Dostoevsky

This essay intends to highlight the problematic relationship between debt and credit, guiltiness and punishment, sin and atonement, which are central issues both in Nietzsche’s and in Dostoevsky’s thought. Particular attention has been devoted to some meaningful Nietzschean passages of Thus spoke Zarathustra, On the Genealogy of Morality and Twilight of the Idols, as well as to Dostoevsky’s novels Notes from the Underground, Notes from a dead house and mostly Crime and Punishment. This study puts into question the correspondence between the transgression and the sanction through the analysis of the figures of the judge and the criminal in the light of criminal psychology. The traditional categories of law, based on this correspondence, become problematic as they reveal that their objectivity is only presupposed.

La tesi presenta inizialmente il pensiero di Jacques Derrida sull'animalità. Il tema affrontato è la sovranità dell'uomo sul resto dei viventi, in particolare nei riguardi della discriminazione dell'animalità. Nei capitoli a seguire si attua un'emancipazione dell'animalità e non dall'animalità come la corrente umanista voleva. Attraverso l'ontogenesi del concetto di "umanità" viene decostruito il costrutto che sorregge la soglia che divide l'uomo dagli animali, laddove essi partecipano all'animalità in maniere differenti. L'emergenza di questa composizione dei temi trattati si erge ad azione esemplare con cui Derrida, prima di morire, ha lasciato delle tracce da seguire durante il ricevimento del premio Adorno.

Speaking of himself and other nineteenth-century Russian writers, Dostoevsky once said: " We all emerged from Gogol's 'Overcoat.' " We will begin this introductory course on Russian nineteenth-century literature by reading this short story by Gogol before venturing into the complex and expansive worlds of two monumental Russian novels: Crime and Punishment by Dostoevsky and Anna Karenina by Leo Tolstoy. These two novels are not only great in terms of scope and size – reading Russian literature indeed takes time – but have also become formative texts for much of subsequent culture in Russia and beyond. The passions of Raskolnikov and Karenina continue to thrill and haunt readers centuries after their respective literary trajectories took them on an unforgettable, and ultimately catastrophic, journey. To conclude this journey, we will end our quarter with Anton Chekhov's novella " Ward no. 6 " to reframe and reconsider the aesthetic dimensions of Russian literature in the nineteenth century.

In this course, we will think about questions of genre and gender, of canon and close reading, and of historical context and cultural appropriation as we read two so-called masterpieces of world literature. Although the focus of the course is on the literary texts themselves, the course also aims at providing you with an understanding of literary theory and a better comprehension of Russian culture. Learning Objectives The central goal of this course is to read and analyze texts from Russian literature. The students will learn to read them analytically and contextually and to learn more about the historical, social, and cultural framework that both informs and becomes informed by these narratives. Over the course of the quarter, students will practice writing and revising their papers to develop a writing practice that includes drafting and revision. They will develop better research skills and learn to properly use citation. Students will also make a presentation on a text of their special individual interest from the lists of suggested texts in class (they will also be able to select a text not included if approved by the instructor beforehand). Failing to attend class results in a participation grade of 0 for that day.

Данный автореферат представляет собой краткое содержание моей диссертации, защищенной 18 марта 2014 г.

В  работе рассматривается вопрос o влиянии хроники Тацита Анналы на роман Достоевского Бесы на разных уровнях: на стилистическом, на повествовательном, на идеологическом.

Magától értetődik, hogy olyan jelentős író és gondolkodó munkássága, mint amilyen Dosztojevszkij is volt, komoly befolyást gyakorolt a magyar kultúra egyik legerősebb generációjára, nevezetesen a Nyugat folyóirat indulásának éveiben megjelenő modern magyar irodalom első képviselőire.

Paper about the influence of Dosztojevszkij on the most famous Hungarian modernist review (Nyugat)

Аннотация: В докладе предложена формализованная процедура тре-компонентной оценки аргументов на основе многозначных логик аргументации Д.Бочвара – В. Финна. Процедура обоснована при помощи понятия пост-правды и трех концепций истины, корреспондентной, когерентной и прагматической, и проиллюстрирована на примере судебных вердиктов в делах Дмитрия Карамазова и Родиона Раскольникова из романов Ф. Достоевского «Братья Карамазовы» и «Преступление и наказание». Abstract: In the paper, I propose a three-component algorithm of arguments' evaluation, which is constructed on the basis of D. Bochvar's and V. Finn's many-valued logic. The algorithm contrasts the notion of post-truth and employs three different truth conceptions, the correspondent, the coherent and the pragmatic. The algorithm is applied to legal argumentation in Dmitry Karamazov and Rodion Raskolnikov cases in F. Dostoyevsky's The Karamazov's brothers and Crime and Punishment. Ключевые слова: пост-правда, концепции истины, судебная аргументация, многозначная логика, Д. Бочвар, В. Финн.

Роман о подростке стал осмысляться в США как важная часть национальной словесности с середины ХХ в., и для его развития отмечалась равная значимость «Приключений Гекельберри Финна» и «Записок из подполья». Однако не только и, возможно, не столько эта повесть Достоевского важна для американского повествования о юношестве. Так, классический роман Дж. Сэлинджера «Над пропастью во ржи» и современный роман Донны Тартт «Щегол» скорее говорят о значении для этой традиции «Братьев Карамазовых» и «Подростка». В статье сопоставляются образы молодых героев Достоевского, Сэлинджера и Тартт через призму исповедального повествования. Подобное сопоставление позволяет увидеть синтетичность русской «родословной» Холдена Колфилда, а также некоторые переклички с героями Достоевского в образе Теодора Декера, протагониста романа Тартт. В заключение делаются выводы о нарративных и идейных параллелях между классическими русскими и современными американскими романами. Как и исповеди в романах Достоевского, исповедальные повествования Сэлинджера и Тартт выполняют самоаналитическую и нарративную функции. Молодых героев русского и американских писателей объединяет, главным образом, развитие ими какой-то большой идеи или теории. Кроме того, Сэлинджеру близка христианская символика Достоевского, а Тартт использует опыт русского классика для описания героя в обрамлении города. Вслед за Достоевским американские писатели приводят своих героев-подростков к определенному примирению с действительностью, в котором им помогает написание искренней исповеди.  Ключевые слова: Достоевский; исповедальность; «Братья Карамазовы»; Коля Красоткин; «Подросток»; современный американский роман; Сэлинджер; «Над пропастью во ржи»; Тартт; «Щегол»
DOSTOEVSKY’S CONFESSIONAL NARRATIVE  AND CONTEMPORARY AMERICAN ADOLESCENT NOVEL 
Evgenia M. Butenina Associate Professor in the Department of Linguistics and Intercultural Communication  Far Eastern Federal University 
American critics have recognized the adolescent novel as a formative subgenre of the national literature since the middle of the 20th century, and some have found that Dostoevsky’s Notes from Underground are as important for it as Mark Twain’s The Adventures of Huckleberry Finn. However, analysis of J. Salinger’s classic The Catcher in the Rye and Donna Tartt’s recent The Goldfinch shows that The Karamazov Brothers and The Raw Youth (The Adolescent) seem to be even more important for American first-person novels about a young hero as they draw a lot from Dostoevsky’s confessional narratives. The comparison of classic Russian and contemporary American adolescent novels demonstrates parallels in Christian symbolism (Salinger) and urban imagery (Tartt) to reveal the protagonist’s inner self. As in Dostoevsky, confessions in Salinger and Tartt perform both self-analytical and narrative functions. Following Dostoevsky’s model, Salinger and Tartt bring their characters to some reconciliation with the reality thanks to the development of a great theory, or idea. For Salinger’s hero it is a savior-like mission; for Tartt’s it is a discovery of special “middle zone” where he can find both beauty and love. Writing a sincere confession helps both Russian and American adolescents arrive at this relatively peaceful state of mind.    Key words: Dostoevsky; confessional narrative; The Karamazov Brothers; Kolya Krasotkin; The Adolescent; contemporary American novel; Salinger; The Catcher in the Rye; Tartt; The Goldfinch.

Сборник создан на основе материалов, представленных на международной научной конференции «Кусковские чтения. Аксиологическое пространство русской словесности: традиции и перспективы изучения», прошедшей в Московском государственном институте культуры и Российском научно-исследовательском институте культурного и природного наследия имени Д.С. Лихачева 3–6 октября 2019 г. при поддержке Российского фонда фундаментальных исследований (проект № 19-012-20087\19). В издании рассматриваются центральные проблемы русской аксиологии, традиции и перспективы их изучения. Главное внимание уделяется основным проблемам поэтики и истории древнерусской и современной литературы, текстологии, лингвистики, лингводидактики, межкультурной коммуникации. Сборник предназначен для преподавателей, аспирантов, студентов-филологов, культурологов, теологов, историков, а также для всех интересующихся проблемами аксиологии русской словесности.

The three main thematic areas in which Dostoevsky's philosophy is built are: Epistemology, Anthropology and Religion. The establishing of the problem is set within the frames of epistemology where, mainly through Records from the Underground, the analysis of problems of cognition and antinomies to which the mind comes was made. After locating these problems within epistemology, as well as determining that they cannot be resolved within those boundaries, they are blending together in the area of anthropology. Here is the basic problem that Dostoevsky is interested in - a man, placed in the light of freedom, as the determinant of his essence. Dostoevsky’s final synthesis is shown in the field of religion. The synthesis is in Christ which is more than merely a form of moral pattern and ideal, he is God-Man in whom all antagonisms get their conciliation and sense. Thus ratio has definitely moved into a unique mystical realism in which unity is achieved in the above - empirical sphere.

This is the title page and table of contents for *Solzhenitsyn and American Culture,* co-edited by David P. Deavel and Jessica Hooten Wilson. Notre Dame, IN: University of Notre Dame Press, 2020.  You can order the book for 40% off from Notre Dame Press (https://undpress.nd.edu) using the code 14CEC20 through January 2021.

Смысловые параллели между ``Маленькими трагедиями'' Пушкина и главными романами Достоевского ставят множество вопросов о том, кто истинный автор всех этих произведений и с какой целью они были написаны. Переработанная глава из книги "По ту сторону Пушкина"

Dostojewskis Kurzroman Aufzeichnungen aus dem Kellerloch oder eigentlich "dem Untergrund" (Записки из подполья im Original) wurde erstmals 1864 in der Zeitschrift Epocha veröffentlicht. Die Geschichte des namenlosen Mannes im Untergrund gliedert sich in zwei Teile. Im ersten Teil legt der damals 40-jährige Beamte seine Lebensphilosophie in der Gegenwart der Erzählung dar und im zweiten erinnert er sich an eine Reihe von Ereignissen, die sich in der Vergangenheit der Erzählung, fünfzehn Jahre früher, zugetragen haben.

In his masterpiece The Brother’s Karamazov, Fyodor Dostoyevsky presents a very different type of hero story, focusing on the development or transition of the very “odd” and un-noteworthy Alyosha into a hero near the middle of the book. In Book VII, entitled “Alyosha,” and particularly in the events described in the chapter “Cana of Galilee,” Alyosha seems to take on a certain heroic stature that he did not possess previously. “He fell to the earth a weak youth and rose up a fighter, steadfast for the rest of his life,” says the narrator. And the reader is left with several questions: How were these events pivotal in Alyosha’s life, and in what way did he take on a heroic stature that he previously had not held?     
In order to answer these questions, one must explore the character of Alyosha before this pivotal moment and trace the events that led to his transition from a “weak youth” into a hero. The brief preface, which features a sort of letter “from the author,” seems to indicate that the narrator considers this book primarily a “biography” of Alyosha, one he considers “my hero” (3). Yet he quickly acknowledges that the reader may not share his opinion of Alyosha’s heroic stature, admitting that Alyosha is “of an indefinite, indeterminate sort,” one who may seem more “odd” or “strange” than heroic and noteworthy (3). Nevertheless, the narrator maintains that an odd man may in fact stand outside the ordinary while nonetheless “bearing within himself the heart of the whole,” intimating that Alyosha as hero may somehow bear the heart of the world, or at least the heart of his society (3). It is not clear from this brief note what exactly it means for Alyosha to bear within himself the heart of the whole—it could be the contemporary zeitgeist or it could be the experience and suffering of society or something else entirely. But whatever it means, the narrator seems to indicate that to understand Alyosha’s heroic stature, we must understand that in some way he bears within himself the heart of the whole, and in some way this will be illustrated in the book and will be connected with his heroic stature.

It is common to see Myshkin, the principal character of Dostoevsky's The Idiot, as a failed lover and a compassionate saintly figure, who gets entangled in a love triangle but cannot embody it. This paper challenges such a view and argues that Myshkin fully incarnates the violent dynamic of desire that governs the novel. With the help of René Girard's notion of mimetic desire, the paper explores Myshkin's relationship with Rogozhin as erotic rivalry. Instead of seeing the two characters as autonomous entities, it is suggested that they should be viewed as doubles, as two poles of the same consciousness. On this view, Myshkin's compassion and Rogozhin's lust become two different manifestations of the same desire, united by a conflict of interest, which drives the love triangle towards a violent resolution.

ABSTRACT
This article establishes a dialogic analysis of Dostoevski’s The Eternal Husband (1870) and Machado de Assis’s Dom Casmurro (1899), focusing on the treatment of the doubt as an aesthetic cathegory by both authors. This dialog opens room to questions related to the specificities of their prose in the context of Realism and to the signs of dialogism on the writing of the authors.
KEYWORDS: Dialogism; Realism; Bakhtin; Dostoevsky; Machado de Assis

Go to tobybetenson.com for my recent work. I argue that the problem of evil can be a moral objection to theistic belief. The thesis has three broad sections, each establishing an element in this argument. Section one establishes the logically binding nature of the problem of evil: The problem of evil must be solved, if you are to believe in God. And yet, I borrow from J. L. Mackie’s criticisms of the moral argument for the existence of God, and argue that the fundamentally evaluative nature of the premises within the problem of evil entails that it cannot be used to argue for the non-existence of God. Section two establishes the moral objectionability of many responses to the problem of evil (theodicies). I discuss the work of the moral ‘anti-theodicists’, and support some of the key premises within their arguments via appeal to the moral philosophy of Raimond Gaita. I combine the claims of section one and section two, and conclude that theism inherits the moral objectionability of theodicy. In section three, I establish the...

Аннотация. Цель настоящей статьи – анализ мотива двойника в творчестве Федора Достоевского.
К приему раздвоения Достоевский активно обращается на протяжении всего своего творчества. В его произведениях читатель встречает большое разнообразие двойников. Присутствуют здесь фантомы, появляющиеся в галлюцинациях героев, или возникающие в результате психической болезни; а также двойники, которые не являюсь призраками. Раздвоение героя может не порождать двойников, а проявляться лишь во внутренних поисках героя. Однако все двойники исполняют одну и ту же функцию: являются важным фактором, сопровождающим развитие самосознания героя.
Двойник – это не только литературный прием, но специфическая художественная область для философских рассуждений. Мотив двойничества или раздвоенности связан с проблемой поисков личностью собственной идентичности, с душевными муками обретения самосознания. Посему можно утверждать, что мотив двойничества по своей природе оказывается естественным для диалектической художественной системы Ф. М. Достоевского.
Ключевые слова: Достоевский, двойник, двойничество, «Подросток», «Братья Карамазовы».
Abstract. This paper aims to analyze the motif of the double in the work of Fyodor Dostoyevsky.
The motif of the double appears in the entire work of Dostoevsky. In his works the reader meets a wide variety of doubles. There are here phantoms appearing in heroes’ hallucinations as a result of mental illness; as well as non-ghost double. Split personality sometimes does not “give birth to doubles,” but only manifests itself in the inner search for a hero. However, all doubles fulfill the same function: they are an important factor accompanying the development of the hero’s self-awareness.
The double is not only a literary stunt, but it also is a pretext for philosophical considerations. It involves the problem of searching for personality, the spiritual suffering of self-discovery. Therefore, the motif of the double is in obvious way typical for Dostoyevsky’s work which is filled with the problems of faith and atheism, heart and mind, science and religion, good and evil.
Keywords: Fyodor Dostoyevsky, double, The Raw Youth, The Brothers Karamazov.

В книге Достоевского ``Братья Карамазовы'' Великий Инквизитор объяснял по каким законам развиваются цивилизации. Почему в некоторых случаях возникают ситуации, когда эти законы нарушаются? Как кумир учения может стать его первым врагом. Что можно добавить к вопросам ``страшного и умного духа''?

La literatura y la locura es un texto procedente del archivo Michel Foucault, cedido a la Revista Dorsal y traducido por Emmanuel Chamorro. Corresponde al texto preparatorio de una conferencia pronunciada en la primera mitad de los años sesenta.

Fyodor Dostoevsky has continued to grow in stature and influence among modern writers. Although dynamic psychiatry has always held Dostoevsky in high regard, practically all psychiatrist have tended to ignore his valuable insights into suicide. His writings are testimony to his understanding of indivdiual, family and group dynamics, his intellectual search for the roots of ideology, and the authentic experiences and spiritual quest of his life.

Albert Camus, despite presenting Lev Shestov in his book ‘The Myth of Sisyphus’ as a herald who made a significant contribution to the existential project of the absurd, criticized him for ‘eluding’ the absurd due to the religious nature of his philosophy. As Camus sees it, Shestov betrayed his initial insight by seeking to appeal to something beyond the limits of reason. He deifies what crushes him and finds reason to hope in what impoverishes him. Even though Shestov’s philosophy lies at the foundation of Camus’s entire project, it seems that Camus failed to understand the final and possibly most misleading step of his philosophy. As we will see, not only does the criticism Camus directs at Shestov not do the philosopher justice but, according to the categories which Shestov outlined when he redefined the limits of religious thought, this criticism should be directed at Camus himself.

KISS, Corinne Fournier, "Fernando Pessoa and the Russian world" (2020). Pessoa Plural―A Journal of Fernando Pessoa Studies, No. 18, Fall, pp. 124-165. Brown Digital Repository. Brown University Library. https://doi.org/10.26300/n8hg-az69

Is Part of:

Pessoa Plural―A Journal of Fernando Pessoa Studies, Issue 18

Fernando Pessoa and the Russian world
[Fernando Pessoa e o mundo russo]

https://doi.org/10.26300/n8hg-az69

ABSTRACT

The work of Fernando Pessoa seems, at first sight, to pay scant attention to either the people or culture of the Slavic world. Moreover, when overt statements occur, they tend to be disparaging. But why should Pessoa, with his exceptional intellectual curiosity and a mindset naturally inclined towards comparisons and cosmopolitanism, consider that "of Russia it is not necessary to speak"? Some at least provisional answers to this question require a closer look at Pessoa's genuine knowledge of and interest in the Russian world (and especially Russian literature and politics) through the examination of his poems and prose, but also through a consideration of his unrealized projects and the annotations and underlinings made in his hand in the books he possessed in his private library.

RESUMO

A obra de Fernando Pessoa parece prestar, à primeira vista, pouca atenção quer ao povo, quer à cultura do mundo eslavo. Adicionalmente, quando há declarações óbvias, estas tendem a ser depreciativas. Por que motivo Pessoa, com a sua curiosidade excepcionalmente intelectual e mentalidade naturalmente inclinada para comparações e cosmopolitismo, consideraria que "não é necessário falar da Rússia"? Pelo menos algumas das respostas provisórias a esta pergunta exigem um olhar mais atento ao conhecimento genuíno de Pessoa pelo mundo russo (e especialmente da literatura e política russas), através do exame dos seus poemas e da sua prosa, mas também através da consideração dos seus projetos não realizados e das anotações e trechos sublinhados feitos pela sua mão nos livros que tinha na sua biblioteca privada.

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The present paper has as purpose to discuss what is the possible place that the works of Dostoevsky, mainly the novel The idiot, occupies in the diagnostic gave by Nietzsche to the psychological type of the Redeemer, classified by him as idiot. We sustain that in spite of the discussion about if Nietzsche had direct or indirect contact with the novel The idiot, it’s possible to establish an analysis of prince Myshkin as a clinical model of extremely importance, rather than any other of Dostoevsky’s character, to throughout evaluate the diagnostic of Jesus gave by Nietzsche.

Ο Γκέοργκ Λούκατς είναι ευρέως γνωστός ως ένας από τους θεμελιωτές της μαρξιστικής φιλοσοφίας του 20ου αιώνα. Ως εκ τούτου, η πρώιμη φάση της διανοητικής του παραγωγής, η οποία προηγήθηκε της αιφνίδιας στράτευσής του στο κομμουνιστικό κίνημα στα τέλη του 1918, κατά κανόνα αγνοήθηκε από τους μελετητές του έργου του, τουλάχιστον μέχρι τα τέλη της δεκαετίας του ’60. Παρά την αύξηση του ερευνητικού ενδιαφέροντος στις επόμενες δεκαετίες, παραμένει και σήμερα ακόμα μια σχετικά αδιερεύνητη περίοδος του λουκατσιανού έργου.
Η παρούσα εργασία προσφέρει μια ενδελεχή κριτική ανασυγκρότηση του λεγόμενου «προμαρξιστικού έργου» του Λούκατς και καινοτομεί αναζητώντας την εσωτερική δυναμική των νεανικών ερευνών του, ανεξάρτητα από την κατοπινή στροφή του στον μαρξισμό. Η έμφαση δίνεται έτσι στα βασικά ερωτήματα τα οποία ανακινούνται στις εργασίες του Λούκατς για την κοινωνιολογία και την ιστορία της τέχνης, τη φιλοσοφία της τέχνης και του πολιτισμού, την ηθική και αισθητική φιλοσοφία, καθώς και την κοινωνική και πολιτική φιλοσοφία. Στον πυρήνα της ανασυγκρότησης τοποθετείται το ερώτημα για την ιστορικότητα και την αχρονικότητα των (αισθητικών, ηθικών κ.ά.) «μορφών», το οποίο απασχολούσε τον Λούκατς σε όλη αυτή την περίοδο. Ακριβώς τούτη την αντίθεση συμπυκνώνει το δίπολο «τραγωδία και ιστορία», ιδωμένη συγχρόνως από τη σκοπιά του αιτήματος για μια σύνθεση των δύο προοπτικών. Υπό αυτό το πρίσμα καθίσταται δυνατή μια εξαντλητική και συγχρόνως συνεκτική ανασύνθεση της συναρπαστικής διαδρομής του νεαρού Λούκατς μέσα από τα σημαντικότερα ρεύματα της αστικής διανόησης των αρχών του 20ου αιώνα. Στην ανά χείρας μελέτη τίθενται έτσι οι βάσεις για τη βαθύτερη κατανόηση του κριτικού δυναμικού της κατοπινής στροφής του Λούκατς στον μαρξισμό.

O presente trabalho busca retomar o debate do polêmico "método da economia
positiva", tal qual proposto por Milton Friedman, através de uma perspectiva
crítica à visão instrumental da ciência econômica. Nesse intuito, argumenta-se
que a construção do método evidencia a tentativa de proteger a teoria
neoclássica das críticas concernentes ao realismo de seus pressupostos, e a
quimérica busca de estabelecer uma clivagem entre a economia positiva e a
normativa. Para isto, busca-se na racionalidade neoclássica a descrição do
comportamento humano apropriado pela metodologia da economia positiva;
este suposto da racionalidade econômica desempenha papel fundamental na
teoria neoclássica, mas também é caracterizado por um vácuo explicativo que
impossibilita a compreensão referente ao que motiva a ação dos agentes
econômicos, tendo em vista a concepção reducionista do comportamento
humano que subjaz a tal visão. Com base em uma cuidadosa exposição da
concepção metodológica de Friedman, será feita a crítica de suas principais
determinações e inconsistências, tendo como referência leituras de extrato
marxista e também algumas proposições do realismo crítico de Bhaskar.

La biblioteca di Dostoevskij. La storia e il catalogo
Библиотека Достоевского.  История и каталог
La biblioteca di Dostoesvskij è un'altra biblioteca perduta. Di essa ci restano alcuni cataloghi redatti nel corso degli anni dalla vedova Anna Grigorev'na in cui sono elencati circa seicento volumi. Certamente non sono tutti perché questo fondo librario aveva subito delle perdite già durante la vita dello scrittore. Dopo la morte di Dostoevskij  il patrimonio librario prese diversi rivoli di cui non sempre risulta agevole ricostruire il percorso e che alla fine si riduce a una trentina di volumi e ad alcune copertine e frontespizi superstiti secondo una diaspora di cui in questo volume sono tracciate le linee essenziali.

Библиотека Достоевского.  История и каталог
Библиотека Достоевского - это ещё одна потерянная библиотека. От неё нам достались некоторые списки, собранные в течение нескольких лет вдовой писателя Анной Григорьевной, в которых значатся порядка шестисот книг. Конечно, список не полный, потому что этот библиотечный фонд понес потери еще при жизни писателя. После смерти Достоевского его книжное наследство растеклось в разных направлениях путями, которые не так просто восстановить, и уменьшилось до тридцати книг и некоторых обложек и титульных листов, которые выжили и о которых в этой книге приводятся основные существенные сведения.

Статья посвящена исследованию особенностей передачи
портретного описания Николая Ставрогина в разновременных
переводах романа Ф.М. Достоевского «Бесы» на французский язык.
Портрет рассматривается как важный элемент поэтической и
смысловой структуры романов писателя. Авторы проводят
сопоставительный анализ фрагментов романа «Бесы» и их переводов
на французский язык,выполненных В.Дерели и А.Марковичем.Цель
работы – выявить специфику воспроизведения портрета Ставрогина в
переводах романа Ф.М. Достоевского«Бесы»на французский язык.

The article is dedicated to the analysis of particularities of Nicolai
Stavrogin’sportraitdescription intranslationsofF.M.Dostoyevsky’s novel
“Demons”intotheFrenchlanguage.Theportraitisconsideredanimportant
the element of the poetic and semantic structure of the writer’s novels. The
authors make a comparative analysis of the chosen fragments of the novel
“Demons”, representing a portrait of Stavrogin, and their translations into
the French language. The aim of the work is to reveal peculiarities of
representation of Stavrogin’s portrait in the translation of Dostoevsky’s
novel “Demons” into the French language.

Eroticism - Evil - Intensity. Dostoevsky & Bataille.

The following paper is an attempt at a comprehensive analysis of literary and philosophical congruencies between seemingly distant writers: Fyodor Dostoevsky and Georges Bataille. I want to investigate
here the question considered in both of the authors’ works, and concerning the relation between trans-gression of normative cultural codes and the sense of fulfillment and authenticity of existence. I discuss
numerous ideas, motives and imageries essential in Dostoevsky in order then to problematize them
from the perspective of Bataille’s philosophy. The article builds on the axis of categories such as eroti-cism – evil – intensity (authenticity) and extracts from the works of Dostoevsky and Bataille the idea of an eerie satisfaction awaken in man by acts of violence and cruelty; loss of self, ruination in love, confron-tation with deadly risk, self-depreciation, and spiritual laceration preferred over a life in harmony. The study is situated at the crossroads of literary studies and philosophy, nevertheless it is the philosophical proximity of these two figures that interests me the most. Therefore I am less interested in purely Rus-sian, historical, ideological and literary contexts that stand behind Dostoevsky’s literary creations than the existential and psychological aspect of his oeuvre which Lev Shestov characterized as a “philosophy
of the underground” – philosophy of tragedy and hopelessness in the face of human paradoxical na-
ture. In the final instance, my investigation is expected to present Bataille as a figure essentially lacking, or rather never sufficiently admitted, within Bataille’s philosophical thought.

A presente comunicação pretende apresentar, de maneira panorâmica, a complexa problemática da liberdade e do mal na obra do poeta
romântico Mikhail Lérmontov (1814-1841), certamente uma das problemáticas de maior relevância em sua obra. Deste modo, o objetivo central de nossa comunicação é apresentar como o poeta deu forma artística a esta intrincada problemática filosófica, e assim demonstrar a sua importância para compreender questões análogas na obra de Fiódor Dostoiévski. Através deste, é possível ainda apontar para uma elaboração análoga do problema da liberdade humana na obra de escritores brasileiros de orientação católica, como no romance de estreia de Fernando Sabino, O encontro marcado.

This work's aim is to analyze polyphony in The Brothers Karamazov, a novel written by Fyodor Dostoevsky, focusing on ideological confrontations that take place between characters, especially between the Karamazov's family. More specifically, I try to understand how Alexei Fyodorovich Karamazov interacts in a dialogical way with his family and friends, and how Alexei's interventions – marked by a religious ethical behavior – contribute to the conflicting discourses. To do so, the main concept on which this paper is relied is the polyphony, developed by Bakhtin in order to understand that each character in the book has a strong and distinct ideology, which helps creating tensions of immense proportions. Finally, this study is also based on Nietzsche's theories about religion, because it is argued that some characters are guided by a Christian ethical thinking, which is – although shown as good most of the times – surrounded by an oppressive fundamentalism.

Bu kitap, Patates Baskı Ekibi tarafından tek kopya olarak, Beyazıt Devlet K•t•phanesi G‚rme Engelliler b‚l•m•nde kullanılmak •zere g‚rmeyen okuyucuların yararlanabileceği hale d‚n•şt•r•lm•şt•r. Bu …alışma Patates Baskı'nın s‚z konusu kamu hizmetine destek sağlamak amacı ile g‚n•ll• olarak y•r•tt•ğ• bir faaliyettir. †TEKİ KLASİK Fyodor Mihaylovi… Dostoyevski Kapak Dizaynı: †teki Ajans Kapak Resmi: Efkan Beyaz Dizgi: †teki Ajans Baskı: Emel Matbaası, Ankara, 1996 Y‚netim Yeri: Dr. Mediha Eldem Sk. No: 52/1 Kızılay/ANKARA TeI.Fax: 433 96 09 †teki, A…ı Yayıncılığın Kuruluşudur. BEYAZIT DEVLET KˆT‰PHANESİ SUŠ VE CEZA Cilt 1 Demirbaş No. Rus…a'dan Ševiren Mazlum Beyhan ISBN 975-7782-60-2 Yazar ve Romanı ˆzerine D•nya edebiyatının en b•y•k yazarlarından biri olan Fyodor Mi-haylovi… Dostoyevski 30 Ekim 1821 g•n• Moskova'da bir doktor ailesinin …ocuğu olarak d•nyaya geldi. 1843 yılında, askeri ‚ğrenci olarak okuduğu Petersbıırg m•hendislik okulunu bitirdi, ancak bir yıl askeri m•hendis olarak …alıştıktan sonra istifa etti. Nicedir verdiği bir kararla, edebiyat hayatına atıldı. Bundan hemen sonra da, 1844 yılında, Dos-toyevski imzasıyla ilk yapıtı yayımlandı; bir …eviriydi-bu. Balzac'ın "Eııgenie Grandet "sini …evirmişti. 1845 Mayısı'nda Dostoyevski daha •niversite ‚ğrenciliği yıllarından tasarladığı ilk romanı Bedniye Lyııdi (insancıklar) 'ı bitirdi. Romanın m•sveddelerini yazarın yakın dostu D.V. Grigorovi… ve •nl• ozan Nekrasov okudular. Heyecanlan ‚ylesine b•y•kt• ki, doğruca devrin •nl• eleştirmeni Belinskiy'e gittiler. "İnsancıklar"ı, Belinskiy de …ok beğendi ve beğenisini, "... Gogol'• de ge…ecek... bundan ‚nceki b•t•n edebiyatı g‚lgede bırakacak bir deha ile karşı karşıyayız", s‚zleriyle dile getirdi. "İnsancıklar" 1846 yılında yayımlandı. Gerek "İnsancıklar" gerekse, yazarın bununla birlikte yayımlanan ikinci kitabı Dvoynik (Benzer) b•y•k ilgi topladı. Daha sonra "Su… ve Ceza "da en parlak bi…imde dile gelecek olan, yazarın yoksul, umarsız insanlara ve hayatın trajik yanlarına karşı duyduğu b•y•k ilgi ve duyarlılık, daha bu ilk yapıtlarında kendini g‚stermeye başlamıştı. 1847 yılında yazar •topyacı sosyalist Petraşevski'nin grubuna girdi. Grup •yeleri zaman zaman toplanıyorlar, yazdıkları yazı ve şiirleri okuyup, felsefi tartışmalar yapıyorlardı. Bu toplantılardan birinde Dostoyevski, Moskova'dan eline ge…en ve gizli dağıtılan Belinskiy'nin Gogol'e yazdığı bir mektubu okudu. . Dostoyevski ve grubun ‚teki •yeleri 23 Nisan 1849 g•n•, Šar I. Nikolay'ın polisince tutuklandılar ve sekiz ay s•ren gizli duruşmalar sonunda idama mahk‹m edildiler. 22 Aralık 1849 g•n• Sernyonov alayının geniş eğitim alanına getirildiler. Cezaların uygulanması i…in ilk •… kişilik grubun direklere bağlandığı sırada bağışlandıkları bildirildi. Dostoyevski'nin cezası 4 yıl k•rek, 5 yıl da s•rg•ne …evrilmişti. Yazar, 1854 yılma kadar 4 yıl Omsk cezaevinde kaldı, daha sonra da, 1859 yılına kadar, 5 yıl, Semtpalatinsk'teki birlikte er olarak hizmet g‚rd•.. Cezası bitip de Petersburg'a d‚ner d‚nmez yeniden yazmaya koyuldu. Dyadyıışkin Son (Amcanın R•yası) ve Selo Stepan…ikova iyego obitateli (Stepan…ikova K‚y• ve Sakinleri) 'nden sonra, art arda b•y•k romanları yayımlamaya başladı. Unijenmye i oskorblenniye (Ezilenler ve Horlananlar) Omsk'taki mahpusluk yıllarının anılan olan ve 1860'lı yılların ilerici, demokrat okurlarıma coşkuyla karşılanan Za-piski iz mertvogo doma, ( †l• Evinden Anılar), Prestuplenie i nakaza-nie (Su… ve Ceza), Igrok (Kumarbaz), Idiot (Budala), Besi (Cinler), Podrostok (Delikanlı), Bratya Karamazovı (Karamazov Kardeşler) vd. B•y•k yazar 28 Ocak 1881 g•n• ‚ld•. Dostoyevski 1840'ların •topik sosyalizm d•ş•ncesinin etkisinde kaldı. Ancak k•rek ve s•rg•n hayatı bu etkilenimi ‚nemli ‚l…•de değiştirdi. Yazar, cezaevi ve s•rg•ndeyken, o yıllar edebiyatında sık…a g‚r•len roman kişilerinden bambaşka insanlarla birlikte oldu; bunlar k‚yl•ler ve askerlerdi. Ama gen… yazar aralarında olmasına karşın, "kara halk" dediği bu insanların i… d•nyalarına girmesini ‚nleyen sağır bir duvarla karşılaştı. O d‚nemler Rusyasında aydınlarla halk ara-• sındaki derin u…urum, sonraki yıllarda da Dostoyevski'yi derin bir bi…imde etkiledi. Bu durum bir bakıma onun b•y•k trajedisiydi. 1850'lerde b•t•n Avrupa'yı saran gericilik dalgası, Dostoyevski'de devrimin olabilirliği •zerine kuşkular uyandırdı ve 60'lı yıllarda onun Šernişevski ve ‚teki devrimci demokratların karşısında yer almasına neden oldu. 1861 k‚yl• reformu sırasında ve ondan sonra ağabeyiyle birlikte yayınladığı Vremya ve Epoha adlı dergilerinde, halkı …arlıkla savaşa …ağıran 60'lı yıllar devrimci demokratlarına karşı, ‚nlerindeki en ‚nemli g‚revin, halkla aydınların ve soyluların yakınlaşmasını sağlamak olduğunu, savunan yazılar yayımladı. Dostoyevski'nin 1860-70 yıllan arasında yazdığı romanlarına da yansıyan bu siyasal tavrı, onun aynı zamanda, Šernişevski, Saltıkov-Ş…edrin gibi demokratik halk hareketi temsilcileriyle …atışmasına da yol a…tı. Aslında bu hareketin temsilcileri de Dostoyevski gibi halkla aydınların birbirine yaklaşmasını sağlayacak yolun arayışı i…indeydiler. Ancak onlar Dostoyevski'den farklı olarak, halk yığınlarında devrimci bilincin artmasının ve halkın aydınlarla birlikte …arlığa karşı savaşa girişmesinin, bu yakınlaşmanın ‚nkoşulu olduğunu anlıyorlardı. Dostoyevski'nin, d‚neminin sosyalist ve devrimci demokrat d•ş•ncesiyle giriştiği polemik, en iyi yansısını, "Su… ve Ceza " romanında bulmuştur. Su… ve Ceza "Su… ve Ceza" 1866 yılında yayımlandı. Šok ‚nemli toplumsal olayların, moral sarsıntıların yaşandığı bir d‚nemdir bu. Romanın konusu …ağdaş Rusya 'dir. Kahraman …ağdaştır, o yılların b•t•n acılarını, yaralarını i…inde taşıyan gen… bir ‚ğrencidir. Dostoyevski 1865 yılında M.N. Katkov'a yazdığı bir mektupta bu durumu, "... olaylar g•n•m•zde ge…iyor, yani şu bulunduğumuz yıl i…inde" diyerek belirtmektedir. . Yazarın kendisi i…in de …ok g•… yıllardır romanını yazdığı yıllar. B•y•k yalnızlıkları yaşamak, …ok zor kararlar almak zorunda kaldığı yıllardır. 1864 yılında …ok sevdiği insanları ardarda yitirmiştir: karısı Mariya Dmitriyevna, kardeşi Mihayil Mihaylovi…, yakın dostu, ozan ve eleştirmen Apollon Grigoryev... Romanını yazdığı yıllarda, Petersburg'ta oturduğu semt, k•…•k memurların, ‚ğrencilerin, dar gelirlilerin oturduğu semttir. Romanının kahramanı Raskolnikov 'u oturttuğu eve …ok yakın bir evde oturmuştur kendisi de. O yıllarda iki Petersbıırg vardır. Biri, g‚renleri bug•n de b•y•leyen mimari anıtlarıyla, parkları, bah…eleriyle Saray Petersbıırg'u; ‚teki, tozlu yollan, pis evleri, at‚lyeleri, seyyar satıcıları, meyhaneleri, mezeci d•kkanlarıyla yoksulların Petersbıırg'u. Dostoyevski her iki Petersbıırg'u iyi biliyordu. M•hendislik okulunda okuduğu yıllar. -Yazlık Bah…e yakınında bir saraydı okulun yapısı-Saray Petersbıırg'unu tanıma olanağını bulmuştu. Ama tıpkı romanının kahramanına olduğu gibi, -ona da hi…bir şey vermiyordu, bu Petersbıırg. Onun y•reği ‚teki Petersbııg'daydı.