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Stellvertretung represents a consistent and central hermeneutic for Bonhoeffer. This thesis demonstrates that, in contrast to other translations, a more precise interpretation of Bonhoeffer's use of Stellvertretung would be 'vicarious suffering'. For Bonhoeffer Stellvertretung as 'vicarious suffering' illuminates not only the action of God in Christ for the sins of the world, but also Christian discipleship as participation in Christ's suffering for others; to be as Christ: Schuldübernahme. In this understanding of Stellvertretung as vicarious suffering Bonhoeffer demonstrates independence from his Protestant (Lutheran) heritage and reflects an interpretation that bears comparison with broader ecumenical understanding. This study of Bonhoeffer's writings draws attention to Bonhoeffer's critical affection towards Catholicism and highlights the theological importance of vicarious suffering during a period of renewal in Catholic theology, popular piety and fictional literature. Although Bonhoeffer references fictional literature in his writings, and indicates its importance in ethical and theological discussion, there has been little attempt to analyse or consider its contribution to Bonhoeffer's theology. This thesis fills this lacuna in its consideration of the reception by Bonhoeffer of the writings of Georges Bernanos, Reinhold Schneider and Fyodor Dostoevsky. Each of these writers features vicarious suffering, or its conceptual equivalent, as an important motif. According to Bonhoeffer Christian discipleship is the action of vicarious suffering (Stellvertretung) and of Verantwortung (responsibility) in love for others and of taking upon oneself the Schuld that burdens the world.

Este trabalho tem por objetivo discutir o pensamento político de Dostoiévski a partir de uma comparação entre Notas de Inverno sobre Impressões de Verão (1863) ciclo de artigos reunindo as impressões do autor sobre sua primeira viagem à Europa, em 1862 e outro importante relato de viagem anterior ao de Dostoiévski, Cartas de França e Itália (1855), de Aleksandr Gertsen (Herzen). Estas duas obras, cujos autores ocupam posições bastante distintas dentre o espectro Ocidentalista-Eslavófilo do século XIX russo, contêm em germe as ideias políticas de ambos, sobretudo no que diz respeito à complexa relação Rússia-Ocidente. Entendo que cotejar Dostoiévski com um dos principais representantes de seus adversários ideológicos é um modo profícuo de problematizar, e assim melhor compreender, suas ideias políticas / The dissertation aims at discussing Dostoevsky\'s political thinking. This shall be done through the comparative analysis of Winter Notes on Summer Impressions (1863) a collection of articles on the author\'s impressions after his first trip to Europe, in 1862 and another important travelogue that preceded Dostoevsky\'s, Letters from France and Italy (1855), by Aleksandr Gertsen (Herzen). These two works, whose authors take rather divergent positions within the Westernizers-Slavophiles spectrum in 19th century Russia, synthesize their political views, chiefly concerning the complex relationship between Russia and the West. My claim is that comparing Dostoevsky to one of the main spokesmen of his ideological antagonists may prove fruitful to understanding his political ideas

Este trabalho tem por objetivo discutir o pensamento político de Dostoiévski a partir de uma comparação entre Notas de Inverno sobre Impressões de Verão (1863) ciclo de artigos reunindo as impressões do autor sobre sua primeira viagem à Europa, em 1862 e outro importante relato de viagem anterior ao de Dostoiévski, Cartas de França e Itália (1855), de Aleksandr Gertsen (Herzen). Estas duas obras, cujos autores ocupam posições bastante distintas dentre o espectro Ocidentalista-Eslavófilo do século XIX russo, contêm em germe as ideias políticas de ambos, sobretudo no que diz respeito à complexa relação Rússia-Ocidente. Entendo que cotejar Dostoiévski com um dos principais representantes de seus adversários ideológicos é um modo profícuo de problematizar, e assim melhor compreender, suas ideias políticas / The dissertation aims at discussing Dostoevsky\'s political thinking. This shall be done through the comparative analysis of Winter Notes on Summer Impressions (1863) a collection of articles on the author\'s impressions after his first trip to Europe, in 1862 and another important travelogue that preceded Dostoevsky\'s, Letters from France and Italy (1855), by Aleksandr Gertsen (Herzen). These two works, whose authors take rather divergent positions within the Westernizers-Slavophiles spectrum in 19th century Russia, synthesize their political views, chiefly concerning the complex relationship between Russia and the West. My claim is that comparing Dostoevsky to one of the main spokesmen of his ideological antagonists may prove fruitful to understanding his political ideas

Bien que l'œuvre de Nathalie Sarraute ne traite pas directement du double en tant que motif littéraire, il n'en demeure pas moins que la poétique du double constitue la base d'une large part de ses récits et se manifeste précisément par le biais de la figure de l'équivoque, grâce à une rhétorique qui met en jeu l'inlassable dynamique entre le visible et l'invisible, le dicible et l'indicible, la surface et le contenu, le trompe l'œil et le sous-entendu. Pour révéler la vaste gamme de phénomènes qui s'intègrent à la définition du double chez Sarraute, nous allons nous inspirer, comme elle, de ses lectures de Dostoïevski, écrivain qui entame avec Le Double une métamorphose de la figure héritée de la littérature fantastique. Cette étude porte donc sur la relation qui se tisse entre les textes de Sarraute et Dostoïevski du point de vue de l'évolution de la figure du double. Par la mise en scène d'un sujet en crise qui intériorise l'altérité tout en la reniant sans relâche, Dostoïevski, plus encore que d'autres, semble avoir fourni à Nathalie Sarraute une riche matière de réflexion sur l'identité du personnage, de l'auteur et de l'œuvre littéraire en général. Dès lors que l'altérité perturbe l'unité de toute représentation, le lecteur est conduit à osciller constamment soit entre deux niveaux différents de la réalité, celui des apparences et des ressentis, soit entre les multiples interprétations de ces derniers. L'écriture des tropismes, ces mouvements intérieurs sous-jacents, apparaît de la sorte comme l'écriture de ce qui n'est pas seulement double, mais multiplication de doubles et division infinie. / Even if Nathalie Sarraute's work does not provide an explicit interpretation of the double as a literary device for articulating the experience of self-division, it is obvious that the poetics of the double is present in a wide part of her novels by the means of a rhetoric which brings into play the dynamics of the relationship between what can be visible and invisible, be said and not, the surface and the contents, the illusion and the allusion. In order to study the broad range of phenomena that can be associated to Sarraute's definition of the double, we have been inspired, as herself, by the readings of Dostoevsky, who starts, with The Double, a process of metamorphosis of doppelganger inherited from the fantastic literature. So, the main purpose of our research is to analyze the various relationships that exist between the texts of Sarraute and Dostoevsky from the point of view of the evolution of the double. By drawing a subject in crisis divided between his ambiguous necessity of interiorizing the otherness and denying it, Dostoevsky seems to lead Nathalie Sarraute to question the nature and identity of the characters, of the author and even of the literary work. Since the otherness disturbs the unity of any representation, the reader is lead to waver all the time either between the two different levels of the reality, that of the illusory appearances and that of the tropisms, or between the multiple interpretations of these last ones. Sarraute's writing becomes then writing not only of the double, but also of the multiplication of doubles and of the infinite division.

Este trabalho trata do jogo de contextos envolvidos no intertexto Arlt-Dostoiévski. Ele sustenta que, por trás do espaço intertextual, há um choque e uma interação de contextos através da representação literária e da modelação, em que a representação literária de um contexto a media e estrutura a interpretação e a ficcionalização de um contexto b. Nisto consiste o conceito de intercontextualização, o qual lança a base para o presente estudo acerca do intertexto Arl-Dostoiévski. No caso da transtextualização da ficção dostoievskiana por Arlt, a constituição literário-arquetípica é de importância fundamental. Portanto, o arquétipo do subsolo é investigado como a instância representacional de tradições clandestinas, subversivas e não-canônicas. Essas tradições – às quais eu chamo de tradições subterrâneas –, mediadas através do material ficcional dostoievskiano, representam para Arlt uma alternativa global e ampla à tradição crioula tal como fabricada pela elite argentina como suporte cultural para seu projeto político. Não pretendo aqui apresentar uma análise histórica em profundidade dos elementos contextuais específicos ligados a cada um dos textos em diálogo. Em vez disso, proponho estabelecer os princípios teóricos para a leitura intercontextual dos arquétipos literários e seu papel no processo de recepção-criação. / This work deals with the interplay of contexts involved in the Arlt-Dostoevsky intertext. It asserts that, behind the intertextual space, there is a clash and an interrelation of contexts through literary representation and modeling, where the literary representation of a context a mediate and structure the interpretation and the fictionalization of a given receptive context b. In this consists the concept of intercontextualization, which lays the basis for this study on the Arlt-Dostoevsky intertext. In the case of Arlt’s transtextualization of Dostoevskyan fiction, the literary-archetypal constitution is of fundamental importance. Therefore, the underground archetype is investigated as the representational instance of clandestine, subversive and noncanonical traditions. These traditions – which I call underground traditions –, mediated through the Dostoevskyan fictional material, represent to Arlt a global and wide alternative to the criollo tradition as fabricated by the Argentinean elite as a cultural support for their political agenda. I do not intend here to present an in-depth historical analysis of the specific contextual elements connected to each of texts in dialog. Instead, I propose to set the theoretical principles to the intercontextual reading of the literary archetypes and their role in the process of reception-creation.

Este trabalho trata do jogo de contextos envolvidos no intertexto Arlt-Dostoiévski. Ele sustenta que, por trás do espaço intertextual, há um choque e uma interação de contextos através da representação literária e da modelação, em que a representação literária de um contexto a media e estrutura a interpretação e a ficcionalização de um contexto b. Nisto consiste o conceito de intercontextualização, o qual lança a base para o presente estudo acerca do intertexto Arl-Dostoiévski. No caso da transtextualização da ficção dostoievskiana por Arlt, a constituição literário-arquetípica é de importância fundamental. Portanto, o arquétipo do subsolo é investigado como a instância representacional de tradições clandestinas, subversivas e não-canônicas. Essas tradições – às quais eu chamo de tradições subterrâneas –, mediadas através do material ficcional dostoievskiano, representam para Arlt uma alternativa global e ampla à tradição crioula tal como fabricada pela elite argentina como suporte cultural para seu projeto político. Não pretendo aqui apresentar uma análise histórica em profundidade dos elementos contextuais específicos ligados a cada um dos textos em diálogo. Em vez disso, proponho estabelecer os princípios teóricos para a leitura intercontextual dos arquétipos literários e seu papel no processo de recepção-criação. / This work deals with the interplay of contexts involved in the Arlt-Dostoevsky intertext. It asserts that, behind the intertextual space, there is a clash and an interrelation of contexts through literary representation and modeling, where the literary representation of a context a mediate and structure the interpretation and the fictionalization of a given receptive context b. In this consists the concept of intercontextualization, which lays the basis for this study on the Arlt-Dostoevsky intertext. In the case of Arlt’s transtextualization of Dostoevskyan fiction, the literary-archetypal constitution is of fundamental importance. Therefore, the underground archetype is investigated as the representational instance of clandestine, subversive and noncanonical traditions. These traditions – which I call underground traditions –, mediated through the Dostoevskyan fictional material, represent to Arlt a global and wide alternative to the criollo tradition as fabricated by the Argentinean elite as a cultural support for their political agenda. I do not intend here to present an in-depth historical analysis of the specific contextual elements connected to each of texts in dialog. Instead, I propose to set the theoretical principles to the intercontextual reading of the literary archetypes and their role in the process of reception-creation.

Este trabalho trata do jogo de contextos envolvidos no intertexto Arlt-Dostoiévski. Ele sustenta que, por trás do espaço intertextual, há um choque e uma interação de contextos através da representação literária e da modelação, em que a representação literária de um contexto a media e estrutura a interpretação e a ficcionalização de um contexto b. Nisto consiste o conceito de intercontextualização, o qual lança a base para o presente estudo acerca do intertexto Arl-Dostoiévski. No caso da transtextualização da ficção dostoievskiana por Arlt, a constituição literário-arquetípica é de importância fundamental. Portanto, o arquétipo do subsolo é investigado como a instância representacional de tradições clandestinas, subversivas e não-canônicas. Essas tradições – às quais eu chamo de tradições subterrâneas –, mediadas através do material ficcional dostoievskiano, representam para Arlt uma alternativa global e ampla à tradição crioula tal como fabricada pela elite argentina como suporte cultural para seu projeto político. Não pretendo aqui apresentar uma análise histórica em profundidade dos elementos contextuais específicos ligados a cada um dos textos em diálogo. Em vez disso, proponho estabelecer os princípios teóricos para a leitura intercontextual dos arquétipos literários e seu papel no processo de recepção-criação. / This work deals with the interplay of contexts involved in the Arlt-Dostoevsky intertext. It asserts that, behind the intertextual space, there is a clash and an interrelation of contexts through literary representation and modeling, where the literary representation of a context a mediate and structure the interpretation and the fictionalization of a given receptive context b. In this consists the concept of intercontextualization, which lays the basis for this study on the Arlt-Dostoevsky intertext. In the case of Arlt’s transtextualization of Dostoevskyan fiction, the literary-archetypal constitution is of fundamental importance. Therefore, the underground archetype is investigated as the representational instance of clandestine, subversive and noncanonical traditions. These traditions – which I call underground traditions –, mediated through the Dostoevskyan fictional material, represent to Arlt a global and wide alternative to the criollo tradition as fabricated by the Argentinean elite as a cultural support for their political agenda. I do not intend here to present an in-depth historical analysis of the specific contextual elements connected to each of texts in dialog. Instead, I propose to set the theoretical principles to the intercontextual reading of the literary archetypes and their role in the process of reception-creation.

In the current landscape of Sweden, easy-to-read literature demand is surging. But the opinions of its shape and form are being questioned: is this type of literature in reality easier to understand, or is the removed content in fact making it less comprehensive? The study’s purpose is to analyze easy-to-read literature’s ability to manage complex motives, and if it changes the reading experience from the original. To attempt that, the study uses a comparative analysis of Fyodor Dostoevsky’s Crime and punishment and its easy-to-read adaptation, written by Johan Werkmäster. To understand how Werkmäster’s adaptation manages complex motives, the comparative analysis uses three motives from Professor George Strem, who argues that Crime and punishment is built on suffering, humility and the ideal of the Superman. To answer whether the easy-to-read version changes the reading experience or not, the study uses Professor Rita Felski’s terminology of chock and Anna Nordenstam and Christina Olin-Scheller’s identification.   The analysis shows that the easy-to-read version of Crime and punishment maintains the main story but excludes the ideal of the Superman, which alters the understanding of suffering and humility. As a consequence this also means Felski’s chock is replaced by Nordenstam and Olin-Scheller’s identification, showing that the reading experience is indeed changed.    The conclusion is that the changes in the adaptation cause problems regarding the reader’s ability to understand Raskolnikov. The result also leads to question what the most important factor is when reading easy-to-read literature. Whereas the authors and publishers argue that literacy and motivation is essential to the target audience, Felski and Nordenstam and Olin-Scheller claim that the reading experience is more important. This shows the need of more science in this area to create a consensus of what easy-to-read literature should be, and how it best helps the readers develop their reading ability.

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.