Submitted by Andrea Hayashi (deachan@gmail.com) on 2016-06-20T15:28:30Z No. of bitstreams: 1 dissertacao-douglas-rodrigues-barros.pdf: 1428960 bytes, checksum: 754d38097bf6239ffd40dda46a1c8ff5 (MD5) / Approved for entry into archive by Andrea Hayashi (deachan@gmail.com) on 2016-06-20T16:44:31Z (GMT) No. of bitstreams: 1 dissertacao-douglas-rodrigues-barros.pdf: 1428960 bytes, checksum: 754d38097bf6239ffd40dda46a1c8ff5 (MD5) / Made available in DSpace on 2016-06-20T16:44:31Z (GMT). No. of bitstreams: 1 dissertacao-douglas-rodrigues-barros.pdf: 1428960 bytes, checksum: 754d38097bf6239ffd40dda46a1c8ff5 (MD5) Previous issue date: 2015-05-20 / O presente estudo pretende analisar as categorias expostas por Lukács na teoria do romance. Nela, procuraremos esmiuçar seus conceitos, para facilitar o entendimento sobre os gêneros e as formas da literatura para o jovem filósofo. Feito esse caminho, passaremos para uma análise das fragmentadas Anotações sobre Dostoiévski, buscando compreender o perturbante final d’A teoria em que o autor afirma que: “Dostoiévski não escreveu romance algum”. Tem-se com isso, o objetivo de desnudar em que medida a estética e a ética estão imbricadas no pensamento do Lukács da juventude. Além disso, busca-se também examinar as conjecturas expostas nas duas obras com o intuito de captar os momentos de viragens das formas do romance que, para Lukács, irá culminar na obra dostoievskiana. Obra essa, que, ao que tudo indica, o permite antever as mudanças profundas ocorridas no século XX. Com efeito, a obra de Dostoiévski – Os irmãos Karamázov – será aqui considerada, a partir dos conceitos expostos por Lukács tanto na teoria, quanto nas anotações. Tentaremos compreender, portanto, como Lukács via, na obra do escritor russo, uma nova forma que ademais indicava que algo no mundo real e concreto estava mudando radicalmente. / This study aims to analyze the categories set out by Lukács in The theory of the novel. In it, try to control their concepts to facilitate understanding of the genres and literary forms for the young philosopher. Done this way, move on to an analysis of fragmented Notes on Dostoevsky, trying to understand the disturbing end of the theory in which the author states: "Dostoevsky doesn’t wrote a romance at all." It has been with this, in order to lay bare the extent to which aesthetics and ethics are embedded in the thinking of youth Lukács. In addition, we seek to also examine the conjecture exposed in the two works in order to capture the moments of color changes of the novel ways that, for Lukács, will culminate in Dostoevsky's work. This work, which, it seems, the foresee ability the profound changes that have occurred in the twentieth century. Indeed, the work of Dostoevsky - The Brothers Karamazov - will be considered here, based on the concepts exposed by Lukács both in The theory, the in the notes. Try to understand, therefore, as Lukács saw in the work of the Russian writer, a new way that in addition indicated that something in the real world and concrete was changing radically.

Muitas biografias foram escritas sobre Fiódor Dostoiévski, nome central da literatura russa do século XIX. Dentre os títulos dedicados à vida do escritor russo destaca-se Dostoiévski de Joseph Frank, um grande esforço de investigação elaborado ao longo de quase três décadas. A obra escrita pelo scholar norte-americano consiste em uma síntese da história cultural da Rússia no século XIX, contexto no qual Dostoiévski viveu, além de um esforço de interpretação da ficção do romancista. Essa pesquisa visa analisar a biografia de autoria de Joseph Frank, assim como efetuar uma comparação entre essa obra e outras biografias importantes escritas sobre o escritor russo. Paralelamente, pretende-se investigar as questões teóricas e metodológicas concernentes ao gênero biográfico. Tendo em vista a grande repercussão da obra nas publicações norteamericanas, essa pesquisa também examinará de modo panorâmico a recepção da biografia de Frank nos Estados Unidos e os percursos da eslavística norte-americana nas últimas décadas. / Many biographies have been written about Fyodor Dostoevsky, a prominent 19th century Russian literature novelist. Among all these titles, Joseph Frank\'s Dostoevsky stands out as a great synthesis of the Russian writer\'s life and era. Written along three decades, Frank\'s work recreates the Russian cultural history in the second half of the 19th century and proposes an interpretation for Dostoevsky\'s literary works. After this biography, Frank has become one of the most important North American\'s experts in Russian literature and Dostoevsky. This research aims to analyze this monumental biography, to compare this work with other biographies written about the thrilling life of Dostoevsky and to investigate the theoretical and methodological problems of the biography genre. Finally, considering the repercussion of Dostoevsky for the intellectual community of United States of America, we will also analyze the reception and the critiques of Frank\'s biography and the situation of the last decades of Slavic studies in that country.

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.

Submitted by Renata Lopes (renatasil82@gmail.com) on 2017-03-22T19:39:48Z No. of bitstreams: 1 carolinadetonimarquesvieira.pdf: 817647 bytes, checksum: 086531d3dd69abd781951d4c12b89302 (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2017-03-24T11:59:17Z (GMT) No. of bitstreams: 1 carolinadetonimarquesvieira.pdf: 817647 bytes, checksum: 086531d3dd69abd781951d4c12b89302 (MD5) / Made available in DSpace on 2017-03-24T11:59:17Z (GMT). No. of bitstreams: 1 carolinadetonimarquesvieira.pdf: 817647 bytes, checksum: 086531d3dd69abd781951d4c12b89302 (MD5) Previous issue date: 2010-03-03 / CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Este trabalho tem por objetivo abordar as duas faces do amor em Dostoiévski: ágape, o amor altruísta, pela humanidade, regido pela religiosidade cristã; e eros, o amor erótico, regido pelo desejo meramente humano. Ou seja, propõe-se tratar do amor como a representação máxima do sobrenatural ou a própria degradação no excesso de natureza humana e, de uma face a outra, percorrer não só a sua trajetória na obra dostoievskiana, como também os temas com os quais ele se articula. O Idiota apresenta-se, neste estudo, em lugar de destaque por sua relevância para o tema, especialmente, devido à própria divisão de seu protagonista, o Príncipe Mychkin, percebido, aqui, como a representação da tensão trágica entre o humano e o divino, vivenciada através do amor. Além desta obra, outros grandes romances de Dostoiévski também participam da discussão. / This work aims to broach the two faces of love in Dostoevsky: agape, the altruist love, the love for humanity, which is conducted by Christian religiosity; and eros, the erotic love, which is leaded by the simply human desire. In other words, it intends to deal with the love as the greatest performance of divine or as the typical degradation in the excess of human nature and, from one face to the other, to search not only throug its course on Dostoevsky’s work but also the subjects which it is connected with. In this study, The Idiot presents itself in a highlighted position because of its importance to the subject mainly due to the selfsame division of its protagonist, Prince Mychkin, who is understood here as a performance of a tragic tension between human and divine, that is lived throughout love. Beyond this work, other great romances of Dostoevsky, also take part in the discussion.

Submitted by Geandra Rodrigues (geandrar@gmail.com) on 2018-04-26T15:00:43Z No. of bitstreams: 1 arleneaparecidafernandes.pdf: 1134470 bytes, checksum: 4d2f06e1b39e8a822df87d79778abc42 (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2018-05-09T12:10:03Z (GMT) No. of bitstreams: 1 arleneaparecidafernandes.pdf: 1134470 bytes, checksum: 4d2f06e1b39e8a822df87d79778abc42 (MD5) / Made available in DSpace on 2018-05-09T12:10:03Z (GMT). No. of bitstreams: 1 arleneaparecidafernandes.pdf: 1134470 bytes, checksum: 4d2f06e1b39e8a822df87d79778abc42 (MD5) Previous issue date: 2017-02-23 / CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / A obra de Dostoiévski entrou no ocidente europeu como uma crítica perversa que lançava nova luz aos movimentos intelectuais que dominavam o contexto de então. A dissertação, portanto, busca analisar as críticas do romancista russo às ideologias ocidentais, bem como em que sentido essa concepção é elaborada enquanto uma crítica da modernidade, porém nos termos de um discurso moderno. O escritor foi condenado por conspiração revolucionária contra o czar e a experiência do cárcere deixou marcas profundas em sua trajetória literária. A fim de compreender o impacto dessa influência, o presente trabalho investiga a vida e a obra do romancista, no período entre 1845 e 1864. Dostoiévski ancorou sua literatura em um vocabulário religioso adquirido nesse contato com os camponeses russos, enquanto esteve preso. A interpretação do autor acerca do cristianismo do povo russo será determinante na composição de suas obras futuras e redefinirá suas posições artísticas, políticas e religiosas. Partindo de uma defesa do solo russo, enquanto único espaço capaz de articular uma oposição às teorias racionalista e romântica, o romancista estabelece sua crítica da modernidade. Por fim, o trabalho buscará mostrar que, em vez de uma resposta, Dostoiévski termina sua obra questionando se há um fundamento, religioso ou secular, sobre o qual o homem pode justificar a virtude. / The Dostoevsky’s works were received in Western Europe as a perverse criticism that casted new light into the dominant intelectual movements of the period. Therefore, this thesis seeks to analyze the Russian novelist’s criticism of Western ideologies, and how that critical conception is designed as a critique of modernity, but formulated in the terms of a modern discourse. The writer was convicted for taking part in a revolutionary conspiracy against the czar, and this experience as a prisoner left deep marks in his literary trajectory. Aiming to understand the impact of these dramatic and difficult years in the author’s creations, the present research investigates his life and works between 1845 and 1864. Dostoevsky anchored his literary production in a religious vocabulary aquired through the contact with the Russian peasents while imprisoned. Thus, the writer’s interpreation regarding the christianity of the Russian people will be vital to the composition of his future works and will redefine his artistic, political and religious positions. Starting from the defense of the Russian soil, considering it the only space able to articulate an oposition to the rationalist and romantic theories, the novelist will establish his critique of modernity. Lastly, this study proposes to demonstrate that, instead of an answer, Dostoevsky finishes his work questioning the possibility of a foundation, religious or secular, upon which man can justify virtue.

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.

Thesis "The Christological, soteriological and relevant spiritual topics in the Dostoevsky Work The Brothers Karamazov" applies to the life and literary heritage of the Russian writer Fyodor Mikhailovich Dostoevsky, especially to his master piece The Brothers Karamazov. The novel summarizes the writer's life ideas which have matured throughout life. In this work, the emphasis is primarily put on finding and describing christological and soteriological features contained in the novel demonstrating the author's inner conviction and faith in Jesus Christ. The thesis also points to some spiritual themes, which are crucial in the literary work, such as human suffering and questions of faith and human freedom. Keywords Dostoevsky, The Brothers Karamazov, christology, soteriology, spirituality, faith, freedom

In my dissertation "Russian Exile and Inner Emigration An Irregular History of a Cultural Phenomenon" I attempt to examine the issue of the Russian mentality against the background of Russian literary and intellectual trends over the course of one hundred years - from the December Revolt in 1825 to the period after the October Revolution in 1917. The phenomenon of inner emigration and exile, which is characteristic for this period of time, is examined through the use of authentic sources, that is solely literary and epistolary records, as well as through the Czech reflection of the Russian soul, as it was perceived and presented from the time of Masaryk and Slavík and after them by many Czech and foreign scholars up to the present. Examining authentic testimonies, the aim of the work is to make the point that despite the confrontation with European rationalist influences, the Russian world and the so- called Russian soul essentially always retained a spiritual dimension from the Eastern civilizations, based not on rationality but on sensation, not on scholastic argumentation of the external existence of God but on a realization of the unity and the inner interconnection of the material and spiritual world.

In my dissertation "Russian Exile and Inner Emigration An Irregular History of a Cultural Phenomenon" I attempt to examine the issue of the Russian mentality against the background of Russian literary and intellectual trends over the course of one hundred years - from the December Revolt in 1825 to the period after the October Revolution in 1917. The phenomenon of inner emigration and exile, which is characteristic for this period of time, is examined through the use of authentic sources, that is solely literary and epistolary records, as well as through the Czech reflection of the Russian soul, as it was perceived and presented from the time of Masaryk and Slavík and after them by many Czech and foreign scholars up to the present. Examining authentic testimonies, the aim of the work is to make the point that despite the confrontation with European rationalist influences, the Russian world and the so- called Russian soul essentially always retained a spiritual dimension from the Eastern civilizations, based not on rationality but on sensation, not on scholastic argumentation of the external existence of God but on a realization of the unity and the inner interconnection of the material and spiritual world.

The aim of this essay is to show that the protagonist of the Russian writer Fyodor Dostoevsky's novel Crime and Punishment is more open to change in his life than is often assumed by commentators. In the end of the novel the student Raskolnikov confesses the murder of two women, and he is sentenced to eight years in a prison colony. In a short scene Raskolnikov seems to experience a spiritual awakening, a "resurrection", with the words of the original text. The genuineness of that conversion, foretold in the epilogue, has been contested by critics. That negative assessment is a starting point for this essay. Is a new beginning, a spiritual restoration or even a resurrection, like in the biblical tradition, at all imaginable for Raskolnikov? I propose it is, based on my reading of the novel. I will especially look back on an episode before the main action of the novel starts. It concerns Raskolnikov's engagement to a young girl who died before the couple could get married. The story about the fiancée suggests that a more purposeful future for the main character - in contrast to who he seems to be in the novel - cannot be dismissed. One main argument for the spiritual transformation of Raskolnikov is an experience he has in the minutes before the resurrection scene. He envisions the biblical patriarche Abraham on his fields with grazing herds. I interpret this as a myth about possibilities. Abraham lives in the beginning of time and God gave him a mission. Abraham lives a long and full life. Life does not have to end in misery but can be meaningful and long also for Raskolnikov.