Thesis (M.A.)--Kutztown University of Pennsylvania, 2000. / Source: Masters Abstracts International, Volume: 45-06, page: 2822. Typescript. Abstract precedes thesis as preliminary leaves I-V. Includes bibliographical references (leaves 104-106).

Thesis (M. Div.)--St. Vladimir's Orthodox Theological Seminary, 1981. / Includes bibliographical references (leaves [85-86]).

Thesis (M.C.S.)--Regent College, 2005. / Abstract and vita. Includes bibliographical references (leaves 114-119).

Thesis (M.C.S.)--Regent College, 1995. / Includes abstract and vita. Includes bibliographical references (leaves 104-109).

Thesis (M.C.S.)--Regent College, 2005. / Abstract and vita. Includes bibliographical references (leaves 114-119).

Revision of the author's Thesis (doctoral)--Paris VII, 1987. / Includes bibliographical references (p. 441-449).

This thesis looks at two questions regarding the teaching of Fyodor Dostoyevsky's works in high school and junior college: which of Dostoyevsky's works should be used, and what materials in those works selected should one consider most necessary for emphasis in the actual teaching of the works.

Thesis (M.A. in Theological Studies) -- University of Dayton. / Title from PDF t.p. (viewed 10/07/09). Advisor: Kelly S. Johnson. Includes bibliographical references (p. 108-109).

The thesis systematically explicates Dostoevsky's portrayal of the origin of human evil on earth through the novel The Brothers Karamazov. Drawing from the novel and from Augustine, Pelagius, and Luther, the explication compares and contrasts Dostoevsky's doctrine of original conflict against the three theologians' views of original sin. Following a brief summary of the three earlier theories of original sin, the thesis describes Dostoevsky's peculiar doctrine of Karamazovism and his unique account of how human evil originated. Finally, the thesis shows how suffering, love, and guilt grow out of the original conflict and how the image of Christ serves as an icon of the special kind of social unity projected by Zosima the Elder in The Brothers Karamazov.

In the "metaphysical vacuum" of The Possessed Stepan Trofimovitch Verhovensky is symbolic of a non-productive stewardship--a father who did not father, a teacher who did not teach, and elder who did not will wisdom and tradition to the dependent younger generation. It is puzzling how little critical notice has been taken of Stepan, and it is a lonely position to find in him the key to the teeming, chaotic world of the novel, but this is the thesis which will be pursued.