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Fyodor Dostoevsky is often regarded as a proponent of the rights of the poor and downtrodden in Russian society in the 19th century. This view is usually based on the work of his youth - his first short novel and his early short stories. An examination of his major novels - all of which were written during his mature years between 1861 and 1879 - shows, however, that his views were far removed from those of the progressive members of Russian society of his day (the 11 intelligentsia11 ) and that his opinions became more reactionary with advancing age. By the time of his death in 1881, Dostoevsky had long been an opponent of democratic ideals and a keen supporter of the autocratic regime of Tsar Alexander II. / Linguistics and Modern Languages / M.A. (Russian)

周昭端. / 論文 (哲學碩士)--香港中文大學, 1999. / 參考文獻 (leaves 73-74). / 附中英文摘要. / Zhou Zhaoduan. / Lun wen (zhe xue shuo shi)-- Xianggang Zhong wen da xue, 1999. / Can kao wen xian (leaves 73-74). / Fu Zhong Ying wen zhai yao. / Chapter 第一章 --- 導言 --- p.1 / Chapter 第二章 --- 虛無主義的内涵 --- p.6 / Chapter 2.1 --- 虛無主義的時代 --- p.6 / Chapter 2.2 --- 〈父與子〉中的虛無主義 --- p.7 / Chapter 2.3 --- 尼釆與虛無主義 --- p.9 / Chapter 2.4 --- 陀思妥耶夫斯基與虛無主義 --- p.12 / Chapter 2.5 --- 兩個虛無主義者的典型 --- p.17 / Chapter 2.6 --- 虚無主義留下的廢壚 --- p.24 / Chapter 第三章 --- 虛無主義的成因 --- p.28 / Chapter 3.1 --- 虛無主義的先聲 --- p.28 / Chapter 3.2 --- 宗教衰微與虛無主義 --- p.29 / Chapter 3.3 --- 科學與虛無主義 --- p.35 / Chapter 3.4 --- 虛無主義的事實 --- p.38 / Chapter 第四章 --- 對虛無主義的回答 --- p.41 / Chapter 4.1 --- 虛無主義的终局 --- p.41 / Chapter 4.2 --- 虛無主義是一個有關人性的問題 --- p.43 / Chapter 4.3 --- 對伊凡和基里洛夫問題的回應 --- p.49 / Chapter 4.4 --- 小¨®Ơ中人物對虚無主義的不同回答 --- p.50 / Chapter 4.5 --- 虛無主義的問題是否就此完結？ --- p.57 / Chapter 第五章 --- 總結與評價 --- p.61 / 參考書目 --- p.73

Dans le présent mémoire, nous tentons de démontrer que la poétique de Dostoïevski, dans sa période de l'après-bagne, s'articule essentiellement autour du concept-clé de « moment décisif ». Celui-ci renvoie notamment à l'ensemble des procédés narratifs inspirés du mélodrame auquel l'auteur a recours lors des scènes de rencontres extraordinaires et théâtrales qui foisonnent dans son œuvre et que nous qualifions de « conclaves polyphoniques ». Ces passages d'une importance cruciale rassemblent toutes les caractéristiques du moment décisif : le temps y devient élastique, les événements s'enchaînent de façon incohérente et imprévisible, et les personnages, souvent malades ou délirants, s'y trouvent livrés à des forces inconnues qui marqueront pour toujours la fracture de leur destinée en un avant et un après. Du point de vue formel, ces passages sont caractérisés par une dynamique de rupture, de fracas et d'incohérence, modalité propre au moment décisif. Ce dernier tient également lieu de complexe situationnel dont dépend tant la mise en intrigue que la caractérisation des personnages. En effet, l'intrigue dostoïevskienne se joue à coups de brisure, et les héros y passent d'une crise à une autre, ce qui mène à la redéfinition complète de leur conscience de soi. Ces accès d'extrême lucidité qui leur permettent de poser un regard nouveau non seulement sur eux-mêmes, mais sur leurs semblables et sur le monde, sont accompagnés d'une altération des sens ou sont carrément causés par la maladie. Cette dernière joue d'ailleurs un rôle d'une importance capitale dans le discours de certains des personnages les plus marquants de l'œuvre de Dostoïevski. Comme l'auteur, ils ont connu le moment décisif de la révélation par le biais de la maladie; ils ont vacillé sur le seuil entre deux mondes et, comme le condamné à mort ayant survécu à l'exécution (ce qu'a également connu l'auteur), ils ressentent le besoin d'en livrer un témoignage à leurs semblables. Le moment décisif représente ainsi beaucoup plus qu'un simple motif thématique ou encore qu'un strict procédé formel. Chez Dostoïevski, il est à la base même du discours philosophico-religieux qui sous-tend toute son œuvre de l'après-bagne. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : Dostoïevski, Crime et châtiment, Le Joueur, L'Idiot, Les Démons, Les Frères Karamazov, temporalité, polyphonie

The thesis analyzes Fedor Dostoevskii's novella Vechnyi muzh from the perspective of impeded discourse between the reader and the narrative text. It argues that impediment intrinsic to the narrative text affects the enunciative process of the work on various levels. The workings of impediment in Vechnyi muzh are examined on the levels of theme, genre---both in universal and historical terms---and narration. Frustrated reader expectation, uncertainty, and disorientation are shown to be symptomatic of impediment due to three factors: (1) thematic ambiguity on the basis of Dostoevskii's subversion in Vechnyi muzh of the theme of adultery, and of the cuckold motif; (2) genre ambivalence arising from mixed genre signals embedded in the text; (3) inhibited narrative assessment due to restrained narrative technique, and limited narrative perspective.

Dissertação (mestrado)—Universidade de Brasília, Instituto de Letras, Departamento de Teoria Literária e Literaturas, Programa de Pós-Graduação em Literatura, 2016. / Submitted by Camila Duarte (camiladias@bce.unb.br) on 2017-02-23T13:49:53Z No. of bitstreams: 1 2016_RonaldoTeixeiradaSilva.pdf: 1126318 bytes, checksum: c13fbdc3727edb49f22f4d294eebf766 (MD5) / Approved for entry into archive by Ruthléa Nascimento(ruthleanascimento@bce.unb.br) on 2017-03-03T19:16:05Z (GMT) No. of bitstreams: 1 2016_RonaldoTeixeiradaSilva.pdf: 1126318 bytes, checksum: c13fbdc3727edb49f22f4d294eebf766 (MD5) / Made available in DSpace on 2017-03-03T19:16:05Z (GMT). No. of bitstreams: 1 2016_RonaldoTeixeiradaSilva.pdf: 1126318 bytes, checksum: c13fbdc3727edb49f22f4d294eebf766 (MD5) / O presente estudo tem por objetivo identificar o sagrado no romance “O jogador” de Fiódor Mikhailovitch Dostoiévski, a partir da formulação de um roteiro para a leitura. Selecionando os conceitos Semelhança, Imagem, Heterotopia e Circuncisão de Walter Benjamin, Maurice Blanchot, Michel Foucault e Jacques Derrida, respectivamente, elaboramos uma base teórica complementar à teoria do sagrado. Os filósofos da Ciência das Religiões definem o sagrado como a priori, o que vem antes, o inapreensível. Nessa medida, opomos o mundo sagrado ao mundo profano como Émile Durkheim estudou. E, depois, buscamos encontrar no texto literário o numinoso, definido por Rudolf Otto, e a hierofania, de Mircea Eliade, o que resultou em um desafio exitoso na leitura de “O jogador”. O romance escolhido, devido à narrativa, para ser lido na perspectiva do sagrado, nos levou ao estudo das características próprias do jogo. Para tanto, a teoria do jogo, de Johan Huizinga, estudada também por Roger Caillois, possibilitou a compreensão de experiências do sagrado nesse universo. Universo que a antropologia geral de René Girard, há tempo, observa. A teoria mimética referendou o roteiro, emprestando os conceitos de sacrifício e vítima expiatória, de modo particular, bem como a sua visão totalizadora e unitária da humanidade de modo geral. A base teórica escolhida encontrou em Dostoiévski, por meio do romance “O jogador”, mais um capítulo de sua obra que trata do homem do subsolo, agora inserido, contudo, no debate do sagrado. E nesse ambiente literário, a constatação fundamental é que, através do roteiro, a leitura do sagrado flui com efetividade, uma vez que consagra conceitos, apoiados em exemplos, e dialeticamente os renova, aproximando-os da realidade do jogo e apontando uma contribuição orientadora para a análise do sagrado no âmbito da teoria da literatura. / This study aims at identifying the Sacred in the novel The Gambler by Fiódor Mikhailovich Dostoévski providing the formulation of a reading guide. Starting with the concepts of resemblance, imaging, heterotopy and circumcision by Walter Benjamin, Maurice Blanchot, Michel Foucault and Jacques Derrida, we ellaborated a theoretical basis in order to complement the Sacred theory. The philosophers of Religions Science define the concept of Sacred a priori as what comes first, the ungraspable. To that extent, in this work we oppose the Sacred to the profane world as Emile Durkheim studied. Then, we seeked to find the numinous in the literary text, defined by Rudolf Otto, and the hierophany, by Mircea Eliade. This resulted in a successful challenge during the reading of “The Gambler”. The novel was selected due to its narrative and could be read accordingly to the Sacred perspective. It boosted us to study the characteristics of the game itself. Therefore, the theory of the game, by Johan Huizinga, also studied by Roger Caillois, enabled the comprehension of sacred experiences in the Universe. This Universe is been observed by the general anthropology of René Girard, for a long time. The mimetic theory not only endorsed the reading guide, lending the concepts of sacrifice and atoning victim, in particular, but also contributes with its totalizing and unitary views of humanity in general. The theoretical basis found in Dostoiévski, in the novel “The Gambler”, suggests that another chapter of Dostoiévski´s work deals with the underground man, now inserted, however, in the Sacred debate. In this literary environment, the key finding is that, with the reading guide, the act of reading the sacred flows with effectiveness since it enshrines concepts, which is supported by examples and dialectically renews them, approaching the reality of the game and pointing a guiding contribution to the sacred analysis in the context of literary theory.

Undoubtedly, Dostoyevsky's influence upon the novel is great, but, even yet, few concrete studies have been made and no full-length study has been published. It is hoped that this account of Dostoyevsky's reputation in America during the 1920's will be of assistance in the greater task of tracing Dostoyevsky's influence.

Fyodor Dostoevsky is often regarded as a proponent of the rights of the poor and downtrodden in Russian society in the 19th century. This view is usually based on the work of his youth - his first short novel and his early short stories. An examination of his major novels - all of which were written during his mature years between 1861 and 1879 - shows, however, that his views were far removed from those of the progressive members of Russian society of his day (the 11 intelligentsia11 ) and that his opinions became more reactionary with advancing age. By the time of his death in 1881, Dostoevsky had long been an opponent of democratic ideals and a keen supporter of the autocratic regime of Tsar Alexander II. / Linguistics and Modern Languages / M.A. (Russian)

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