Dissertação (mestrado)-Universidade de Brasília, Instituto de Letras, Departamento de Teoria Literária e Literaturas, 2010. / Submitted by Patrícia Nunes da Silva (patricia@bce.unb.br) on 2011-06-09T18:05:46Z No. of bitstreams: 1 2010_LudmillaCarvalhoFonseca.pdf: 1962877 bytes, checksum: 113087b95b4bdc6af7f21c8846fc36ae (MD5) / Approved for entry into archive by Patrícia Nunes da Silva(patricia@bce.unb.br) on 2011-06-09T18:06:02Z (GMT) No. of bitstreams: 1 2010_LudmillaCarvalhoFonseca.pdf: 1962877 bytes, checksum: 113087b95b4bdc6af7f21c8846fc36ae (MD5) / Made available in DSpace on 2011-06-09T18:06:02Z (GMT). No. of bitstreams: 1 2010_LudmillaCarvalhoFonseca.pdf: 1962877 bytes, checksum: 113087b95b4bdc6af7f21c8846fc36ae (MD5) / Esta pesquisa tem como finalidade abordar a relação entre os romances Crime e Castigo (2001), de Fiódor Dostoiévski (1821 – 1881), A Morte Feliz (1997) e O Estrangeiro (1982), de Albert Camus (1913 – 1960). Pretende-se mostrar a influência do homem extraordinário sobre o homem revoltado. A pesquisa propõe investigar o comportamento das personagens protagonistas; associar as abordagens filosóficas que permeiam o discurso de Dostoiévski e de Camus; compreender o conceito de homem extraordinário e de homem revoltado. O método consiste em uma revisão bibliográfica apropriada ao tema e na análise dos romances em questão. Os resultados apontam para a semelhança entre o homem extraordinário em Dostoiévski e o homem revoltado em Camus. Pode-se concluir que a semelhança entre ambos se dá na temática do crime e, principalmente, pelas características das personagens protagonistas dos romances estudados. Raskólnikov, de Crime e Castigo; Patrice Mersault, de A Morte Feliz; e Meursault, de O Estrangeiro são indivíduos singulares. Eles buscam – cada um ao seu modo e ao seu tempo – exaurir a sua vontade em uma perspectiva de superação dos valores anteriormente consolidados pela estrutura social. Esse movimento de busca da transmutação dos valores encontra, na ação de revolta, possibilidades de se construir um novo homem, sendo este um além-homem. ______________________________________________________________________________ ABSTRACT / This inquiry aims the relationship between the novels Crime and Punishment, by Fiódor Dostoiévski, The Happy Death and The Stranger, by Albert Camus. Intends to show the influence of the extraordinary man on insurgent man. This work intends to investigate the behavior of the characters protagonists; associate philosophical approaches that permeate the discourse of Dostoiévski and Camus; understand the concept of extraordinary man and insurgent man. The method consists of a literature review appropriate to the subject and analysis of the novels in question. The results point to the similarity between the extraordinary man in Dostoiévski and insurgent man in Camus. Can conclude that the similarity between the two takes on the theme of crime and, especially, the characteristics of the characters protagonists of the novels studied. Raskólnikov, by Crime and Punishment; Patrice Mersault, by The Happy Death, and Meursault, by The Stranger are unique individuals. They seek - each in his own way and his time - his desire to exhaust from the perspective of those values previously consolidated by the social structure. This motion of search of the transmutation of values found, in the act of revolt, the possibilities of building a new man, which is a beyond-man.

No description available.

This paper explores the dialectical concept of love in Dostoyevsky's The Brothers Karamazov through Katerina and Grushenka, the heroines, and Dmitri Karamazov. Dostoyevsky's dialectic is most accurately described by the terms Eros and Agape, as defined by Denis de Rougemont in Love in the Western World. Chapter One examines the character of Katerina and establishes that although her love is ostensibly Agape, her most frequent expression of love is Eros. Chapter Two establishes that Grushenka's most frequent expression of love is Agape although ostensibly Eros. Chapter Three demonstrates how each woman personifies a pole of Dmitri Karamazov's inner conflict, and then traces his development with regard to his relationship to each woman.

This study is an examination of the rhetorical concept of the dialectic as it is realized in selected works of North American dystopian literature. The dialectic is one of the main factors in curtailing enlightenment rationalism which, taken to an extreme, would deny man freedom while claiming to bestow freedom upon him. The focus of this dissertation is on an analysis of twentieth-century dystopias and the dialectic of Fyodor Dostoevsky's Grand Inquisitor parable which is a precursor to dystopian literature. The Grand Inquisitor parable of The Brothers Karamazov is a blueprint for dystopian states delineated in anti-utopian fiction. Also, Dostoevsky's parable constitutes a powerful dialectical struggle between polar opposites which are presented in the following twentieth-century dystopias: Zamiatin's Me, Bradbury's Farenheit 451, Vonnegut's Player Piano, and Atwood's The Handmaid's Tale. The dialectic in the dystopian genre presents a give and take between the opposites of faith and doubt, liberty and slavery, and it often presents the individual of the anti-utopian state with a choice. When presented with the dialectic, then, the individual is presented with the capacity to make a real choice; therefore, he is presented with a hope for salvation in the totalitarian dystopias of modern twentieth-century literature.

Note:

St. John 12:24, used by Dostoyevskij as an epigraph to his last and highly acclaimed novel BpaTbJI KapaMa30BbI (The Brothers Karamazov), served as an inspiration for Andre Gide. The title of the latter's contentious autobiography Si le grain ne meurt (If it die ... ), is part of the same biblical verse. The significance of Dostoyevskij's epigraph and Gide's title are critically examined with regard to ideologies expressed in their literary works. Analogies and contrasts are scrutinised: considerable similarities but more discrepancies are discerned. Intense crises in Dostoyevskij's life led to an upward movement, reflected in his oeuvre, reaching out toward Christ's message as revealed by St. John 12:24. On the other hand, Gide started his career imbued with the above message, but gradually he deviated from it and died an atheist. His fascination with Dostoyevskij prompted him to write a profound biography on the great Russian, containing a perceptive article on The Brothers Karamazov when this novel was still practically unknown in the West. Dostoyevskij's pre-eminence as ideological author, psychologist, philosopher and artist is highlighted while Gide is disclosed as the moralistic immoralist of his time. The thesis suggested here is that Dostoyevskij's ideology of self-abnegation in order to be regenerated into eternal life challenged Gide to reject this concept. Therein lies his paradoxical "adaptation". The purpose is to uncover the religious perceptions in Dostoyevskij's four major novels, to establish that his fictional characters, though never used as mouthpieces for the author, represent his universal philosophy and transmit the author's quest for truth to the reader, and finally to examine Gide's reaction to Dostoyevskij's influence / Classics & Modern European Languages / D. Litt. et Phil. (Russian)

St. John 12:24, used by Dostoyevskij as an epigraph to his last and highly acclaimed novel BpaTbJI KapaMa30BbI (The Brothers Karamazov), served as an inspiration for Andre Gide. The title of the latter's contentious autobiography Si le grain ne meurt (If it die ... ), is part of the same biblical verse. The significance of Dostoyevskij's epigraph and Gide's title are critically examined with regard to ideologies expressed in their literary works. Analogies and contrasts are scrutinised: considerable similarities but more discrepancies are discerned. Intense crises in Dostoyevskij's life led to an upward movement, reflected in his oeuvre, reaching out toward Christ's message as revealed by St. John 12:24. On the other hand, Gide started his career imbued with the above message, but gradually he deviated from it and died an atheist. His fascination with Dostoyevskij prompted him to write a profound biography on the great Russian, containing a perceptive article on The Brothers Karamazov when this novel was still practically unknown in the West. Dostoyevskij's pre-eminence as ideological author, psychologist, philosopher and artist is highlighted while Gide is disclosed as the moralistic immoralist of his time. The thesis suggested here is that Dostoyevskij's ideology of self-abnegation in order to be regenerated into eternal life challenged Gide to reject this concept. Therein lies his paradoxical "adaptation". The purpose is to uncover the religious perceptions in Dostoyevskij's four major novels, to establish that his fictional characters, though never used as mouthpieces for the author, represent his universal philosophy and transmit the author's quest for truth to the reader, and finally to examine Gide's reaction to Dostoyevskij's influence / Classics and Modern European Languages / D. Litt. et Phil. (Russian)

Excess, Sex & Elevation is an attempt to understand the desire for truth in the work of Emmanuel Levinas, Friedrich Nietzsche, and Fyodor Dostoevsky. Nothing is said about what truth is, but rather why it is wanted and how it is sought. Despite their different religious beliefs (Levinas a Jew, Nietzsche an atheist, Dostoevsky a Christian), the three thinkers hold remarkably similar conceptions of truth. Truth is an individual pursuit -- upwards. The self experiences a crisis of conscience upon discovering its originary excess, which is sex. The self suffers spiritually for what it is physically through the art of ascesis, turning the lust for sex into the desire for truth. And therein begins the self's elevation to the heights of truth.

No description available.

Gogol, Dostoevsky and Bely are three Russian novelists, most of whose writings are set in the city of St. Petersburg, and whose feelings for their city were a bizarre mixture of love and hatred. / This dissertation is divided into four chapters, the first of which is a survey of the attitudes held by the literary predecessors and contemporaries of Gogol, Dostoevsky and Bely toward St. Petersburg, and a discussion of the influence of the French feuilletons on the nineteenth-century Russian urban novel. The second chapter is an investigation of the overall image of the city as presented to the reader by the three writers. The predominantly tragic fate of the novelists' heroes is discussed in the third chapter. The final chapter is a study of six major recurrent themes which link the urban novels of Gogol, Dostoevsky and Bely.