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Thèses sur le sujet « Dostoevskij »

Auteur : Grafiati

Publié le 4 juin 2021

Mis à jour le 11 mars 2023

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1

Eltchaninoff, Michel. « L'expression du corps chez Dostoevskij ». Paris 12, 2000. http://www.theses.fr/2000PA120038.

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A travers l'analyse des principaux romans de dostoevskij ( dans le texte russe), il s'agit de mettre a jour une ecriture originale et novatrice de l'essence des personnages romanesques. En l'absence presque complete de description objective du corps et des comportements physiques des personnages, une corporeite que nous appellerons << inobjective >> envahit tout le recit dostoevskien. Elle apparaitdans une attention toute particuliere accordee aux perceptions spatio-temporelles, toujours soumises a une teinte affective determinee, dans l'omnipresence de la maladie et de la violence, metamorphoses fondamentales de la corporeite soumises a une legalite propre, enfin dans l'importance que l'ecrivain accorde a la parole de ses personnages, a l'intensite, au ton, a la << chair >> de cette parole. Les notions directrices du mouvement phenomenologique (de husserl et heidegger a merleau-ponty) - intentionnalite, tonalite affective, chair, chiasme - permettent de mener cette analyse qui met en evidence l'enracinement corporel et affectif de la sphere conceptuelle. Chez dostoevskij, les multiples << idees >> et theories des personnages sont en effet inseparables d'une corporeite vivante, c'est-a-dire d'une ecriture de cette incorporation. Tout en evoquant l'influence des notions-cles de la theologie chretienne orientale sur cette problematique de l'incarnation et de la transfiguration du corps, ce travail cherche donc a proposer une interpretation renouvelee de l'uvre de dostoevskij -dont la qualite premiere de romancier a souvent ete negligee par les philosophes - comme a approfondir certains aspects de la recherche phenomenologique contemporaine.

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2

Fassari, Luigina <1986&gt. « L'immagine di Cristo in Dostoevskij ». Master's Degree Thesis, Università Ca' Foscari Venezia, 2012. http://hdl.handle.net/10579/1715.

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Questa tesi ha lo scopo di indagare il pensiero teologico ed esistenziale di Dostoevskij. Tanti e diversi sono i personaggi dei romanzi di Dostoevskij che vengono pensati a partire dall'esperienza che Dostoevskij stesso ebbe della sua fede. "Iddio mi ha tormentato tutta la vita" scriveva Dostoevskij in una lettera: non si può comprendere la complessità dell'opera dostoevskijana se non si esamina il pensiero teologico su cui si fonda, pensiero incentrato sull'immagine di Cristo.

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3

Hudspith, Sarah. « Dostoevsky and the idea of Russianness : a new perspective on unity and brotherwood / ». New York : RoutledgeCurzon, 2004. http://catalogue.bnf.fr/ark:/12148/cb39268768p.

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4

Otto, Anja. « Der Skandal in Dostoevskijs Poetik : am Beispiel des Romans "die Dämonen / ». Frankfurt am Main : P. Lang : Europäischer Verl. der Wissenschaften, 2000. http://catalogue.bnf.fr/ark:/12148/cb38912397r.

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5

Danieli, Martina. « La padrona di Dostoevskij. L'interpretazione di A. Bem ». Bachelor's thesis, Alma Mater Studiorum - Università di Bologna, 2019. http://amslaurea.unibo.it/18348/.

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Lo scopo di questo elaborato è quello di analizzare il saggio di Alfred Bem Drammatizzazione del delirio. “La padrona” di Dostoevskij. Attraverso una lettura attenta degli elementi costitutivi di La padrona che Bem individua nella sua analisi, si cercherà di penetrare il pensiero del grande scrittore russo che si trova alla base del racconto. Dopo una breve introduzione, verrà presentato un quadro generale sulla psicoanalisi in Russia all’inizio del XX secolo, periodo in cui si colloca il lavoro di Bem. Successivamente, si analizzerà, seguendone l’ordine, il saggio di Bem concernente l’analisi di La padrona. L’indagine tratta la comparsa di un nuovo tipo di eroe, il sognatore, la struttura del racconto, le implicazioni della vita personale e gli influssi letterari. Infine si studierà l’interpretazione del racconto che Alfred Bem fornisce alla luce della nascente psicoanalisi, e che stabilisce l’origine del racconto nel vissuto dell’autore stesso.

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6

Somerwil-Ayrton, Shirley Kathlyn. « Poverty and power in the early works of Dostoevskij ». Amsterdam : Rodopi, 1988. http://catalog.hathitrust.org/api/volumes/oclc/19071982.html.

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7

Chinellato, Veronica <1987&gt. « Fëdor Michajlovič Dostoevskij : l'uomo e la contemplazione degli abissi ». Master's Degree Thesis, Università Ca' Foscari Venezia, 2013. http://hdl.handle.net/10579/3813.

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Dostoevskij fu tormentato dal problema dell'uomo - come scrisse al fratello Michail: "l'uomo è un mistero. Un mistero che bisogna risolvere, e se trascorrerai tutta la vita cercando di risolverlo, non dire che hai perso tempo, io studio questo mistero perché voglio essere uomo". Dalle pagine dostoevskiane emerge un uomo indefinibile, contraddittorio, straziato da forze contrastanti. Un uomo libero, originariamente libero, il cui cuore è fin troppo vasto, tanto da far coesistere l'ideale della Madonna con l'ideale di Sodoma. Un uomo in grado di contemplare entrambi gli abissi nel medesimo tempo: "l' abisso degli ideali più alti" e "l'abisso della caduta più vile e fetida".

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8

Panzeri, Maddalena <1991&gt. « Pavese sulle tracce di Dostoevskij. Ipotesi per una lettura ». Master's Degree Thesis, Università Ca' Foscari Venezia, 2019. http://hdl.handle.net/10579/14721.

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«Ecco che incontri un altr’uomo e ti senti più uomo anche tu». Con queste parole Cesare Pavese descriveva l’esperienza del leggere. Partendo da tale presupposto che vede la lettura come luogo privilegiato per l'incontro con l’altro, in questo elaborato si espliciteranno quelle tracce che indicano come anche Fëdor Dostoevskij, finora poco associato a Pavese, sia stato uno degli autori con cui lo scrittore torinese ha 'interloquito' più a lungo nel corso della sua vita. Innanzitutto si ripercorreranno le tappe che hanno portato a tale ‘incontro’: si approfondirà dunque la storia della diffusione della letteratura russa in Italia che ha consentito che i libri di Dostoevskij arrivassero tra le mani di Pavese. Successivamente, si indagherà la presenza di Dostoevskij nella biblioteca, nelle carte e nel diario dello scrittore torinese. Infine, si cercherà di esplicitare come la funzione dialogica, individuata da Bachtin quale cifra compositiva dei romanzi dello scrittore russo, si realizzi in Pavese come drammatica tensione verso il ‘Tu’.

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9

Christensen, Henrik. « Hur Dostoevskij fick sin stjärna på Hollywood Boulevard : Adaption, dialogicitet och kronotop i Fёdor Dostoevskijs Spelaren och Robert Siodmaks Allt eller intet ». Thesis, Stockholms universitet, Slaviska institutionen, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-102190.

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10

Lary, Nikita M. « Dostoevsky and Dickens : a study of literary influence / ». London : Routledge, 2009. http://opac.nebis.ch/cgi-bin/showAbstract.pl?u20=9780415482516.

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11

Świderska, Małgorzata. « Studien zur literaturwissenschaftlichen Imagologie : das literarische Werk F. M. Dostoevskijs aus imagologischer Sicht mit besonderer Berücksichtigung der Darstellung Polens / ». München : O. Sagner, 2001. http://catalogue.bnf.fr/ark:/12148/cb388834757.

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12

Weinczyk, Raimund Johann. « Myškin und Christus ein fiktives Gespräch mit J. Ratzinger auf der Basis von F. M. Dostoevskijs Roman "Idiot" ». Heidelberg Winter, 2006. http://deposit.ddb.de/cgi-bin/dokserv?id=2808126&prov=M&dok_var=1&dok_ext=htm.

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13

Puglia, Monica <1984&gt. « Il Cristo rovesciato : motivi cristiano-ortodossi nei "Demoni" di F. M. Dostoevskij ». Master's Degree Thesis, Università Ca' Foscari Venezia, 2017. http://hdl.handle.net/10579/9897.

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Il romanzo “Demoni” di F.M. Dostoevskij è intriso di simbologia cristiana e allo stesso tempo offre tutte le declinazioni possibili del male e dell’abiezione. Dai personaggi e dalla struttura delle loro interazioni si evince un profondo legame con il cristianesimo ortodosso, si hanno di fronte vere e proprie incarnazioni letterarie di concetti filosofico-religiosi, che si esemplificano attraverso la dialettica interiore dei personaggi. Nella prima sezione, partendo dalla concezione del male nell’ortodossia, si passa alla visione del problema nell’opera dostoevskiana, così come è stata interpretata da filosofi e teologi: da Solov’ev, Berdjaev, Evdokimov, Šestov, S. Bulgakov, fino agli sguardi contemporanei di Kantor ed Esaulov. La seconda parte tratta la demonologia: dalla nascita del concetto di daimon nell’antica Grecia, fino al passaggio nella mentalità giudaica e la sua trasformazione definitiva in demonio nel Nuovo Testamento. La cultura russa è popolata di demoni: il bes è quello che traduce il daimonion neotestamentario ed è scelto da Dostoevskij come titolo del romanzo per la capacità di pervertire e possedere l’uomo. Infine si entra nell’opera letteraria, con un approfondimento sulla doppia epigrafe: quella dal vangelo di Luca e quella puskiniana, due modi diversi di intendere il bes e due chiavi di lettura per il romanzo. A seguire i personaggi principali, analizzati attraverso la simbologia biblico-ortodossa di cui sono intessuti: Stavrogin, l’Anticristo-Giuda, Petr Verchovenskij, il demone abietto e Pietro, Marija Lebjadkina, Maria Vergine e Sofia, Kirillov dalla teandria all’Uomo Dio, Šatov il portatore di Cristo e del nazionalismo religioso russo. Sarà scopo principale di questo lavoro di tesi mostrare come l’autore abbia costruito il romanzo attraverso l’uso di immagini bibliche spesso rovesciate, affiancando la parabola cristologica a una controparte evidentemente satanica, in una sorta di mondo deformato, non solo incapace di avvicinarsi al messaggio evangelico, ma in grado solo di ribaltarlo e di generare il suo opposto.

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14

Kogut, Marina. « Dostoevskij auf Deutsch : vergleichende Analyse fünf deutscher Übersetzungen des Romans Besy : im Anhang Interviews der Autorin mit Swetlana Geier und Egon Ammann / ». Frankfurt am Main [u.a.] : Lang, 2009. http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&doc_number=018678967&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA.

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15

Kogut, Marina. « Dostoevskij auf Deutsch vergleichende Analyse fünf deutscher Übersetzungen des Romans Besy ; im Anhang Interviews der Autorin mit Swetlana Geier und Egon Ammann ». Frankfurt, M. Berlin Bern Bruxelles New York, NY Oxford Wien Lang, 2005. http://d-nb.info/99678053X/04.

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16

VISINONI, Alessandra Elisa (ORCID:0000-0003-2826-1934). « L’“Impero” di Stavrogin : motivi tacitiani nel romanzo I demòni di F.M. Dostoevskij ». Doctoral thesis, Università degli studi di Bergamo, 2014. http://hdl.handle.net/10446/30717.

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The aim of my work is to show the results of my research about the influence exerted by the Tacitus' Annals on the composition of Dostoevsky's novel The Devils. This research is part of the debate on the relations between Dostoevsky and Classical literature raised by V. Ivanov, L. Shestov, S. Bulgakov, N.Berdjaev. This field of study has been recently renewed, among the others, by T. Molchukova and Hyung Goo Lee as regards the passion of the novelist to the Homeric epics, by T. Popovich and G. Rosenshield on the similarities with Aeschilean and Sophoclean tragedy, by V. Dudkin on the similarities with Aristophanean comedy and by D.H.Larmour concerning Orpheus' myth and Foma Fomich. An aspect which has not been really taken into account by the critics is the connection between Latin historiography, in particular Tacitus, and the works of Dostoevsky. However, in his Diary of a writer (1876) Dostoevsky draws an immediate link between lawyer V. Spasovich (the model for the character of Fetyukovich) and the Tacitean Vibulenus. The passion of the Russian writer for Tacitean historiography derived not only from a direct reading of Tacitus in French translation with facing Latin text, but also from the mediation of N. Karamzin’s and A.S. Pushkin’s works. This work proposes an analysis of The Devils highlighting how Dostoevsky's style reveals the influence of the Annals in the narrator's delineation of characters and plot development, in order to address fundamental issues such as the role of the usurper and suicide. My purpose is to demonstrate that the dialogue between the Russian intelligentsia and Tacitus, begun by Karamzin and Pushkin, finds in Dostoevsky its ultimate fulfillment.

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17

Manns, Sophia. « Unreliable narration in der russischen Literatur : F. M. Dostoevskijs Zapiski iz podpol'ja und V. V. Erofeevs Moskva-Petuski im Vergleich / ». Frankfurt : P. Lang, 2005. http://catalogue.bnf.fr/ark:/12148/cb40033941w.

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18

Pfeuffer, Silvio. « Die Entgrenzung der Verantwortung : Nietzsche, Dostojewskij, Levinas / ». Berlin : W. de Gruyter, 2008. http://catalogue.bnf.fr/ark:/12148/cb413933503.

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19

Kornmesser, Sebastian [Verfasser], et Schamma [Akademischer Betreuer] Schahadat. « Aspekte des Rechts bei Dostoevskij. Zwischen Justizreform und religiös-philosophischen Rechtstraditionen / Sebastian Kornmesser ; Betreuer : Schamma Schahadat ». Tübingen : Universitätsbibliothek Tübingen, 2018. http://d-nb.info/1199355305/34.

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Pfeuffer, Silvio. « Die Entgrenzung der Verantwortung Nietzsche - Dostojewskij - Levinas ». Berlin New York, NY de Gruyter, 2007. http://d-nb.info/990069745/04.

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SERRA, ANDREA. « Pro libertate : il pensiero politico di Fëdor Dostoevskij tra teoria del suolo e spirito di auto-perfezionamento ». Doctoral thesis, Università degli Studi di Cagliari, 2018. http://hdl.handle.net/11584/256013.

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The present dissertation try to investigate Fyodor Dostoevsky's political thought. In order to achieve a research as exhaustive as possible, I have found preferable to consider every author’s «thought construction» (expressed in novels, articles, letters, notebooks, testimonies), capable of giving us back, as a whole, an overall reflection on the subject. Being the writer's thought devoid of that systematicity typical of the "professional" political theorist, it has been necessary a sewing work, hopefully capable of delivering continuity and speculative evolution in the framework of a narration that one has been preferred to order chronologically. Linking the author's thought to his time and his historical space, namely to show how his criticisms and his theoretical proposals have been a direct consequence of the nineteenth century's Russian history, has been, certainly, the first and most important stitching work. In the opening chapter the various fringes of a still unrelated, eclectic thought emerge entwined in the romantic tension between the finiteness of reality and the infinity of the idea. There are several elements that converge to feed the contrast, the alienation, the split (raskol) of this early youth stage; the dialectic does not reach synthesis, the "double" remains unresolved, and yet, precisely for this reason, two factors emerge that we will find throughout the continuation of Dostoevskian intellectual path: the rejection of a mere materialistic explanation of social problems; the choice of freedom. The second chapter focus on the dissemination of socialist ideas in Russia and the relationship that linked Dostoevsky to the Fourierist Circle Petrashevsky. The latter was the cause of the Siberian condemnation, analyzed in the third chapter. Finally, after passing through socialist curiosity, which nevertheless never succeeded in persuading him about the usefulness of the revolution (as well as deposed for the Commission of Inquiry), the writer discovered the Russian people and the ground (pochva). Thus began Dostoevsky’s defense work of Russian ideals and the need for a harmonious union between the estranged intellectual élite and the people (since February 1861) no longer servants. As shown in the fourth chapter, Dostoyevsky will express his most pungent criticism about European rationalism and social theory from his return to Petersburg, where using the magazines «Vremia» and «Epocha» will reveal all his refusal to those ideas that Occidentalist team, instead, wanted to import into the Russian Empire. Strengthened by the principles of the first Slavophilism, among which the free fraternal union of the peoples under the moral message of Christ, the author, as shown in the fifth chapter, will counteract the dangers of a human reason raised to new divinity, creator of the man-god, highlighting the poisons in the two works Prestulplenie i nakazanie (Crime and Punishment) and Besy (The Possessed), as well as in that infinite archive of thoughts that was Dnevnik Pisatelia (Diary of a writer). Fundamental, in the path that is being introduced, the constant theme of freedom, and its proclamation in a period in which Russia entered in the revolutionary phase of its existence. In sharp contrast with revolting violence, for the rediscovery of Christian values preserved in Russian soil, for a community that arose on the fraternal spirit (certainly not achievable by decree) given by the sense of mutual duty, Dostoevsky's political poiesis can be summarize it in two words: pro libertate.

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Jantsch, Franz. « Die römische Kirche im Urteil Dostojewskis : Inauguraldissertation aus dem Gebiete der Kirchengeschichte, Wien 1936 ». Mödling Verl. Alt-Mödling, 2009. http://deposit.d-nb.de/cgi-bin/dokserv?id=3295514&prov=M&dokv̲ar=1&doke̲xt=htm.

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Pejovic, Milivoje. « Recherche sur la relation entre Proust et Dostoïevski ». Paris (47 bis Av. de Clichy, 75017) : Éd. du Titre, 1998. http://catalogue.bnf.fr/ark:/12148/cb36990073t.

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RECALCATI, ELEONORA. « LA POLIFONIA DALLA PAGINA ALLO SCHERMO. ANALISI DI TRE ADATTAMENTI AUDIOVISIVI DEL ROMANZO I FRATELLI KARAMAZOV DI FËDOR DOSTOEVSKIJ ». Doctoral thesis, Università Cattolica del Sacro Cuore, 2018. http://hdl.handle.net/10280/40180.

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La ricerca si colloca nell’ambito degli studi sull’adattamento, scegliendo una prospettiva ispirata alle teorie sviluppate dal filosofo russo Michail Bachtin riguardo all’autorialità. La domanda da cui muove l’analisi di tre adattamenti audiovisivi del romanzo dostoevskiano I fratelli Karamazov si riferisce all’adattabilità sullo schermo del principio letterario della polifonia, individuato da Bachtin. I tre adattamenti, scelti per elementi di omogeneità formale e di eterogeneità rispetto alla resa polifonica sono: il film Brothers Karamazov (Richard Brooks, Stati Uniti 1958); lo sceneggiato televisivo I fratelli Karamazov, (Sandro Bolchi, Italia 1969) e il film Brat’ja Karamazovy, (Ivan Pyr’ev, Michail Ul’janov e Kirill Lavrov, Unione Sovietica 1969). Prima di procedere alle analisi, attraverso una disamina della critica e dei testi bachtinani, abbiamo voluto riconnettere la polifonia letteraria alle ricerche filosofiche dal teorico russo nel corso degli anni Venti e all’humus culturale della filosofia religiosa russa. In seguito a questo approfondimento “genealogico”, abbiamo identificato le implicazioni formali della polifonia e avanzato la nostra proposta metodologica, fondata sulla ripresa dell’elemento autoriale in senso bachtiniano. Nel corso degli anni Settanta, infatti, la critica letteraria e cinematografica è stata influenza dal concetto di morte dell’Autore e ha posto l’accento univocamente sull’intertestualità. Attraverso una disamina delle teorie dell’adattamento, dalla trasmutazione di Umberto Eco alla ri-creazione di Carlo Testa, proponiamo una nuova formulazione ispirata agli studi bachtiniani sull’eccedenza di visione, la posizione nel mondo unica e insostituibile da cui scaturisce la visione dell’autore ( e, nel nostro caso, dell’adattatore). In un secondo momento l’analisi si rivolge alla sceneggiatura e al prodotto audiovisivo, attraverso una metodologia integrata che contempli una fase comparativa, drammaturgica, strutturale, tematica e linguistica. Il proposito che orienta le fasi dell’analisi è quello di valutare la resa polifonica delle tre opere, identificando le condizioni che agevolano la polifonia in un prodotto audiovisivo.
The research pertains to the field of adaptation studies, choosing a perspective inspired by the theories developed by Russian philosopher Mikhail Bakhtin on authorship. The question from which the whole analysis of the three audiovisual adaptations of Dostoyevsky’s novel The Brothers Karamazov moves, refers to the adaptability for the screen of the literary principle of polyphony as identified by Bakhtin. The three adaptations, chosen for elements of formal homogeneity and heterogeneity in relationship to polyphonic rendition are: the movie Brothers Karamazov (Richard Brooks, USA 1958); the TV Drama I fratelli Karamazov (Sandro Bolchi, Italy 1969) and the movie Bratya Karamazovy, (Ivan Pyryev, Michail Ulyanov and Kirill Lavrov, Soviet Union 1969). Before moving forward with the analysis, through an examination of both Bakhtin’s critic and texts, we wanted to reconnect literary polyphony with the Russian theoretician’s philological research in the 1920’s and the cultural hummus of Russian religious philosophy. After this “genealogical” study, we identified polyphony’s formal implications and advanced our methodological proposal, founded on the assessment of the authorial element in a bakhtinian sense. During the Seventies, in fact, literary and film critic was influenced by the concept of the death of the Author, and focused uniquely on intertextuality Through an examination of adaptation theories, from Umberto Eco’s transmutation to Carlo Testa’s re-creation, we are proposing a new formulation inspired by bakhtinian studies on surplus vision, the unique and irreplaceable view of the world the author’s (and in our case, the adapter’s) vision stems from. At a later stage the analysis turns to the screenplay and the audiovisual product, through an integrated methodology covering a comparative, dramaturgical, structural, thematic and linguistic phase. The purpose that guides the phases of the analysis is to evaluate the polyphonic rendition of the three works, identifying the conditions that facilitate polyphony in an audiovisual product.

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RECALCATI, ELEONORA. « LA POLIFONIA DALLA PAGINA ALLO SCHERMO. ANALISI DI TRE ADATTAMENTI AUDIOVISIVI DEL ROMANZO I FRATELLI KARAMAZOV DI FËDOR DOSTOEVSKIJ ». Doctoral thesis, Università Cattolica del Sacro Cuore, 2018. http://hdl.handle.net/10280/40180.

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La ricerca si colloca nell’ambito degli studi sull’adattamento, scegliendo una prospettiva ispirata alle teorie sviluppate dal filosofo russo Michail Bachtin riguardo all’autorialità. La domanda da cui muove l’analisi di tre adattamenti audiovisivi del romanzo dostoevskiano I fratelli Karamazov si riferisce all’adattabilità sullo schermo del principio letterario della polifonia, individuato da Bachtin. I tre adattamenti, scelti per elementi di omogeneità formale e di eterogeneità rispetto alla resa polifonica sono: il film Brothers Karamazov (Richard Brooks, Stati Uniti 1958); lo sceneggiato televisivo I fratelli Karamazov, (Sandro Bolchi, Italia 1969) e il film Brat’ja Karamazovy, (Ivan Pyr’ev, Michail Ul’janov e Kirill Lavrov, Unione Sovietica 1969). Prima di procedere alle analisi, attraverso una disamina della critica e dei testi bachtinani, abbiamo voluto riconnettere la polifonia letteraria alle ricerche filosofiche dal teorico russo nel corso degli anni Venti e all’humus culturale della filosofia religiosa russa. In seguito a questo approfondimento “genealogico”, abbiamo identificato le implicazioni formali della polifonia e avanzato la nostra proposta metodologica, fondata sulla ripresa dell’elemento autoriale in senso bachtiniano. Nel corso degli anni Settanta, infatti, la critica letteraria e cinematografica è stata influenza dal concetto di morte dell’Autore e ha posto l’accento univocamente sull’intertestualità. Attraverso una disamina delle teorie dell’adattamento, dalla trasmutazione di Umberto Eco alla ri-creazione di Carlo Testa, proponiamo una nuova formulazione ispirata agli studi bachtiniani sull’eccedenza di visione, la posizione nel mondo unica e insostituibile da cui scaturisce la visione dell’autore ( e, nel nostro caso, dell’adattatore). In un secondo momento l’analisi si rivolge alla sceneggiatura e al prodotto audiovisivo, attraverso una metodologia integrata che contempli una fase comparativa, drammaturgica, strutturale, tematica e linguistica. Il proposito che orienta le fasi dell’analisi è quello di valutare la resa polifonica delle tre opere, identificando le condizioni che agevolano la polifonia in un prodotto audiovisivo.
The research pertains to the field of adaptation studies, choosing a perspective inspired by the theories developed by Russian philosopher Mikhail Bakhtin on authorship. The question from which the whole analysis of the three audiovisual adaptations of Dostoyevsky’s novel The Brothers Karamazov moves, refers to the adaptability for the screen of the literary principle of polyphony as identified by Bakhtin. The three adaptations, chosen for elements of formal homogeneity and heterogeneity in relationship to polyphonic rendition are: the movie Brothers Karamazov (Richard Brooks, USA 1958); the TV Drama I fratelli Karamazov (Sandro Bolchi, Italy 1969) and the movie Bratya Karamazovy, (Ivan Pyryev, Michail Ulyanov and Kirill Lavrov, Soviet Union 1969). Before moving forward with the analysis, through an examination of both Bakhtin’s critic and texts, we wanted to reconnect literary polyphony with the Russian theoretician’s philological research in the 1920’s and the cultural hummus of Russian religious philosophy. After this “genealogical” study, we identified polyphony’s formal implications and advanced our methodological proposal, founded on the assessment of the authorial element in a bakhtinian sense. During the Seventies, in fact, literary and film critic was influenced by the concept of the death of the Author, and focused uniquely on intertextuality Through an examination of adaptation theories, from Umberto Eco’s transmutation to Carlo Testa’s re-creation, we are proposing a new formulation inspired by bakhtinian studies on surplus vision, the unique and irreplaceable view of the world the author’s (and in our case, the adapter’s) vision stems from. At a later stage the analysis turns to the screenplay and the audiovisual product, through an integrated methodology covering a comparative, dramaturgical, structural, thematic and linguistic phase. The purpose that guides the phases of the analysis is to evaluate the polyphonic rendition of the three works, identifying the conditions that facilitate polyphony in an audiovisual product.

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Bellan, Sara <1995&gt. « «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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Klessinger, Hanna. « Krisis der Moderne Georg Trakl im intertextuellen Dialog mit Nietzsche, Dostojewskij, Hölderlin und Novalis ». Würzburg Ergon-Verl, 2006. http://d-nb.info/985581425/04.

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Rudek, Christof. « Die Gleichgültigen Analysen zur Figurenkonzeption in Texten von Dostojewskij, Moravia, Camus und Queneau ». Berlin Erich Schmidt, 2008. http://d-nb.info/995126119/04.

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Caravelli, Fabrizia. « Rozanov e la Leggenda del Grande Inquisitore ». Bachelor's thesis, Alma Mater Studiorum - Università di Bologna, 2015. http://amslaurea.unibo.it/8868/.

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Lo scopo di questo lavoro è analizzare il saggio La Leggenda del Grande Inquisitore scritto da Vasilij Rozanov. Rozanov esamina le pagine de I Fratelli Karamazov che riportano il poema del Grande Inquisitore, e vi compone attorno una cornice in chiave filosofica, antropologica e interpretativa che sarà lo sfondo per tutti i successivi studi sul racconto. Dopo aver scomposto lo sfondo narrativo della vicenda e i personaggi, Rozanov prosegue la sua analisi con una spiegazione dettagliata dell’intera Leggenda, per poi soffermarsi con particolare attenzione sulla figura del Grande Inquisitore, sulla natura dell’uomo nella sua concezione filosofica e sul rapporto che esiste tra le tre religioni del Cristianesimo (Cattolicesimo, Protestantesimo e Ortodossia).

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Dilworth, Cecilia. « Dostoevskijs Anteckningar från Döda huset och Dantes Gudomliga komedi. Del I : Kronotop ». Thesis, Stockholms universitet, Slaviska institutionen, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-110324.

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Rudek, Christof. « Die Gleichgültigen : Analysen zur Figurenkonzeption in Texten von Dostojewskij, Moravia, Camus und Queneau / ». Berlin : <> ; Schmidt, 2010. http://deposit.d-nb.de/cgi-bin/dokserv?id=3328003&prov=M&dok_var=1&dok_ext=htm.

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Grothusen, Söhnke Verfasser], Ruth [Akademischer Betreuer] [Gutachter] [Florack et Matthias [Gutachter] Freise. « Die Verzeitlichung des Lebens und die Emergenz moderner Generationalität bei Freytag, Stifter, Lermontov und Dostoevskij / Söhnke Grothusen ; Gutachter : Ruth Florack, Matthias Freise ; Betreuer : Ruth Florack ». Göttingen : Niedersächsische Staats- und Universitätsbibliothek Göttingen, 2017. http://d-nb.info/1127856413/34.

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Dilworth, Cecilia. « Dostoevskijs Anteckningar från Döda huset och Dantes Gudomliga komedi. Del II : Metafor, intertextualitet och karneval ». Thesis, Stockholms universitet, Institutionen för slaviska och baltiska språk, finska, nederländska och tyska, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-115251.

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FERRARIO, STEFANO. « ORGOGLIO. MIMESI. INFANZIA. RENE' GIRARD ». Doctoral thesis, Università Cattolica del Sacro Cuore, 2021. http://hdl.handle.net/10280/98186.

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Analisi del percorso intellettuale di René Girard, con particolare attenzione a temi etici (orgoglio, mìmesis, infanzia) della sua produzione.
Analysis of the intellectual path of René Girard, with particular attention to ethical themes (pride, mìmesis, childhood) of his production

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FERRARIO, STEFANO. « ORGOGLIO. MIMESI. INFANZIA. RENE' GIRARD ». Doctoral thesis, Università Cattolica del Sacro Cuore, 2021. http://hdl.handle.net/10280/98186.

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Analisi del percorso intellettuale di René Girard, con particolare attenzione a temi etici (orgoglio, mìmesis, infanzia) della sua produzione.
Analysis of the intellectual path of René Girard, with particular attention to ethical themes (pride, mìmesis, childhood) of his production

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Ardov, Michail V. « Ulybka i murlykan·e : zametki čitatelja : [A.A. Achmatova, M.A. Bulgakov, N.V. Gogol·, L.N. Gumilev, F.M. Dostoevskij, M.M Zoščenko, M. Ju. Lermontov, O. Ė. Mandelštam, V.V. Nabokov, A.S. Puškin] / ». Moskva : Sobranie, 2007. http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&doc_number=016527620&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA.

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Pomerantsev, Yevgeniy. « Enchanted truths : romantic and post-romantic models of poetic knowledge / ». Ann Arbor, Mich : UMI, 2008. http://opac.nebis.ch/cgi-bin/showAbstract.pl?sys=000281612.

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Grillaert, Nel. « What the God-seekers found in Nietzsche : the reception of Nietzsche's Übermensch by the philosophers of the Russian religious renaissance / ». Amsterdam : Rodopi, 2008. http://opac.nebis.ch/cgi-bin/showAbstract.pl?u20=9789042024809.

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Horst, Stephen Scott. « Dostoevsky as apologist ». Thesis, University of Wales Trinity Saint David, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.683031.

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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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Taylor, Eric J. « Dostoevsky and his kingdom vision ». Online full text .pdf document, available to Fuller patrons only, 2003. http://www.tren.com.

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Aiello, Lucia. « The reception of Fedor Dostoevskii in Britain (1869-1935) ». Thesis, University of Sheffield, 2001. http://etheses.whiterose.ac.uk/14627/.

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This thesis explores the participation of women in trade union activity at local level. The central question it addresses is why do women participate in trade unions at this level? It identifies the factors that shape and influence women's participation and, in particular, the role of gender. In addition the thesis critically exatnines the concept of women's interests. The methodological approach is that of a case study of women activists in the South Wales and Western division of the Union of Shop, Distributive and Allied Workers (USDA W), and a principal case study of women activists in the South and West area of the Banking, Insurance and Finance Union (BIFU). In recent years there has been a growing body of research considering the role of women in trade unions. The main focus of these studies has been the barriers to women's participation. Where women's participation has been investigated the majority of studies have been concerned with women full time officers and 'senior' trade union leaders. Within trade union renewal debates women have been highlighted as one of the groups to target in recruitment campaigns. As such, it is appropriate to consider women's trade union participation at local level. The general literature suggests that people join and participate for traditional collective reasons. This proposition is critically examined. The findings present a model of trade union activity that differs significantly from typologies created to examine 'senior' women leaders. Equally, studies of women at local level which attach one ideological position to women's attitudes and behaviour are argued to fail to capture the diversity of views evident at local level. As such, the typology developed from this study places the WOlnen activists in four groups; the individualist, the collectivist, the carer and the equal rights representative. These groups reflect the context in which the women are situated and the varied interpretations of their activism. The findings suggest the problems of addressing equal opportunities through the union structures and raise, in particular, the difficulties of developing 'separatist' policies for women. Barriers to women's participation in trade unions remain significant for local level activism. The thesis suggests that trade union renewal strategies need to recognise the richness and diversity of attitudes and interests that women bring to the trade union movement.come across Dostoevskii the prophet, Dostoevskii the psychologist and so on. I also argue that the failure of intellectuals like Virginia Woolf and E. M. Forster to recognise the innovative force of Dostoevskii' s novels can be read in the light of their reticence to really break with a literary tradition, which they knew was on the verge of a definitive crisis. In the course of the thesis, it is shown how this reticence seriously undermines their project of renovation of the novelistic form. Thus, the final assumption of the thesis is that the difficulty that British intellectuals had in grasping the importance of Dostoevskii' s works for the development of the novelistic genre is partly due to the persistence of psychological criticism, which focused on authorial intentions rather than on the novels themselves, and partly to the attempt to inscribe Dostoevskii's novels within the Romantic or Victorian conventions of novel writing. In the final section of the Conclusion, I argue that Dostoevskii's experiments with the novelistic form situate his writings closer to the Modernist examples of novel writing than to the Romantic ones. A brief analysis of Stavrogin's Confession aims at clarifying this aspect. Finally, I stress that Western literary criticism has become more aware of the pioneering significance of Dostoevskii's form only in the Post-World War II period, while in Eastern Europe signals of recognition of the Innovative potential of Dostoevskii' s form emerge already by the early 1920s.

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Woodson, Lisa Elaine. « Dostoevsky as theologian in The idiot ». Theological Research Exchange Network (TREN) Access this title online, 2005. http://www.tren.com.

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Berry, Robert James. « Conrad and Dostoevsky : an unsuspected brotherhood ». Thesis, University of Stirling, 1993. http://hdl.handle.net/1893/2015.

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This thesis attempts a comparative study of Conrad and Dostoevsky. In doing so, it proposes a significant relationship between the ideological, political and literary worlds of both authors. The work is undertaken in eight chapters. Chapter One explores Conrad and Dostoevsky's respective national and cultural identities. It reflects on Conrad's recorded reactions to Dostoevsky and his work, and speculates on the latter's likely response to Conrad. Chapter Two challenges established critical formulae that suggest Dostoevsky is a purely 'Dionysian' writer. The view that Conrad is a consummate 'Apollonian' artist is similarly brought into question. Chapter Three considers Conrad and Dostoevsky as major literary innovators. To support my argument, Bakhtin's critical concepts of 'polyphony' and 'monology' are introduced, and applied in a Dostoevskyan and Conradian context. Especially highlighted is my debate on Conrad's 'polyphonic' narrative technique in Lord Jim (1900). The notable fusion of disparate literary genres in Conrad and Dostoevsky's novels is explored in Chapter Four. Elements of 'adventure', 'thriller', 'romance', and 'detective' fiction are identified in each novelist's world. My argument, however, restricts itself to an extensive analysis of the surprising importance of the 'Gothic' elements in both writers' worlds. Chapters Five and Six, concentrate on Conrad and Dostoevsky's profound insights into the fundamental character of the human personality. Chapter Five considers their parallel interpretations of mankind's quintessentially materialist nature. Chapter Six looks at their strikingly similar visions of man's violent and carnal identity, and his primary urge to dominate other weaker individuals. Chapters Seven and Eight consider two central themes in Conrad and Dostoevsky's fiction, that of anarchist politics and nihilism respectively. Their political and ideological responses to these issues are investigated in some detail, and significant interpretive parallels established. Finally, the conclusion undertakes to once again assure the reader of the surprising and unsuspected bonds that exist between these two seemingly alien writers.

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Burgess, David Fred. « Narrative fits : Freud's essay on Dostoevsky / ». Thesis, Connect to this title online ; UW restricted, 2000. http://hdl.handle.net/1773/6659.

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Hudspith, Sarah Frances. « Dostoevskii and Slavophilism : a new perspective on unity and brotherhood ». Thesis, University of Sheffield, 2001. http://etheses.whiterose.ac.uk/14805/.

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The question of Dostoevskii's affinity with the Slavophiles has been remarked upon by many critics, but hitherto has not been explored in sufficient depth. It is proposed that an examination of his engagement with ideas central to Slavophilism offers a new understanding of Dostoevskii's ideological stance, of the key concepts of his fiction, of his faith, and of his artistry. This study selects the thinkers Khomiakov and Kireevskii as the proponents of the strand of Slavophilism to which Dostoevskii was closest; it focuses on sobornost', tsel'nost', wholeness and fragmentation as the essential concepts that have resonances in Dostoevskii. Dostoevskii' s career as a thinker is examined through the medium of his non-fiction, in order to establish where he stood in relation to contemporary thinkers and to determine his own interpretation of Slavophilism. Next his fiction is studied, and it is found that Khomiakov's scheme of a tension between the positive and negative categories of Iranianism and Kushitism may be mapped onto Dostoevskii's fiction, and that the principles of these categories correspond to fundamental principles shaping his work. Moreover, the emphasis in Iranianism on unity and brotherhood allows for a fresh perspective of Dostoevskii's faith and its position with regard to Orthodoxy. Finally, attention turns to Dostoevskii's artistry, so as to establish the manner in which unity and wholeness manifest themselves in the structure and composition of his works. It is found that by positing the existence of a Slavophile aesthetic, an alternative definition of form is possible according to which Dostoevskii's works, both fictional and non-fictional, are shown to possess a unity of form and idea. It is concluded that Dostoevskii is an important successor to the Slavophiles and that he developed their ideas in a more consistent fashion, thus broadening their moral and spiritual concerns into a more universal message.

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Fung, Kai Yeung. « Dostoevsky and the epileptic mode of being ». Thesis, University of Manchester, 2011. https://www.research.manchester.ac.uk/portal/en/theses/dostoevsky-and-the-epileptic-mode-of-being(cc8d3ece-3ac8-48bd-93d2-a706b78407e4).html.

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This thesis explores the relationship between Dostoevsky and epilepsy, suggesting that his works can be characterized by a mode of existence which is epileptic by nature. An attack of epilepsy is depicted in two phases: immense anxiety of the outbreak of a seizure; and its sudden attack, during which consciousness completely collapses. I suggest that Dostoevsky's writings can be understood in terms of these two phases: an infinite alternation between the desire to seize upon a critical moment and the impossibility of experiencing it. The thesis examines five of Dostoevsky's post-Siberian novels to illuminate this particular existence, this epileptic mode of being. Chapter 1 looks at Humiliated and Insulted to show that the seemingly selfless pursuit of moral ideals is a form of egoism. Vanya (Ivan Petrovich) sacrifices his personal interests and strictly binds himself to the moral law, incarnating Kantian moral imperatives. Discussing Freud on masochism and Jacques Lacan on Kantian ethics, this chapter shows that philanthropy is a form of idealism which privileges the ascetic ideal and despises the body. The chapter also shows how moral idealism is mocked and suspended under the power of epilepsy. Chapter 2, on Crime and Punishment, demonstrates how Dostoevsky's Petersburg is depicted as enigmatic, even 'epileptic', disconfirming subjectivity. The eclectic style of the city's architecture - specifically St. Isaac's Cathedral - makes the Petersburger disoriented and decentred. Similarly, the chapter demonstrates that the meanings of 'crime' and 'punishment' are pluralized in Raskolnikov's dreams, revealing a splitting of identity. Due to this schizophrenic nature of the urban subject, there can be no single knowledge of why Raskolnikov commits the murder. Chapter 3 explores the split subject in The Idiot. Prince Myshkin wants to reflect on the final moment just before consciousness collapses. He likes to freeze that moment and contemplate the possibility of an afterlife. But this wish is eclipsed by the seizure or, in the case of a guillotine execution, the immediate arrival of death, which continues to create a contradictory existence. Chapter 4 examines Kirilov and his suicide plan in Demons to show that the epileptic has a will to master death: he has a will to the knowledge of death. But paradoxically, death is something ungraspable and cannot be appropriated into the realm of experience. Death as well as epilepsy eludes the self who wants to grasp it. This chapter also discusses Nietzsche on nihilism and Maurice Blanchot's comments on Kirilov's suicide. Chapter 5 suggests a form of 'feminine' epilepsy in The Brothers Karamazov, which I link with the hysterics who suffer from their reminiscences. I show that epilepsy is a moment of rupture of repressed violence. Epilepsy not only disrupts Vanya's moral idealism, Petersburg's pure architectural style, the Prince and Kirilov's wishes for an eternal life, but it also evokes what is repressed beneath these thoughts. This chapter ends with Walter Benjamin's angel of history, showing how the novel unveils a family history which is violent and silenced. The thesis concludes with Blanchot's The Instant of My Death, suggesting that the epileptic mode of being demands the Dostoevsky's heroes to live in infinite postponement, which necessitates a Dostoevskian subject which is infinitely deferred and unfinalized.

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Prown, Katherine Hemple. « Flannery O'Connor, Fyodor Dostoevsky and the Antimodernist Tradition ». W&M ScholarWorks, 1988. https://scholarworks.wm.edu/etd/1539625432.

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Abdulmassih, Fabio Brazolin. « Aulas de literatura russa - F.M. Dostoiévski por N. Nabókov : por que tirar Doistoiévski do pedestal ? » Universidade de São Paulo, 2010. http://www.teses.usp.br/teses/disponiveis/8/8155/tde-29092010-112244/.

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Este trabalho é composto pela tradução anotada do texto original em inglês Fyodor Dostoevski (1821 1881), que faz parte das aulas de literatura russa que o autor russo Vladímir Nabókov ministrou em universidades americanas de 1941 a 1959, bem como por uma introdução biobibliográfica e crítica sobre o autor, de um modo geral, e de um ensaio crítico sobre suas opiniões a respeito das principais obras de Fiódor Dostoiévski, em particular. Para tanto, serão comentadas as principais opiniões críticas de Nabókov sobre os romances Crime e Castigo, Memórias do Subsolo, O Idiota, Os Demônios e os Irmãos Karámazov de Dostoiévski à luz das concepções de Mikhail Bakhtin, Leonid Grossman, Joseph Frank, entre outros.
This research is composed of the annotated translation of the original text in English Fyodor Dostoevski (1821 - 1881), which is part of the lectures on Russian literature that the Russian author Vladimir Nabokov gave in American universities from 1941 to 1959, as well as by a biobibliographical and critical introduction about the author, in a general way, and a critical essay about his opinions concerning the major works of Fyodor Dostoevski, in particular. To accomplish this task, Nabokovs opinions about the novels Crime and Punishment, Memories from the Underground, The Possessed, The Idiot and The Brothers Karamazov have been studied in the light of Mikhail Bakhtin, Leonid Grossman, Joseph Frank, among others.

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Yee, Sin-cheung. « Sleepwalkers in the cities of Dostoevsky and T.S. Eliot ». Click to view the E-thesis via HKUTO, 2005. http://sunzi.lib.hku.hk/hkuto/record/B31579541.

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