It is the purpose of this thesis to trace the influence on the development of Tolstoy as a literary genius of several women with whom he came in close contact during his long life. The first woman considered is Countess Mary Tolstoy, the saintly mother who died when her son was less than two years old. All that he knew of her, he learned indirectly from her letters and diary, from old servants, friends, and relatives, and more especially from "Aunt" Tatyana Yergolskaya. However, her influence was so great, inspite of the fact that he never remembered her personally, that she must occupy a prominent place in this work. She became for her famous son an ideal, a seeker for truth, a mother-image and a standard of self-sacrificing womanhood against which, throughout his life all women were measured and fell short. Another woman whose influence on Tolstoy was somewhat indirect was his "Aunt" Alexandra Andreievna Tolstoy, to whom he wrote and in whom he confided from his early manhood till her death in 1903, but whom he rarely met. His correspondence with her has been used in this thesis. The woman who had the most direct influence on Tolstoy during his early formative years was Tatyana Yergolskaya. It was she who not only kept always before him the image of his saintly mother, but who herself became its reflection. It was she who created the warm nest, protecting him from the cold realities of life and making his future adjustment so difficult; who through, her loving self-sacrifice developed his egoism; and who first inspired him to write. Amongst the women with whom Tolstoy fell in love, Valeria Arseniev held a unique position. It was not that she influenced him directly, but indirectly she contributed to his development, in that during his courtship, while weighing the advisability of marriage, Tolstoy crystalized his ideas of what a wife should be, and what role she should play in his life. Valeria fell short of his ideal of womanhood and his conception of a help-mate. He searched elsewhere. The greatest influence on his genius was undoubtedly his wife, Sophia. Having found the woman who, he felt, measured up as closely as possible to his requirements of a self-sacrificing worker, an intellectual companion and literary helper, a loyal, dedicated loving mother, he married in haste. Prom 1862-1877 Sophia's influence was paramount. Believing in her mission, to.be nurse to his genius, she created the atmosphere conducive to his writing; she gave him the stable home life with a large family that he wanted and needed as anchor; she encouraged him to write by her unflagging belief in his talent and her adroit use of flattery, cajolery, and gentle prodding; she made it possible for him to devote all his powers to purely creative work by tirelessly transcribing and intelligently criticizing his work; and she cared for his physical and mental wellbeing by taking off his shoulders, as far as she was able, the weight of mundane matters to do with family, estate, business, and publishing. But even she fell short of the mother-image. In later life the moralist and the seeker transcended the creative artist. Here, Sophia would not, and indeed could not, follow her husband. She could not see the god for the feet of clay. With his last artistic work, Resurrection, her influence ceased and her work ended. She who had been his help-mate in his literary work became his cross in his moral labour. Tolstoy owed a tremendous debt to the women who had influenced his life, but for once, the seer was blind — he could not see the forest for the trees. At seventy-one he said that his opinion of women had been falling for seventy years — this enigmatic statement can be explained. Each woman in his life fell short of his ideal mother-image. / Arts, Faculty of / Central Eastern Northern European Studies, Department of / Graduate

Made available in DSpace on 2014-06-11T19:26:51Z (GMT). No. of bitstreams: 0 Previous issue date: 2009-07-31Bitstream added on 2014-06-13T20:15:55Z : No. of bitstreams: 1 freire_zrns_dr_assis.pdf: 661554 bytes, checksum: 3e8ea567fecb8890662a073770930245 (MD5) / Universidade Estadual do Mato Grosso do Sul / A presente tese tem por objetivo avaliar a concepção de arte dos escritores Afonso Henriques de Lima Barreto (1881-1922) e Leon Tolstói (1828-1910) sob um viés comparatista, em busca das divergências e convergências entre ambos. Concepção de arte que apresentam nas respectivas obras, “O destino da literatura” e O que é Arte?. Os escritores desempenharam o papel de “semeador de idéias” e de “batedor do futuro” ao se posicionarem contrários aos “mandarins literários”. Uma arte voltada para o social, aliás, uma literatura militante. Lima Barreto criou uma arte literária que rompeu com os moldes convencionais na virada do século XIX, que tinha como principais representantes: Machado de Assis, Rui Barbosa, Coelho Neto, entre outros; enquanto Leon Tolstói rompeu com a poética romântica e o realismo francês. Ambos foram, terminantemente, contrários à estética da arte pela arte. A referência aos escritores russos é constante na obra barretiana, até porque Lima Barreto jamais omitiu suas leituras. Desde o romance Vida e Morte de M. J. Gonzaga de Sá, o primeiro a ser escrito por Lima, é possível detectar a presença de Leon Tolstói. Presença essa que permeia todo o projeto literário de Lima Barreto e que se faz sentir através da posição que ambos assumem em relação a temas em comum, tais como: a Propriedade, a Igreja, o Estado, a educação da mulher, o serviço militar obrigatório, entre outros. Revelando assim, um eixo em comum: o ideário anarquista. Mas, principalmente, por refletirem sobre a função da literatura e o fazer literário. / This dissertation was carried out to evaluate the conception of art found in the works of Afonso Henriques de Lima Barreto (1881-1922) and Leo Tolstoi (1828 -1910) according to a comparative point-of-view, in order to find out agreements and disagreements between them. Conception of art found in their works “O destino da literatura” and “O que é Arte?”. Both writers played the role of “sowers of ideas” and “beaters of the future” as they put up opposition to the so-called “literary mandarins”. An art oriented to the social issue, that is, a militant literature. Lima Barreto created a literary art which broke off the ties with conventional models in the turn of the 19th century, whose main representatives were Machado de Assis, Rui Barbosa, Coelho Neto, among others; Leo Tolstoi, in his turn, broke off the ties with Romantic poetry and French Realism. Both were utterly opposed to the esthetics of art for art’s sake. References to Russian writers are often found in Lima Barreto’s works, since he never omitted his readings. As early as his first novel Vida e Morte de M. J. Gonzaga de Sá, one can notice Leo Tolstoi’s influence. Influence which permeates all of his literary project and which is felt through the opposition both writers assume in connection with issues they have in common such as: Property, the Church, the State, women’s education, obligatory military draft, among others. Thus, they showed the axis they had in common: the anarchist belief system. But, mainly, because they pondered over the function and the making of literature.

Orientador: Francisco Foot Hardman / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-03T23:12:28Z (GMT). No. of bitstreams: 1 Gomide_Bruno_D.pdf: 6773198 bytes, checksum: 582cba31ba64de34f7288c6bfe0573d8 (MD5) Previous issue date: 2004 / Doutorado

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[pt] A tradução de clássicos feita diretamente a partir do seu idioma original tornou-se um grande chamariz para os leitores. Assim, obras literárias já conhecidas há muito tempo do público brasileiro através de traduções indiretas, principalmente do inglês e do francês, estão sendo reapresentadas agora sob a forma de traduções diretas. Diante do impacto da literatura russa no Ocidente a partir do final do século 19, esta dissertação tem como objeto de estudo as traduções diretas e indiretas para o português de dois grandes autores russos, Tolstói e Dostoiévski, tomando como base a teoria dos polissistemas (Even- Zohar, 1990) e os Estudos Descritivos da Tradução (Toury, 1995; Lefevere, 1992). A partir de comentários elaborados por teóricos e estudiosos da literatura, críticos e tradutores, procura-se determinar a imagem desses autores e de suas respectivas obras - e também da própria literatura russa como um todo - construída por essas traduções, bem como verificar em que medida a imagem resultante das traduções diretas recentemente publicadas difere daquela produzida pelas transposições indiretas. / [en] Direct translations of classic works from the original language have become a major factor used by the publishing industry to attract the reading public. Thus, literary works that had originally reached the Brazilian reading public via indirect translations, primarily from an English or French source text, are now being rendered into Portuguese directly from Russian originals. Considering the impact that Russian literature had in the Western world when it started to circulate in translation in the late 19th century, this thesis focuses on direct and indirect translations into Portuguese of the work of two great Russian authors, Leo Tolstoy and Fyodor Dostoievsky. The study is informed by polysystem theory (Even-Zohar 1990) and Descriptive Translation Studies (Toury, 1995; Lefevere, 1992) and aims, through the analysis of comments produced by literary theoreticians, scholars, critics, and translators, both to determine the image of these authors and their respective works - and of Russian Literature as a whole - that was constructed by these translations and to verify to what extent the image resulting from recent direct translations from the original Russian texts differs from that which was produced by indirect renderings.

Orientador: Sílvia Maria Azevedo / Banca: Homero Freitas de Andrade / Banca: Maria Aparecida Junqueira / Banca: Luiz Roberto Velloso Cairo / Banca: Tânia Regina de Luca / Resumo: A presente tese tem por objetivo avaliar a concepção de arte dos escritores Afonso Henriques de Lima Barreto (1881-1922) e Leon Tolstói (1828-1910) sob um viés comparatista, em busca das divergências e convergências entre ambos. Concepção de arte que apresentam nas respectivas obras, "O destino da literatura" e O que é Arte?. Os escritores desempenharam o papel de "semeador de idéias" e de "batedor do futuro" ao se posicionarem contrários aos "mandarins literários". Uma arte voltada para o social, aliás, uma literatura militante. Lima Barreto criou uma arte literária que rompeu com os moldes convencionais na virada do século XIX, que tinha como principais representantes: Machado de Assis, Rui Barbosa, Coelho Neto, entre outros; enquanto Leon Tolstói rompeu com a poética romântica e o realismo francês. Ambos foram, terminantemente, contrários à estética da arte pela arte. A referência aos escritores russos é constante na obra barretiana, até porque Lima Barreto jamais omitiu suas leituras. Desde o romance Vida e Morte de M. J. Gonzaga de Sá, o primeiro a ser escrito por Lima, é possível detectar a presença de Leon Tolstói. Presença essa que permeia todo o projeto literário de Lima Barreto e que se faz sentir através da posição que ambos assumem em relação a temas em comum, tais como: a Propriedade, a Igreja, o Estado, a educação da mulher, o serviço militar obrigatório, entre outros. Revelando assim, um eixo em comum: o ideário anarquista. Mas, principalmente, por refletirem sobre a função da literatura e o fazer literário. / Abstract: This dissertation was carried out to evaluate the conception of art found in the works of Afonso Henriques de Lima Barreto (1881-1922) and Leo Tolstoi (1828 -1910) according to a comparative point-of-view, in order to find out agreements and disagreements between them. Conception of art found in their works "O destino da literatura" and "O que é Arte?". Both writers played the role of "sowers of ideas" and "beaters of the future" as they put up opposition to the so-called "literary mandarins". An art oriented to the social issue, that is, a militant literature. Lima Barreto created a literary art which broke off the ties with conventional models in the turn of the 19th century, whose main representatives were Machado de Assis, Rui Barbosa, Coelho Neto, among others; Leo Tolstoi, in his turn, broke off the ties with Romantic poetry and French Realism. Both were utterly opposed to the esthetics of art for art's sake. References to Russian writers are often found in Lima Barreto's works, since he never omitted his readings. As early as his first novel Vida e Morte de M. J. Gonzaga de Sá, one can notice Leo Tolstoi's influence. Influence which permeates all of his literary project and which is felt through the opposition both writers assume in connection with issues they have in common such as: Property, the Church, the State, women's education, obligatory military draft, among others. Thus, they showed the axis they had in common: the anarchist belief system. But, mainly, because they pondered over the function and the making of literature. / Doutor

Made available in DSpace on 2016-04-25T19:20:25Z (GMT). No. of bitstreams: 1 Jorge Paulo dos Santos Watrin.pdf: 992080 bytes, checksum: 7926b6ce3249aa15c09cde277f020eb4 (MD5) Previous issue date: 2012-11-29 / This work aims to know the political‐religious thought from the prominent Russian thinker Leo Tolstoy (1828‐1910), in his constant literary essays, written at the second half of the nineteenth century, with emphasis on the work Godʹs Kingdom Is In You. The problem that we are willing to face, at the heart of this work, goes through the sense of radical interpretation dismissed by Tolstoy to the Gospel, considering that his reading of the Good News flows, in crucial aspects, in the opposite direction to consecrated versions by the heroes of the traditional Christian Churches, particularly when defining the teachings of Jesus as a guided compass of a transformation aimed at the establishment of a just and equitable social order, antithetical to private property and the existence of the state. Matching the hermeneutic of everyday life with the theory of imaginary, in Tolstoy s Libertarian Christianity: political implications of a religious knowledge, we emphasize the lines of strength of a contrary spirituality to Christianities of the State; uplifting pacifist libertarian ethics, inspired by the Sermon on the Mount, predicated by the author as founded on a rational faith and in a loving rationality / O presente trabalho tem por objetivo dar a conhecer o pensamento político religioso do eminente pensador russo Leon Tolstoi (1828‐1910), constante em sua produção literária ensaística, escrito a partir da segunda metade do século XIX, com ênfase na obra O reino de Deus está em vós. O problema que nos dispomos a enfrentar, no cerne desta pesquisa, passa pelo sentido da interpretação radical dispensada por Tolstoi ao Evangelho, haja vista que sua leitura da Boa Nova flui, em aspectos cruciais, na direção oposta às versões consagradas pelos próceres das Igrejas cristãs tradicionais, particularmente quando define os ensinos de Jesus como bússola norteadora de uma transformação voltada à instauração de uma ordem social justa e equânime, antitética à propriedade privada e à existência do Estado. Compatibilizando a hermenêutica do cotidiano com a teoria do imaginário, em O cristianismo libertário de Tolstoi: implicações políticas de um saber religioso, procuramos dar ênfase as linhas de força de uma espiritualidade contrária aos cristianismos de Estado; enaltecedora de uma ética pacifista de cunho libertário, inspirada no Sermão do Monte, predicada pelo autor como fundada em uma fé racional e em uma razão amorável

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2018-09-19T10:19:30Z No. of bitstreams: 1 Eliana de Castro.pdf: 786815 bytes, checksum: 3b61ffb2f9bfea8827bb1f27780a45a0 (MD5) / Made available in DSpace on 2018-09-19T10:19:30Z (GMT). No. of bitstreams: 1 Eliana de Castro.pdf: 786815 bytes, checksum: 3b61ffb2f9bfea8827bb1f27780a45a0 (MD5) Previous issue date: 2018-08-21 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / This research intends to analyze the novel Anna Kariênina, by the Russian writer Liev Tolstoy, in the light of Romanticism and orthodox Christianity, specifically the question of adultery and romantic love, which ends up leading the protagonist to suicide. We deal with the importance of literature since the earliest times, especially how through literature it is possible to get in touch with the religious customs of a nation, that is, their worldview. We create a panorama of the romantic movement and its influence in literature, just as we present the new way of seeing and living the religion that has been given by the historical romantics; beyond, of course, the very conception of romantic love, which dates back to this period. We observe Tolstoy as a religious agent, passing through his main body of work, thus arriving at the question of the desire that, in the end, closes the research in a detailed analysis of the work, which certainly serves the whole theoretical path. / Esta pesquisa pretende analisar o romance Anna Kariênina, do escritor russo Liev Tolstói, à luz do Romantismo e do cristianismo ortodoxo, especificamente a questão do adultério e do amor romântico, o que acaba por levar a protagonista ao suicídio. Tratamos a importância da literatura desde os tempos mais remotos, principalmente como por meio da literatura é possível entrar em contato com os costumes religiosos de um povo, ou seja, sua cosmovisão. Tecemos um panorama do movimento romântico e sua influência na literatura, da mesma forma como apresentamos a nova maneira de ver e viver a religião que se deu a partir dos românticos históricos; além, claro, da própria concepção de amor romântico, que data desse período. Observamos Tolstói como um agente religioso, perpassando suas principais obras, chegando assim na questão do desejo que, por fim, encerra a pesquisa numa análise detalhada da obra, que se serve, certamente, de todo o caminho teórico percorrido.