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This paper explores the dialectical concept of love in Dostoyevsky's The Brothers Karamazov through Katerina and Grushenka, the heroines, and Dmitri Karamazov. Dostoyevsky's dialectic is most accurately described by the terms Eros and Agape, as defined by Denis de Rougemont in Love in the Western World. Chapter One examines the character of Katerina and establishes that although her love is ostensibly Agape, her most frequent expression of love is Eros. Chapter Two establishes that Grushenka's most frequent expression of love is Agape although ostensibly Eros. Chapter Three demonstrates how each woman personifies a pole of Dmitri Karamazov's inner conflict, and then traces his development with regard to his relationship to each woman.

Le roman Les Démons de Fédor Dostoïevski se déploie dans les affres du chaos. Actes terroristes sanglants, questionnements sur Dieu et sur la nation et gestes incongrus posés par des personnages possédés scandent ce roman dense et éclaté. Or, dans tous ces bouleversements, c'est la crainte et l'espoir de l'Apocalypse qui surplombent tout le récit. Comment lire cette accumulation de désordres, tant dans le récit que dans la structure même de l'oeuvre? Comment expliquer une temporalité qui, encore aujourd'hui, est problématique, même pour les lecteurs aguerris de Dostoïevski? C'est par l'entremise de l'imaginaire de la fin que nous essayerons d'apporter certaines réponses à ces questions. Nous tenterons, dans le premier chapitre, de comprendre les divers troubles inhérents au récit dans la logique d'un temps qui menace de se terminer, une Russie sur le point de s'effondrer. Il s'agira d'abord de comprendre les racines de ce temps hors de lui, sans cesse en cavale et toujours insaisissable. Un temps qui happe les protagonistes et, par le fait même, le lecteur. Un temps de la crise dont certains profiteront pour tenter de prendre possession du pouvoir. Tous les signes convergent, dans le roman, vers une fin des temps, une apocalypse programmée. Ce temps qui menace de se finir demande un héros, un homme d'action, un sauveur qui protégera les fidèles de cette fin des temps qui semble imminente. Or, dans le contexte de la Sainte Russie sur le point de s'écrouler, c'est l'idole du nihilisme qui apparaît. L'homme du vide, traquenard insondable, qui ravit l'homme qui le contemple, homme totalement habité par le désir de croire. L'idole, que nous comprendrons, dans le chapitre deux, comme étant une figure, est nimbée d'une aura qui plonge celui qui le regarde dans des actes inexplicables. Toutefois, l'apocalypse programmée n'aura pas lieu. Nous verrons dans le troisième chapitre que ce n'est pas toute l'Humanité qui expire, mais bien l'homme, seule apocalypse possible, aussi injuste soit-elle. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : Imaginaire de la fin, Dostoïevski, Figure, Mort, Temps, Les Démons, Littérature russe.

This study is an examination of the rhetorical concept of the dialectic as it is realized in selected works of North American dystopian literature. The dialectic is one of the main factors in curtailing enlightenment rationalism which, taken to an extreme, would deny man freedom while claiming to bestow freedom upon him. The focus of this dissertation is on an analysis of twentieth-century dystopias and the dialectic of Fyodor Dostoevsky's Grand Inquisitor parable which is a precursor to dystopian literature. The Grand Inquisitor parable of The Brothers Karamazov is a blueprint for dystopian states delineated in anti-utopian fiction. Also, Dostoevsky's parable constitutes a powerful dialectical struggle between polar opposites which are presented in the following twentieth-century dystopias: Zamiatin's Me, Bradbury's Farenheit 451, Vonnegut's Player Piano, and Atwood's The Handmaid's Tale. The dialectic in the dystopian genre presents a give and take between the opposites of faith and doubt, liberty and slavery, and it often presents the individual of the anti-utopian state with a choice. When presented with the dialectic, then, the individual is presented with the capacity to make a real choice; therefore, he is presented with a hope for salvation in the totalitarian dystopias of modern twentieth-century literature.

In 1999, aged eighteen, I read 'The Brothers Karamazov' by Dostoevsky. I read this novel in Burundi, where I witnessed the suffering of others. The country's basic problem was civil war, which is best described in this terse note: "Rwanda, the sequel. Same story, different location. Nobody cares." The well-publicised problems in Rwanda in 1994 didn't end, they went next-door. The only thing separating the problems of those two countries was the most heavily landmined stretch of road on the planet. It was on this road, which was littered with the remains of vehicles and people, that I experienced the immediacy of 'the problem of evil'.I had hoped that the book I held in my hands on those lifetime-long hours on the road would resonate with my experience. Ivan Karamazov's accusation of the God who creates a world of atrocities seemed fuelled by an unflinching look at senseless, disteleological suffering. I had hoped that Ivan, with his face turned against God, could countenance the horror I saw. Karamazov's stance has been seen as the antithesis of theodicy, which is the attempt to reconcile faith in God with the existence of evil. This antithesis seems to overcome the distance between the experience of real suffering and the account of that suffering given by academic theodicy. Ultimately, however, that distance remains. Dostoevsky's protagonist in his railing against God connects no more with the victims in this world than a writer of theodicy does with her defence of God.

This thesis attempts a comparative study of Conrad and Dostoevsky. In doing so, it proposes a significant relationship between the ideological, political and literary worlds of both authors. The work is undertaken in eight chapters. Chapter One explores Conrad and Dostoevsky's respective national and cultural identities. It reflects on Conrad's recorded reactions to Dostoevsky and his work, and speculates on the latter's likely response to Conrad. Chapter Two challenges established critical formulae that suggest Dostoevsky is a purely 'Dionysian' writer. The view that Conrad is a consummate 'Apollonian' artist is similarly brought into question. Chapter Three considers Conrad and Dostoevsky as major literary innovators. To support my argument, Bakhtin's critical concepts of 'polyphony' and 'monology' are introduced, and applied in a Dostoevskyan and Conradian context. Especially highlighted is my debate on Conrad's 'polyphonic' narrative technique in Lord Jim (1900). The notable fusion of disparate literary genres in Conrad and Dostoevsky's novels is explored in Chapter Four. Elements of 'adventure', 'thriller', 'romance', and 'detective' fiction are identified in each novelist's world. My argument, however, restricts itself to an extensive analysis of the surprising importance of the 'Gothic' elements in both writers' worlds. Chapters Five and Six, concentrate on Conrad and Dostoevsky's profound insights into the fundamental character of the human personality. Chapter Five considers their parallel interpretations of mankind's quintessentially materialist nature. Chapter Six looks at their strikingly similar visions of man's violent and carnal identity, and his primary urge to dominate other weaker individuals. Chapters Seven and Eight consider two central themes in Conrad and Dostoevsky's fiction, that of anarchist politics and nihilism respectively. Their political and ideological responses to these issues are investigated in some detail, and significant interpretive parallels established. Finally, the conclusion undertakes to once again assure the reader of the surprising and unsuspected bonds that exist between these two seemingly alien writers.

The primary goal of this paper is to investigate the phenomenon of a dream, a desire, or an idea transpiring in the thoughts of an individual, growing in importance to the individual, and finally becoming an idée fixe, or irresistible idea, which cannot be suppressed by the individual. The investigation will be concerned with the two of Dostoevsky's heroes who best exemplify the phenomenon.

In examining Dostoevsky's treatment of faith in The Brothers Karamazov, critics often focus solely on "The Grand Inquisitor." Dostoevsky, however, refutes the Inquisitor's views through the movement of the three Karamazov brothers toward faith. The three Karamazov brothers, as a collective personality, represent the fundamental needs of man and the corresponding aspects of faith, each brother being an individual study of the necessity of integrating soul, heart and mind into faith. The crises that each brother faces force each one to develop a fuller dimension of faith. The final effect of integrating the soul, heart and mind in faith is active love.

Dostoiévski, escritor russo do século XIX, compôs uma vasta obra, na qual procurou dar voz a todos os dilemas e contrastes presentes na alma humana; e conseguiu este feito sem procurar impor suas próprias verdades, sabendo que estas, em realidade, são sempre relativas. Um dos temas mais recorrentes em sua obra é a questão da loucura e do desequilíbrio, não só de seus personagens, mas também de fatos e acontecimentos, mostrando que, muitas vezes, na loucura do caos da vida, reside uma ordem e uma lógica superiores e, portanto, incompreensíveis para a mente humana, a qual acaba por considerar estes acontecimentos como fruto da insanidade. Isto despertou nosso interesse e resolvemos dedicar nosso estudo a este inquietante tema. / Dostoyevsky, Russian writer of the 19th century, accomplished a large literary output, in which he sought to give voice to all the dilemmas and contrasts existing in the human soul, and he perpetrated this deed without attempting to impose his own truths, knowing that these, in fact, are always relative. One of the most recurrent themes in his work is the issue of madness and instability, not only of his characters, but also of facts and events, showing that, oftentimes, in the madness existing in the chaos of life reside both a superior order and a superior logic and, therefore, incomprehensible to the human mind, which ends up regarding these events as a fruit of insanity. That aroused our interest and we have decided to dedicate this study to this unsettling theme.

Esta pesquisa é composta de uma tradução do original em russo da novela Uma anedota desagradável, de Fiódor Dostoiévski, publicada em 1862 na revista Vriêmia, seguida de um breve comentário sobre ela. Para o estudo do texto considerou-se que seu tema está relacionado com artigos publicados pelo escritor, em que ele expõe as suas observações acerca da intelliguentsia e da sociedade russa da época. No que se refere ao tratamento dado ao tema, o escritor empregou amplamente recursos associados ao universo grotesco, como o riso e a paródia, tanto para a descrição das personagens como para a narração dos acontecimentos. / This research is composed of a translation from the Russian novella An unpleasant anecdot, by Fyodor Dostoyevsky, published in 1862 in the periodic Vriemia, followed by a brief commentary about the periodic. To the study of the text was considered that the theme is related to the articles published by the author, on which he exposes his observations about the intelliguentsia and the Russian society of that time. Regarding the treatment given to the theme, the writer largely used resources associated to the grotesque universe, like the laughter and the parody, as to the description of the characters as well as to the narration of the events.