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В данной магистерской работе произведен анализ мотивации поступков, главной героини романа Льва Толстого «Анна Каренина». Работа основывается на научных исследованиях: Сливицкой О., Эткинда Е., Ветловской В., Мардова И. и др. В резу��ьтате исс��едования выясняются внешние и внутренние мотивы поступков Анны, причины распада семьи Карениных. На протяжении всего романа Толстого интересует связь внешних и внутренних побуждений Анны, из которых �����ырастают поступки, ведущие, в конечном итоге, к ее гибели. Анализ различных аспектов характера Анны приводит к выводу, что мотивация ее поступков многообразна. Раскрывая образ Анны, в своем романе, Толстой предвосхитил развитие поведенческой психологии в науке будущего. / Šiame magistriniame darbe, remiantis Slivickajos O., Etkindo E., Vetlovskajos V.., Mardovo J. ir kitų moksliniais tyrimais, analizuojama L.Tolstojaus romano “Anna Karenina” pagrindinės veikėjos elgesio motyvacija. Išsiaškinami išoriniai ir vidiniai Anos Kareninos poelgių motyvai ir jos šeimos iširimo priežastys. Viso romano eigoje L.Tolstojų domina išorinių ir vidinių paskatų ryšys, iš kurio išauga poelgiai vedantys prie Anos Karenonos žūties. Analizuojant įvairias Anos Kareninos būdo savybes prieinama išvados, kad jos elgesio motyvacija skirtinga. Vaizduojant Anos Kareninos paveikslą L.Tolstojus pasireiškia kaip vienas elgesio psichologijos pirmtakių. / This survey gives the analysis of motivational behaviour of Anna Karenina,the main character in Leo Tolstoy’s novel “Anna Karenina”. The work is based on the monographs of Slivitskaya O.,Etkind E.,Vetlovskaya V. and Mardov I. Following the survey there have been elucidated the external and interior motives of Anna’s deeds and the motive of the disintegration of Karenin’s family. Along the whole novel Leo Tolstoy shows the connection between Anna’s external and interior incentives which leads at the end to her death. The analysis of different aspects of Anna’s character gives us an idea that the motivation of her deeds is diverse. Depicting Anna’s portray Leo Tolstoy anticipated the development of motivational psychology in the future.

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This work examines the perceptions of women in art and literature in Russia during the later half of the nineteenth century. It specifically focuses on the women question and examines women's function and role in Russian society and how different visual artists along with Tolstoy examine this issue through their artwork. The first section of the work focuses specifically on women's social conditions in Russia highlighting their role as daughter, wife and mother. It examines the educational system in place designed for women and the limitations placed upon women concerning marriage and family life. Along with the historical and social analysis, this section also examines three Russian artists' portrayal of various issues relating to the woman question and the role, or lack thereof, of women in society. The second section examines Tolstoy's initial examination of women's issues through his novella "Family Happiness," and attempts to answer the question: On what side of the woman question debate is Tolstoy? It challenges the accepted,traditional reading of Tolstoy's work as misogynistic and anti-woman, and reveals through a careful reading of the text, a sympathetic female character. The last section deals with his monumental work, Anna Karenina, with a specific examination of how Tolstoy deals with the character Anna. It negates previous readings of the text by other critics who attempt to reveal Tolstoy's antagonistic behavior toward the women characters in the text. Through a careful reading of specific passages of the text, the work shows that Tolstoy also creates a sympathetic character in Anna. This work concludes attempting to position Tolstoy on neither side of the woman question, not the case with the artists studied in the work nor other authors mentioned during this period in history, and instead reveals Tolstoy's determination to create characters and situations which are present in every society. In his approach, Tolstoy has succeeded in surpassing the boundaries of class and time and created characters and situations universal.

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I filmen Anna Karenina (Wright, 2012) används mise-en-scène för att skildra det sociala livet hos den ryska aristokratin i slutet av 1800-talet. Men på vilket sätt kan filmens narrativ förmedlas till publiken genom filmens visuella uttryck? Den här uppsatsen undersöker hur iscensättning kan använda symbolik för att skildra en films narrativ. Analysen utgår från sju scener ur Anna Karenina som tolkas efter dess scenografi, kostymering och ljussättning. Uppsatsen använder denotation och konnotation för att undersöka vilka tolkningar som kommer av filmens visuella uttryck. Analysen visar hur aristokraterna porträtteras i en teatral miljö för att skildra hur deras sociala interaktioner blir till ett framträdande, den teatrala miljön skildras genom både scenografi och ljussättning. Kostym tolkas bland annat utifrån färgsymbolik vilket kan ge flera olika tolkningar angående karaktärernas motiv och sinnesstämning. Undersökningens slutsats blir att filmens narrativ förstärks av dess scenografi, kostym och ljussättning men att det ofta finns flera möjliga tolkningar att göra gällande symboliken.

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Anna Karénine raconte l'histoire de deux destinées opposées, mais intrinsèquement liées par une question centrale : comment donner un sens à l'existence humaine? Obsession vitale de Tolstoï, ce problème traverse et unit l'oeuvre, ouvrant sur une vaste réflexion philosophique. Nous avons choisi deux thèmes majeurs pour la développer. Le premier axe se concentre sur la conscience tragique de la mort, le deuxième explore l'impact du lieu sur l'identité des personnages en opposant la ville et la campagne. Au fur et à mesure du roman, la recherche existentielle des personnages s'amplifie à tel point que la frontière entre fiction et réalité s'amenuise. C'est finalement la quête de Tolstoï lui-même qui est en jeu dans Anna Karénine, transformant l'ouvrage en un témoignage de sa pensée.