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This final thesis deals with the important work of Czech author of psychological prose Egon Hostovsky and influences on him, which seemed in his literary work. The aim of this thesis is to determine to what extent Hostovský inspired other authors, especially its greatest literary icons F.M. Dostojevsky. To achieve the objective has been selected method based on a comprehensive analysis Hostovsky's the most significant books in terms of literary theory and history. The focus was placed mainly on his early works, where the influence of Dostoyevsky is most marked. This thesis gives a comprehensive comparison Hostovsky's creation with the work of Dostoyevsky, focusing on formal and semantic aspects of literary works of both authors. The first chapter focuses on the specifics of Hostovsky formation and is divided into six sections, each deals with one literary-theoretical aspect, so it consists language means, space- time, description of the characters, narratives and central themes and motifs. To the conclusion of this chapter is attached feedback of Hostovsky's work in our country and in the world. The second chapter is devoted to effects influencing Hostovsky's poetics, where it is mentioned mainly influence of F. Kafka, S. Freud and L. Andrejev. The third chapter includes a list of authors, for whom...

This thesis analyses the function of the provincial town in the novels of Fyodor Dostoevsky (1821-1881) and George Eliot (1819-1880). It demonstrates that the small town, far from being a neutral backdrop to their narratives, functions as a sociological space in which to appropriate or challenge the discourses of modernity with which Dostoevsky and Eliot were explicitly preoccupied. The first chapter examines how their provincial communities negotiate biblical narrative in a world in which, thanks to nineteenth-century attempts to historicise the Bible, an acceptance of the Bible's authoritative status is no longer a given. The instability of language itself is then interrogated in my second chapter, which shows that the transition from denotative, referential meaning to connotative, abstract forms causes ethical and narrative tension within the world of the novel, and which explores the aesthetics and ethics of gossip in the provincial town and novel. The third chapter details what becomes of the nineteenth-century discourse of heroism when characters seek to enact it in a provincial setting, showing that the environment of the provincial town proves hostile to heroic ambition, whilst the fourth argues that the provincial application of professional discourse (particularly that of medicine and the law) is critiqued and perfected by these authors. Through the analysis of this discourse, it is shown that Eliot and Dostoevsky's treatment of provincialism is ambivalent. As urban intellectuals who did not consent to inhabit the provincial milieu they depict, they in many respects censure the world they describe. However, this censure is not absolute, and through their chosen setting, as well as their chosen genre of the novel, they provide ethical instruction for their readers, then and now. Ethics, for them, are best tested in community, and explored in narrative.

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In this thesis I compare Pierre Leroux, a French utopian socialist (1797 – 1871), with Feodor Dostoevsky, the well-known Orthodox Russian novelist (1821 – 1881). I argue that both authors reacted against what they considered to be the dissolution of the social order, brought about by the increasing nineteenth-century bourgeois individualism. On the other hand, they reacted as well against the opposite phenomenon, the idea of a universal socialist state, which was, in fact, according to them, the outcome of bourgeois individualism. My purpose is to bring close and to compare Leroux’s republican socialism with Dostoevsky’s Christian socialism, and to explore to what extent the two authors give similar answers to a common problem. In order to better explain their thought, I divide my thesis into three chapters. The first analyzes and compares Leroux’s and Dostoevsky’s critiques of individualism. If Leroux reaches the conclusion that the ultimate expression of individualism is Malthusianism, Dostoevsky argues that individualism ends in nihilism. The second chapter analyzes the type of socialism against which Leroux and Dostoevsky reacted, as well as the critiques of the two authors. I argue here that Saint-Simonian socialism – the main object of Leroux’s critique – and the socialism of the Grand Inquisitor – a Dostoevskyan character – are the expression of a certain utopian thought which considers the requirement for freedom incompatible with the requirement for unity. In the last chapter, I analyze the ideas of community of Leroux and of Dostoevsky, which are centered on philia, in the case of the former, and on agape, in the case of the latter. Philia and respectively agape are the expression of organic social relations, through which the two requirements, of freedom and unity, are made compatible, and which create unity in multiplicity. Their ideas of community appear as active utopias, grounded on the life of relation in a spontaneous, organic community.

In examining Dostoevsky's treatment of faith in The Brothers Karamazov, critics often focus solely on "The Grand Inquisitor." Dostoevsky, however, refutes the Inquisitor's views through the movement of the three Karamazov brothers toward faith. The three Karamazov brothers, as a collective personality, represent the fundamental needs of man and the corresponding aspects of faith, each brother being an individual study of the necessity of integrating soul, heart and mind into faith. The crises that each brother faces force each one to develop a fuller dimension of faith. The final effect of integrating the soul, heart and mind in faith is active love.

O presente trabalho consiste num esforço de aproximação entre literatura e psicologia que procurou manter a integridade de ambas as pontas do diálogo. O objetivo foi estudar o romance Crime e castigo de Dostoiévski, com foco na análise do protagonista, Rodion Raskólnikov. Para uma satisfatória compreensão da construção da subjetividade deste personagem fez-se necessário visualizá-lo em suas relações intersubjetivas. Assim, a análise foi estruturada em capítulos, cada qual destacando o diálogo entre duas \"vozes\", a do protagonista e a de outra personagem para que fossem explicitadas as contradições e implicações deste diálogo no processo de autoconsciência de Raskólnikov. Foram analisadas as relações do protagonista com Marmieládov, Razumíkhin, Lújin, Porfíri, Svidrigálov e Sônia. Além disso, foram tecidas considerações acerca do epílogo, considerando suas particularidades formais e funcionais em relação ao restante do romance. A entrada da psicologia está na tentativa de reconstituição do efeito estético do romance a partir da estruturação poética do texto, de modo que o protagonista seja considerado em sua ficcionalidade, e não como paciente da clínica psicológica, conforme os pressupostos teóricometodológicos da psicologia da arte de Vigotski. Para compreensão da organização formal do texto lançou-se mão da teoria polifônica de Bakhtin, bem como de outros autores da eslavística, mais ou menos congruentes a essa visão. Por fim, são apresentadas, em anexo, traduções de cinco textos da eslavística norte-americana e inglesa, todos precedidos por uma nota introdutória sobre os textos e seus autores. / This dissertation consists of an effort of bringing together literature and psychology, which tries to keep the integrity of both areas. The objective was to study Dostoevsky\'s novel Crime and Punishment, with an analysis of its main character, Rodion Raskolnikov. For a satisfying understanding of the construction of this character\'s subjectivity it was necessary to visualize him in his intersubjective relations. Thus, the analysis was structured in chapters, in which we underlined the dialogue between two \"voices\", the protagonist\'s and another character\'s, so that we could explicit the contradictions and implications of this dialogue in the selfconscience process of Raskolnikov. The relations of the protagonist with Marmeladov, Razumikhin, Luzhin, Porfiri, Svidrigailov and Sonia were analyzed. Besides, some notes were taken on the epilogue, considering its formal and functional particularities. The psychological goal rests in the attempt of reconstituting the novel\'s aesthetic effect through the understanding of its poetic structure, so that the protagonist is considered in his fictiousness and not as a patient in the psychological office, according to the theoretical-methodological presuppositions of Vygotsky\'s psychology of art. For an understanding of the formal organization of the text, we resorted to Bakhtin\'s polyphonic theory, as well as to other slavistic authors more or less congruent to this view. Finally, Portuguese translations of five texts from the American and British slavistics were presented and preceded by an introductory note on the texts and its authors.

A dissertação em questão procura analisar O sonho de um homem ridículo (1877), de Fiódor Dostoiévski, fundamentalmente a partir de uma aproximação crítica em relação à teoria polifônica erigida por Mikhail Bakhtin, em Problemas da Poética de Dostoiévski. O teórico russo buscou desvelar a poética dostoievskiana não por meio de uma síntese parcial em função do discurso ideológico do escritor ou de uma de suas personagens expediente tradicional da crítica partidária, segundo Boris Schnaiderman e Paulo Bezerra , mas através do modo pelo qual o diálogo deixaria de ser contingente para assumir um papel estrutural essencial. A identidade das personagens não se estabeleceria em si e por si mesma, uma vez que o eu, desde a sua expressão primordial, já apareceria formado, enformado e deformado pela inflexão do outro. A alteridade e a altercação, vozes imiscíveis e eqüipolentes a alicerçarem a polifonia. Bakhtin, porém, não pôde demonstrar o modo pelo qual se daria a apreensão da obra de Dostoiévski como uma totalidade polifônica integral. Haveria um norte em função do qual as vozes relacionais e contraditórias seriam estruturadas? Seria possível apreender a poética dostoievskiana por meio do arcabouço tradicional, monológico e sistêmico? O aporte da teoria crítica de Marx, Lukács, Horkheimer, Adorno e Benjamin passou a trilhar as galerias labirínticas do subsolo dostoievskiano de modo a reconstituir a crítica de Bakhtin à abordagem dialética. A polifonia, a partir de então, transforma-se em um momento dialético para a constituição da poética de Dostoiévski. Totalidade alquebrada, polifonia amordaçada, dialética sem síntese, dialética no labirinto, dialética do labirinto. Labirinto da dialética: dialogo com alguns autores da eslavística norte-americana destacadamente, Joseph Frank, Michael Holquist e Gerald Sabo e com o homem ridículo, o narrador equívoco e inequívoco da estória fantástica que, segundo Bakhtin, é quase uma enciclopédia dos principais temas da obra do escritor russo. Assim, o presente trabalho procura erigir um novo modelo que tensione as cordas vocais da polifonia integral de modo a reconstituir suas aporias e trilhar um caminho outro que restitua a contradição como categoria essencial para a apreensão da obra de Dostoiévski. / This dissertation seeks to analyze Feodor Dostoevskys The Dream of a Ridiculous Man (1877) fundamentally by a critical approach in relation to Mikhail Bakhtins polyphonic theory in Problems of Dostoevskys Poetics. The Russian theorist searched to unveil Dostoevskys poetics not by a partial synthesis in terms of the ideological speech of the writer or one of his characters traditional expedient of partisan critic, according to Boris Schnaiderman and Paulo Bezerra , but through the way by which dialog would leave its contingent form to assume an essential structural role. Characters identity would not be erected in itself and by itself, once the I, from his primordial expression, would arise shaped, formed and deformed by the inflection of the other. Alterity and altercation, immiscible and equipollent voices grounding polyphony. However, Bakhtin could not demonstrate the way by which it would be possible to apprehend Dostoevskys work as an integral polyphonic totality. Would there be a north toward which the relational and contradictory voices would be structured? Would it be possible to apprehend Dostoevskys poetics by the traditional, monologic and systemic background? The contribution from the critical theory by Marx, Lukacs, Horkheimer, Adorno and Benjamin trod the labyrinthic galleries of Dostoevskys underground allowing the reconstitution of Bakhtins critic to dialectical approach. From this point on polyphony becomes a dialectical moment to constitute Dostoevskys poetics. Prostrated totality, gagged polyphony, dialectic without a synthesis, dialectic in the labyrinth, dialectic of labyrinth. Labyrinth of dialectic: I dialog with some authors of North American slavistics specially Joseph Frank, Michael Holquist and Gerald Sabo and with the Ridiculous Man, the equivocal and unequivocal narrator of the fantastic story which, according to Bakhtin, is almost an encyclopedia of the Russian authors work. Therefore the present work seeks to erect a new model which tenses the vocal cords of integral polyphony in order to reconstitute its apories and tread another way which restitutes contradiction as an essential category for the apprehension of Dostoevskys work.