses the crisis of the family in some of Chekhov’s short stories and novellas that are particularly concerned with extra marital relations and marriages gone badly; they also address mistreatment of children.
This thesis argues that, on the one hand, these authors depict different types of marriages and family relations, and, on the other hand, their works reflect the changing realities and attitudes regarding love and sexuality of their time. It also argues that, through their fiction and sometimes in a subversive way, these authors influenced the readers’ mentality and came up with new radical ideas about the future of the Russian family.
Finally, this thesis aims to bring more academic interest to an overlooked research area, to explore how family values change through the eyes of these authors, and to contribute to a broader understanding of the crisis and the future of the Russian family through the lenses of the key Russian writers of 19th century Russia.
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Dargent, Bocanegra Eduardo. "León Tolstoi y su pensamiento político: una interpretación de "La muerte de Iván Ilich"." THĒMIS-Revista de Derecho, 2014. http://repositorio.pucp.edu.pe/index/handle/123456789/109250.
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En el presente artículo, el autor toma las perspectiva política de LeónTolstoi para interpretar el dilema reflejado en uno de sus cuentos: "La muerte de Iván Illich". Señala que a través del pensamiento político de su autor puede llegar a comprenderse de manera clara el mensajede la obra. Indica que el conflicto entre la cultura, como representante de la sociedad en que se vive, y la naturaleza intrínseca del ser humano es difícilmente conciliable, demandando mucho más esfuerzo del que a primera vista parece.
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Cenedese, Marta Laura. "Russian Suite : the influence of Tolstoy, Dostoevsky and Chekhov on the work of Irène Némirovsky." Thesis, University of Cambridge, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.648159.
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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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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.<br>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.<br>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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Amadio, Eddy <1988>. "La legge della nonviolenza. Il pensiero di Tolstoj e la sua influenza sul pacifismo britannico (1847-1920)." Master's Degree Thesis, Università Ca' Foscari Venezia, 2015. http://hdl.handle.net/10579/5931.
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Le prime due parti trattano delle opinioni dello scrittore russo riguardo ai temi della guerra e della pace, con particolare attenzione nel tracciare una linea comune tra il pensiero tolstojano prima e dopo la conversione. Nell'ultima parte mi concentro sull'influenza avuta nei confronti di diverse personalità che hanno contraddistinto il pacifismo britannico durante la Grande Guerra.
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Tulecke, Kari. "Adin Ballou, Teacher of Peace." Wright State University / OhioLINK, 1994. http://rave.ohiolink.edu/etdc/view?acc_num=wright1418647041.
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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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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.<br>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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Costa, Luana Signorelli Faria da. "O problema da arte e do realismo em Anna Kariênina, de Tolstói." reponame:Repositório Institucional da UnB, 2016. http://repositorio.unb.br/handle/10482/20362.
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Dissertação (mestrado)—Universidade de Brasília, Instituto de Letras, Programa de Pós-Graduação em Literatura, 2016.<br>Submitted by Albânia Cézar de Melo (albania@bce.unb.br) on 2016-05-23T15:52:58Z
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2016_LuanaSignorelliFariaCosta.pdf: 4027007 bytes, checksum: 85af455549e8b9170549c65986fb4c60 (MD5)<br>Este trabalho realizará uma análise literária do romance Anna Kariênina (na edição de 2011, lançada pela editora Cosac Naify), escrito pelo russo Liév Tolstói em 1873-77, estabelecendo relações teóricas com o húngaro György Lukács, sobretudo com a sua Estética (1965-1967). O trabalho consiste em esmiuçar o problema do realismo, considerando-o como modo de representação literária (e não como o período literário propriamente dito). A dissertação também tange o conceito de arte, abordando a literatura como arte. Para tal, a metodologia abarca a teoria do reflexo, e julga a arte literária como mimesis da realidade social. A pesquisa destaca a ideia de processo de produção artística enquanto categoria filosófica e criativa, e ainda estuda trechos do romance relacionados à arte. Esta análise literária examina as personagens, principalmente o artista Mikháilov, que pensa a relação do artista frente aos críticos da arte – ou melhor, à crítica da sua própria arte. Entre outros personagens, a crítica investiga Goleníchev (escritor), Liévin (proprietário rural) e Anna (protagonista). Tolstói, portanto, encontra a totalidade da arte, conseguindo aliar tanto a ordenação da narração quanto o nivelamento da descrição, e os gêneros literários da tragédia, do drama (conflito interno) e da grande épica (realismo). A realidade é uma totalidade estruturada, de forma que o realismo é o método literário apropriado para se reproduzir o automovimento da totalidade. Desse modo, a obra de arte autêntica só é possível se for realista. Por fim, a definição de realismo concebe em si mesmo o caráter mimético da arte. _______________________________________________________________________________________________ ABSTRACT<br>This work will accomplish a literary analysis of the novel Anna Karenina (in the edition of 2011, released by Cosac Naify publisher), written by the Russian Leo Tolstoy, in 1873-77, establishing theoretical relations with the Hungarian György Lukács, especially with its Aesthetics (1965-1967). The work consists in scrutinize the realism problem, considering it as a literary mode of representation (rather than the literary period itself). The dissertation also regards the concept of art, treating the literature as art. To this end, the methodology covers the reflex theory, and it judges the literary art as mimesis of the social reality. The research highlightes the idea of the artistic production process as a philosophical and creative category, and it also studies parts of the romance related to art. This literary analysis examines characters, mainly the artist Mikhailov, who thinks a relationship between the artist forward the art critics – or, rather, the criticism of his own art. Among other characters, the criticism investigates Goleníchev (writer), Liévin (land owner) and Anna (protagonist). Tolstoy, therefore, finds the art totality, and manages to combine both the ordering of the narration and the leveling of the description, and the literary genres of the tragedy, drama (internal conflict) and great epic (realism). Reality is a totality structured, so that realism is the appropriate literature method to reproduce the self-movement of the totality. Thus, the real art work can only be realistic. Lastly, the realism definition conceives itself the mimetic nature of art.
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Rattner, Ashley K. "We Have Been with You More Than One Hundred Years, and Are Still Not Understood’: Fantasies of Misreading in the Shaker-Tolstoy Correspondence." Digital Commons @ East Tennessee State University, 2018. https://dc.etsu.edu/etsu-works/2986.
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Freire, Zélia Ramona Nolasco dos Santos [UNESP]. "A concepção de arte em Lima Barreto e Leon Tolstói: divergências e convergências." Universidade Estadual Paulista (UNESP), 2009. http://hdl.handle.net/11449/94029.
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freire_zrns_dr_assis.pdf: 661554 bytes, checksum: 3e8ea567fecb8890662a073770930245 (MD5)<br>Universidade Estadual do Mato Grosso do Sul<br>A presente tese tem por objetivo avaliar a concepção de arte dos escritores Afonso Henriques de Lima Barreto (1881-1922) e Leon Tolstói (1828-1910) sob um viés comparatista, em busca das divergências e convergências entre ambos. Concepção de arte que apresentam nas respectivas obras, “O destino da literatura” e O que é Arte?. Os escritores desempenharam o papel de “semeador de idéias” e de “batedor do futuro” ao se posicionarem contrários aos “mandarins literários”. Uma arte voltada para o social, aliás, uma literatura militante. Lima Barreto criou uma arte literária que rompeu com os moldes convencionais na virada do século XIX, que tinha como principais representantes: Machado de Assis, Rui Barbosa, Coelho Neto, entre outros; enquanto Leon Tolstói rompeu com a poética romântica e o realismo francês. Ambos foram, terminantemente, contrários à estética da arte pela arte. A referência aos escritores russos é constante na obra barretiana, até porque Lima Barreto jamais omitiu suas leituras. Desde o romance Vida e Morte de M. J. Gonzaga de Sá, o primeiro a ser escrito por Lima, é possível detectar a presença de Leon Tolstói. Presença essa que permeia todo o projeto literário de Lima Barreto e que se faz sentir através da posição que ambos assumem em relação a temas em comum, tais como: a Propriedade, a Igreja, o Estado, a educação da mulher, o serviço militar obrigatório, entre outros. Revelando assim, um eixo em comum: o ideário anarquista. Mas, principalmente, por refletirem sobre a função da literatura e o fazer literário.<br>This dissertation was carried out to evaluate the conception of art found in the works of Afonso Henriques de Lima Barreto (1881-1922) and Leo Tolstoi (1828 -1910) according to a comparative point-of-view, in order to find out agreements and disagreements between them. Conception of art found in their works “O destino da literatura” and “O que é Arte?”. Both writers played the role of “sowers of ideas” and “beaters of the future” as they put up opposition to the so-called “literary mandarins”. An art oriented to the social issue, that is, a militant literature. Lima Barreto created a literary art which broke off the ties with conventional models in the turn of the 19th century, whose main representatives were Machado de Assis, Rui Barbosa, Coelho Neto, among others; Leo Tolstoi, in his turn, broke off the ties with Romantic poetry and French Realism. Both were utterly opposed to the esthetics of art for art’s sake. References to Russian writers are often found in Lima Barreto’s works, since he never omitted his readings. As early as his first novel Vida e Morte de M. J. Gonzaga de Sá, one can notice Leo Tolstoi’s influence. Influence which permeates all of his literary project and which is felt through the opposition both writers assume in connection with issues they have in common such as: Property, the Church, the State, women’s education, obligatory military draft, among others. Thus, they showed the axis they had in common: the anarchist belief system. But, mainly, because they pondered over the function and the making of literature.
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Gloor, Gisela [Verfasser], and Rainer [Akademischer Betreuer] Grübel. "Chronotop und Körperzeit in Tolstojs Roman Anna Karenina / Gisela Gloor. Betreuer: Rainer Grübel." Oldenburg : IBIT - Universitätsbibliothek, 2012. http://d-nb.info/1023081849/34.
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Silva, Marcelo Souto da, and 92-99328-5407. "Literatura russa e desencantamento do mundo: estudos de Max Weber, Dostoiévski e Tolstói." Universidade Federal do Amazonas, 2017. https://tede.ufam.edu.br/handle/tede/6581.
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Previous issue date: 2017-09-04<br>FAPEAM - Fundação de Amparo à Pesquisa do Estado do Amazonas<br>The present thesis seeks to uncover the points of contact of Weber's intellectual
production, especially regarding to the concept of disenchantment of the world and
the selected works of Dostoevsky and Tolstoy. All the method constructed to direct
the relational analysis is based on the balance between text and context. The
recognition of the ongoing debates in the Russian intellectual field, in permanent
contact with the West, as well as the biographical and technical elements of the
authors and their works constitute the paths of analysis. Weber became, at the same
time, object of study and method. His own concepts were brought to the center of the
analysis, making possible the interpretation and understanding of the individual
behaviors of authors and literary characters, in order to extract their sociological
meanings. In the first stage of the analysis, that relating to the disenchantment of the
world by science and technique, The Death of Ivan Ilitch proved to be one of the
strongest literary representations of the effects diagnosed by Weber on this process.
The Dream of a ridiculous man proved to be the result of intense debate in Russia
between Slavophiles and Westerners. Dostoevsky promotes, in the narrative, an
invitation to Russia's resistance against the advance of Western science with its
devastating process of disenchantment of the world. In the second moment of the
analysis, the disenchantment of the world in its religious sense, while the loss of
magification by the religion of the means of salvation, revealed that both the
Karamazov Brothers and Resurrection demonstrate a Russian socio-historical basis
radically different from that diagnosed by Weber in the West. On the western side, a
rationalization of the exitence seeking for salvation, of an intramundane ascetic
character that was pouring into the exclusivist and capitalist individualism that was
eminently competitive. On the Russian side, a rationalization that did not follow the
extreme western degrees and remained, therefore, in its mystical-contemplative or
ascetic extramundane Christian bases, in any case fomenting a communist vision of
universalist brotherly love that contrasts with the capitalist ethics. The conflicts of
modernity and the effects of the disenchantment of the world, revealed in the
productions of authors analyzed, have given the world the most striking diagnosis
that we have heard of the course that humanity has taken, from modernity (by
Weber), and from the possible paths to our history, to which Russia leaves thoughtprovoking
clues under the pen of Tolstoy and Dostoevsky.<br>A presente tese busca revelar os pontos de contato da produção intelectual de
Max Weber, especialmente no que concerne ao conceito de desencantamento do
mundo e as obras selecionadas de Dostoiévski e Tolstói. Todo o método construído
para encaminhar a análise relacional está fundamentado no equilíbrio entre texto e
contexto. O reconhecimento dos debates em andamento no campo intelectual russo,
em permanente contato com o ocidental, bem como elementos biográficos e
técnicos dos autores e de suas obras constituem os caminhos da análise. Weber se
tornou, ao mesmo tempo, objeto de estudo e método. Seus próprios conceitos foram
trazidos para o centro da análise, possibilitando a interpretação e compreensão das
condutas individuais de autores e personagens literários, com vistas a extrair seus
significados sociológicos. No primeiro momento da análise, aquele relativo ao
desencantamento do mundo pela ciência e pela técnica, A Morte de Ivan Ilitch
revelou-se uma das representações literárias mais contundentes dos efeitos
diagnosticados por Weber deste processo. O Sonho de um homem ridículo
demonstrou ser resultante de intenso debate na Rússia entre eslavófilos e
ocidentalistas. Dostoiévski promove, na narrativa, um convite à resistência da Rússia
quanto ao avanço da ciência ocidental com seu devastador processo de
desencantamento do mundo. No segundo momento da análise, o desencantamento
do mundo em sua acepção religiosa, enquanto desmagificação pela religião dos
meios de salvação revelou que tanto Os Irmãos Karamázov quanto Ressurreição
demonstram uma base sócio-histórica russa radicalmente diferente daquela
diagnosticada por Weber no ocidente. Pelo lado ocidental, uma racionalização da
conduta de vida em busca da salvação, de caráter ascético intramundano que foi
desaguar no individualismo exclusivista e capitalista eminentemente competitivo.
Pelo lado russo, uma racionalização que não seguiu os graus extremos ocidentais e
permaneceu, por isso, em suas bases cristãs místico-contemplativas ou ascéticoextramundanas,
em todo caso fomentadoras de uma visão comunitária de amor
fraternal universalista que contrastam a olhos vistos com a ética capitalista. Os
conflitos da modernidade e os efeitos do processo de desencantamento do mundo, a
se revelarem nas produções dos autores analisados legaram ao mundo o mais
impressionante diagnóstico que temos notícia dos rumos que a humanidade tomou,
a partir da modernidade (em Weber), e dos caminhos possíveis à nossa história,
para os quais a Rússia deixa instigantes pistas sob a pena de Tolstói e Dostoiévski.
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Gloor, Gisela [Verfasser], and Rainer Georg [Akademischer Betreuer] Grübel. "Chronotop und Körperzeit in Tolstojs Roman Anna Karenina / Gisela Gloor. Betreuer: Rainer Grübel." Oldenburg : IBIT - Universitätsbibliothek, 2012. http://nbn-resolving.de/urn:nbn:de:gbv:715-oops-14221.
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Freire, Zélia Ramona Nolasco dos Santos. "A concepção de arte em Lima Barreto e Leon Tolstói : divergências e convergências /." Assis : [s.n.], 2009. http://hdl.handle.net/11449/94029.
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Orientador: Sílvia Maria Azevedo<br>Banca: Homero Freitas de Andrade<br>Banca: Maria Aparecida Junqueira<br>Banca: Luiz Roberto Velloso Cairo<br>Banca: Tânia Regina de Luca<br>Resumo: A presente tese tem por objetivo avaliar a concepção de arte dos escritores Afonso Henriques de Lima Barreto (1881-1922) e Leon Tolstói (1828-1910) sob um viés comparatista, em busca das divergências e convergências entre ambos. Concepção de arte que apresentam nas respectivas obras, "O destino da literatura" e O que é Arte?. Os escritores desempenharam o papel de "semeador de idéias" e de "batedor do futuro" ao se posicionarem contrários aos "mandarins literários". Uma arte voltada para o social, aliás, uma literatura militante. Lima Barreto criou uma arte literária que rompeu com os moldes convencionais na virada do século XIX, que tinha como principais representantes: Machado de Assis, Rui Barbosa, Coelho Neto, entre outros; enquanto Leon Tolstói rompeu com a poética romântica e o realismo francês. Ambos foram, terminantemente, contrários à estética da arte pela arte. A referência aos escritores russos é constante na obra barretiana, até porque Lima Barreto jamais omitiu suas leituras. Desde o romance Vida e Morte de M. J. Gonzaga de Sá, o primeiro a ser escrito por Lima, é possível detectar a presença de Leon Tolstói. Presença essa que permeia todo o projeto literário de Lima Barreto e que se faz sentir através da posição que ambos assumem em relação a temas em comum, tais como: a Propriedade, a Igreja, o Estado, a educação da mulher, o serviço militar obrigatório, entre outros. Revelando assim, um eixo em comum: o ideário anarquista. Mas, principalmente, por refletirem sobre a função da literatura e o fazer literário.<br>Abstract: This dissertation was carried out to evaluate the conception of art found in the works of Afonso Henriques de Lima Barreto (1881-1922) and Leo Tolstoi (1828 -1910) according to a comparative point-of-view, in order to find out agreements and disagreements between them. Conception of art found in their works "O destino da literatura" and "O que é Arte?". Both writers played the role of "sowers of ideas" and "beaters of the future" as they put up opposition to the so-called "literary mandarins". An art oriented to the social issue, that is, a militant literature. Lima Barreto created a literary art which broke off the ties with conventional models in the turn of the 19th century, whose main representatives were Machado de Assis, Rui Barbosa, Coelho Neto, among others; Leo Tolstoi, in his turn, broke off the ties with Romantic poetry and French Realism. Both were utterly opposed to the esthetics of art for art's sake. References to Russian writers are often found in Lima Barreto's works, since he never omitted his readings. As early as his first novel Vida e Morte de M. J. Gonzaga de Sá, one can notice Leo Tolstoi's influence. Influence which permeates all of his literary project and which is felt through the opposition both writers assume in connection with issues they have in common such as: Property, the Church, the State, women's education, obligatory military draft, among others. Thus, they showed the axis they had in common: the anarchist belief system. But, mainly, because they pondered over the function and the making of literature.<br>Doutor
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O'Neill, Victoria Ruth Woodgate. "The role of the feminine in masculine cycles of death, rebirth and new life : Dostoevsky, Tolstoy, Babel, Bulgakov and Pasternak." Thesis, Keele University, 2015. http://eprints.keele.ac.uk/2352/.
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This thesis uses the narrative framework developed by Theresa de Lauretis’ essay ‘Desire in Narrative’ (1984) to shed new light on the development of male and female characters in texts by Fyodor Dostoevsky, Leo Tolstoy, Isaac Babel, Mikhail Bulgakov and Boris Pasternak. De Lauretis’ narratological framework is based on work by Vladimir Propp and Yury Lotman. She draws attention to the inherently masculine identification of heroes, and argues that it is the development of these masculine heroes that drives narrative. I apply this insight to nineteenth-century texts including Crime and Punishment and The Idiot, War and Peace, Anna Karenina and a selection of Tolstoy’s short stories. From the twentieth century, I consider Red Cavalry, The Master and Margarita and Doctor Zhivago. This range of works, by five different writers spanning two centuries, draws out themes in the portrayal of male heroes changing and developing, spiritually and intellectually ‘moving’, throughout narratives. I show the variety of ways female characters act as helpers, or donors, to their male counterparts; and also as the prize awaiting them at the end of their successful quest. This re-reading highlights the significance of cycles of death, transformation and rebirth for the development of masculine heroes. While in texts by Tolstoy and Dostoevsky, male heroes strive for intellectual and rational mastery, in twentieth-century texts the focus shifts to male characters’ abilities to exercise artistic and creative freedom. In contrast to the cerebral and imaginative freedom associated with masculine heroes, I highlight portrayals of physical and sexual violence against women’s bodies, showing that female charcters are associated with their physical bodies to a far greater extent than male heroes experience embodiedness. The intellectual freedom and development of masculine heroes is privileged, while female characters remain in static positions, more defined by bodily limitations and vulnerabilities than male protagonists.
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Bellan, Sara <1995>. "«Un proletario comunista, scrittore nella patria dei Tolstoj e dei Dostoevskij». “Cement” di Fёdor Gladkov: proposta di traduzione capitoli scelti". Master's Degree Thesis, Università Ca' Foscari Venezia, 2020. http://hdl.handle.net/10579/16934.
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Fëdor Vasil’evič Gladkov rimane un personaggio enigmatico nella storia della letteratura russa del XX secolo.
Di umili origini, ma con ambizioni letterarie, il giovane Gladkov si affaccia al panorama letterario in un’epoca post-rivoluzionaria di fermento e acceso dibattito tra simbolisti e acmeisti, futuristi ed esponenti del realismo, con un’opera che ha suscitato non poche polemiche sia tra i critici contemporanei, sia tra gli studiosi di epoca successiva.
Nel primo capitolo, difatti, si presenta un quadro di insieme su dove sia giunto ad oggi il dibattito su "Cement", considerato come primo esempio di “romanzo di produzione”, uno dei più importanti generi di quello che successivamente sarebbe stato definito come l’indirizzo ufficiale dell’arte sovietica, il realismo socialista.
Nel secondo capitolo si propone una traduzione di tre capitoli tratti dall'edizione del 1927 dell’opera, scelti per dimostrare come in una prima fase iniziale "Cement" fosse tutt'altro che un romanzo fin da subito accettabile, per lo stile e i contenuti, nell'ambito del programma culturale che lo Stato stava cercando di imporre all'epoca.
Nel terzo capitolo si propone un commento ai testi tradotti, evidenziando come alcuni passaggi significativi dell’opera siano successivamente stati rielaborati per essere adattati ai canoni imposti dalla censura in epoca sovietica.
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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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Gomes, Rebeca Carolinne Castro. "A cosmologia tolstoiana e as agonias do desejo: um estudo à luz da psicanÃlise." Universidade Federal do CearÃ, 2017. http://www.teses.ufc.br/tde_busca/arquivo.php?codArquivo=20277.
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CoordenaÃÃo de AperfeiÃoamento de Pessoal de NÃvel Superior<br>De posse da constataÃÃo de que o pathos inconfundÃvel da autoria de Liev TolstÃi reside em um compÃsito de convicÃÃo doutrinÃria e intuiÃÃo artÃstica, este trabalho consiste em uma pesquisa em psicanÃlise que tem, como objeto de estudo, o autor e as suas insÃgnias literÃrias. O objetivo principal à construir uma cosmologia que represente a singularidade tolstoiana em seu modo de convocaÃÃo da palavra e acomodaÃÃo do desejo. Concorrem para isso os seguintes objetivos especÃficos: por se tratar de um estudo localizado na interface psicanÃlise-literatura, visa, em primeiro lugar, estabelecer as bases de natureza epistemolÃgica, teÃrica e metodolÃgica que delimitam as relaÃÃes estabelecidas entre os campos da literatura e da psicanÃlise; por considerar a variabilidade da letra tolstoiana, busca determinar as condiÃÃes que possibilitam o trabalho com os escritos do autor; por compreender que o trabalho do poeta à tributÃrio de uma reserva inconsciente, procura investigar os traÃos que definem o seu estilo e indicam a sua tendÃncia; por fim, por se fundamentar na discussÃo psicanalÃtica acerca do exame das fantasias em sua vinculaÃÃo com as criaÃÃes literÃrias, intenta descobrir o Ãndice definidor do que foi denominado faÃanha tolstoiana. Para tanto, de acordo com as determinaÃÃes do dispositivo analÃtico, empreendeu-se uma leitura que possibilitou encontrar, malgrado os seus vaticÃnios morais, o que particulariza, nos escritos de Liev TolstÃi, a sua implacÃvel sensualidade. Espera-se, com este estudo, nÃo apenas constituir um terreno profÃcuo aos desbravamentos da psicanÃlise, como, igualmente, transmitir aquilo que nÃo cessa de se produzir: a verdade do inconsciente e os seus liames ficcionais.<br>Consciente de que el pathos inconfundible de Leo Tolstoy es un compuesto de convicciÃn doctrinal y intuiciÃn artÃstica, este trabajo consiste en una investigaciÃn en psicoanÃlisis que tiene, como objeto de estudio, el autor y sus insignias literarias. El objetivo principal es construir una cosmologÃa que represente la singularidad tolstoiana en su modo de usar la palabra y acomodar el deseo. Ayudan en ese intento los siguientes objetivos especÃficos: por ser un estudio ubicado entre literatura y psicoanÃlisis, visa, en primer lugar, determinar las bases epistemolÃgicas, teÃricas y metodolÃgicas que delimitan las relaciones establecidas entre los campos de la literatura y del psicoanÃlisis; teniendo en cuenta la diversidad de la letra tolstoiana, busca determinar las condiciones que permiten el trabajo con los escritos del autor; por comprender que el trabajo del poeta se hace segÃn una reserva inconsciente, busca investigar los rasgos que definen su estilo y que indican su tendencia; por Ãltimo, por basarse en la discusiÃn psicoanalÃtica sobre el examen de las fantasÃas en su asociaciÃn con las creaciones literarias, intenta descubrir el Ãndice definidor de lo que se llamà la hazaÃa tolstoiana. Para tanto, segÃn las determinaciones del dispositivo analÃtico, se realizà una lectura que permitià encontrar, a pesar de sus conductas morales, o que identifica, en los escritos de Leo Tolstoy, su implacable sensualidad. Con este trabajo, se espera constituir un terreno fÃrtil para los estudios del psicoanÃlisis y transmitir lo que no deja de producirse: la verdad del inconsciente y sus vÃnculos con la ficciÃn.
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Maruggi, Maria. "La mort du héros dans le roman moderne en Europe : Léon Tolstoï, Thomas Mann, Marcel Proust, Virginia Woolf, Giuseppe Tomasi di Lampedusa." Thesis, Strasbourg, 2019. http://www.theses.fr/2019STRAC020.
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Ce travail a pour but d’étudier comment a été écrite la mort du héros dans La Mort d’Ivan Ilitch de Léon Tolstoï, Les Buddenbrook de Thomas Mann, Le Temps Retrouvé de Marcel Proust, Les Années de Virginia Woolf et Le Guépard de Tomasi di Lampedusa. La mort dans ces œuvres a ceci de particulier qu’elle s’inscrit dans la représentation de la fin d’un monde et dans un nouveau rapport du héros à sa propre finitude. Il s’agit d’établir quelles ont été les causes extérieures et intimes qui ont amené la vieille bourgeoisie et l’aristocratie au sentiment de leur propre perte et à la conscience du déclin, mais aussi de démontrer comment le récit de Tolstoï inaugure un nouveau rapport de l’homme moderne à la mort : autant il est question de l’angoisse que le héros ressent envers sa propre mort, autant il est également question du rapport à la mort de l’autre, exprimé par l’hypocrisie du deuil et l’indifférence à la mort d’autrui. Pour les écrivains, écrire le deuil signifie aussi faire un travail de deuil personnel par le biais de l’écriture. La mort a ses propres prodromes : la maladie et la vieillesse. Il s’agit donc de montrer également le nouveau rapport du héros à la médicalisation et l’originalité de la représentation de la vieillesse. Celle-ci, tout en nouant avec les thèmes classiques des vanitas ou des danses macabres, est réélaborée à travers une relecture moderne de ces thèmes, auxquels s’ajoute l’écriture de la monstruosité inhumaine du vieillir. Écrire la mort signifie en un sens percer son mystère, rendre par le langage l’insaisissable, l’“hapax” de la mort. Force est de démontrer enfin par ce travail comment écrire la mort signifie aussi la vaincre par l’immortalité que la littérature peut donner au travers de l’écriture, immortalité qui présuppose néanmoins le sacrifice que l’écriture impose aux écrivains<br>The purpose of this work is to study how the death of the hero was written in Leo Tolstoy’s The Death of Ivan Ilitch, Thomas Mann’s Buddenbrooks, Marcel Proust’s Time Regained, The Virginia Woolf’s The Years, and Tomasi di Lampedusa’s The Leopard. Death in these works is unique as it matches with the representation of a world’s end and a new relationship of the hero to his own finitude. It is a matter of establishing what were the external and intimate causes that brought the old bourgeoisie and aristocracy to the feeling of their own loss and the consciousness of their decline, but also to demonstrate how the story of Tolstoy inaugurates a new relationship of moderne man with death : as much as the anguish that the hero feels towards his own death, it is also a question of how people relate to the death of others, expressed by a certain hypocrisy of mourning and the indifference toward the death of others. For writers, writing about bereavement also means doing personal grief work through writing. Death has its own prodromes : sickness and old age. It is therefore also a question of showing the hero’s new relationship to medicalization and the originality of representation of old age. This, while mingled with the classic themes as vanitas or macabre dances, is re-elaborated through a modern reinterpretation of these themes, to which is added the writing of the inhuman monstrosity of aging. Writing about death means, in a sense, to pierce its mistery, to seize its elusiveness through language, the “hapax” of death. Lastly, it is important for this study to demonstrate how to writing about death also means to overcome it, thanks to the immortality that literature can give through writing, that immortality which nevertheless presupposes the sacrifice of writing imposed on writers