Dostoievski

ANÁLISE DO LIVRO EM QUADRINHOS XINGU: POSSIBILIDADES DE USO DA OBRA NA ESCOLA PARA A COMPREENSÃO DA QUESTÃO INDÍGENA (p. 143- 150)
CLAUDIO EMIDIO-SILVA - (M. Sc. - UFPA)
SANDRA MINA TAKAKURA - (M. Sc - UEPA)
RITA DE CÁSSIA ALMEIDA-SILVA - (M. Sc. - SEDUC - PA)

O EU E O OUTRO QUE FALAM: UM ESTUDO DO DIÁLOGO BAKHTINIANO E FREUDIANO EM O DUPLO DE DOSTOIÉVSKI (p. 195- 201)
SANDRA MINA TAKAKURA (UEPA)
RITA DE CÁSSIA ALMEIDA SILVA (SEDUC- PA)
Nos demais artigos, minha participação foi como orientadora.

Este artigo estabelece uma análise dialógica dos romances O eterno marido (1870), de Dostoiévski, e Dom Casmurro (1899), de Machado de Assis, com foco no tratamento da dúvida como categoria estética pelos dois escritores. Nesse diálogo, abre-se espaço para questões relativas às especificidades da prosa machadiana e dostoievskiana no contexto do realismo e às marcas do dialogismo na escritura dos dois autores.
PALAVRAS-CHAVE: Dialogismo; Realismo; Bakhtin; Dostoiévski; Machado de Assis

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.

URL : http://revueties.org/document/index.php?/ties/la-voix-dans-tous-ses-etats/660-polyphonie-litteraire-et-imaginaires-de-la-voix-spectrale-chez-fedor-dostoievski

Cet article a pour but de replacer la poétique de la polyphonie, propre à l'oeuvre de Fédor Dostoïevski, dans une histoire culturelle du XIX e siècle. Il s'agit donc de considérer dans cette oeuvre la superposition de plusieurs imaginaires de la voix. Chez l'écrivain russe contemporain de l'invention du phonographe, les voix présentent souvent un aspect fantomatique et spectral que met particulièrement en évidence l'étude du récit Bobok (1873). Publié en amont des théories de Mikhaïl Bakhtine sur la pluralité des voix, ce texte permet de souligner la transversalité du motif des hallucinations auditives chez Dostoïevski. La reprise des théories spirites dans le récit peut nous apparaître enfin comme une réponse ironique aux accusations de folie dont Dostoïevski lui-même commence à faire les frais dès les années 1870. Cette réponse fictionnelle aux attaques du journal La Voix se double d'une critique des nouvelles conditions médiatiques dans lesquelles Dostoïevski produit son oeuvre en général. Avant même l'invention du phonographe, la voix spectrale devient une allégorie du mot imprimé et le signe d'une entrée définitive de la littérature russe dans l'ère médiatique. ABSTRACT. This article aims to situate Fyodor Dostoevsky's poetics of polyphony in the historical perspective of cultural evolutions during the nineteenth century. It is therefore necessary to consider the coexistence of different "imaginations of voice" in Dostoevsky's work. Like his contemporary Thomas Edison, the inventor of the phonograph, Dostoevsky creates voices that are endowed with a ghostly and spectral aspect, which is particularly highlighted in the study of his short story entitled Bobok (1873). Published before Mikhail Bakhtin had considered the plurality of voices in Dostoyevsky's work, this text emphasizes the transversality of auditory hallucinations in his novels. The fictionalization of spiritualist theories in the narrative can therefore appear as an ironic answer to the accusations of madness that the author was the victim of in the early 1870s. His fictional response to the attacks of the liberal newspaper "The Voice" came along with a critique of the new conditions in which Dostoevsky had to produce his work at the age of media. Even before the invention of the phonograph, the spectral voice thus had become an allegory of the printed word and the sign of the definitive entry of Russian literature into the era of the media.. MOTS-CLÉS : Dostoïevski, polyphonie, hallucination auditive, voix spectrale, spiritisme, média

Em tempos sombrios a discussão sobre a relação entre fundamentalismo e suas implicações éticas parece se converter num dever. Podemos estabelecer critérios absolutos como o fundamento das nossas ações? A partir dessa questão é possível discutir o caráter dogmático implícito nas posturas fundamentalistas. Duas perspectivas despontam: as consequências desses valores absolutos para a ética; e o problema existencialista acerca do sentido da vida. Após uma breve apresentação do nosso tema através da interlocução entre o cardeal Carlo Maria Martini e Umberto Eco, será possível retomar essa discussão na instigante indagação de Kierkegaard, Deus seria o fundamento último da ação e do sentido? Tal formulação exige o recurso à expressão ficcional.

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.

Este artigo tem por objetivo analisar, tendo em vista as teorizações bakhtinianas acerca da poética de Dostoiévski, inovações narrativas presentes no romance Os Irmãos Karamázov, obra escrita pelo autor Fiódor Dostoiévski. Serão apresentados, aqui, os resultados obtidos após a conclusão de uma pesquisa de Iniciação Científica financiada pela FAPESP.

Historicamente, a obra de Machado de Assis tem sido classificada como pessimista e niilista, embora raramente sejam examinadas as premissas que orientam essa classificação. Esta tese oferece uma interpretação divergente e original, defendendo que o niilismo é um motivo condutor dos romances machadianos, de Memórias póstumas de Brás Cubas a Memorial de Aires, aparecendo como perspectiva a ser galhofada.

Russian religious thinkers are a fertile source for addressing the issue of the theologico-political problem in modern political thought. In the writings of authors such as Vladimir Soloviev, Nikolai Berdiaev, and Sergei Bulgakov, we can find samples of a theological understanding of secular modern political theories. Russian religious thought, in its singular quest for anthropological and metaphysical integrality, assumes a Christocentric character, as it allows to integrate the divine in humanity without being the latter devoured by the first one. With a transcendent horizon, free from the myth of secularism and the narrative of the Enlightenment, they reflect on all human affairs from a religious point of view. It is an approach to modernity from an outsider's point of view. Modern ideas broke in Russia as an external force, disruptive of the Slavic lifeworld and tradition. This gave them the conditions of possibility to perceive more easily its basic characteristics, problems and implications. Thus, they recognized the religious and theological implications of these ideas, avowedly secular, unlike their contemporary Western intelligentsia who view them as a gradual development of their own intellectual and social being. In this diagnosis, the thinkers mentioned above have the same master: Fyodor M. Dostoevsky. As said Ivan Karamazov, the greatest character of The Brothers Karamazov, "socialism and anarchism, transforming the whole of mankind according to a new order, it's the same damned thing [that the theological questions], the questions are all the same, only from the opposite end”. Dostoevsky acknowledged that despite the alleged neutrality or opposition of modern political theories to religion, religious and theological conceptions subsisted in a heretical form. The dissolution of the influence of Christianity in public life did not dilute the aspirations to fulfill the eschatological promises of Christianity, they were transferred to politics in the pursuit of its consummation in the immanence of history, attributing to the secular political sphere a power that according to orthodox Christian theology only God can accomplish. A text that gathers all these intuitions and thoughts of Dostoevsky in its most mature form is The Legend of The Grand Inquisitor, which had an important reception in Russian religious thinkers, allowing us to gather some of their reflections about the theological-political question. In this thesis, I propose to articulate the interpretations on this text offered by Soloviev, Berdyaev, and Bulgakov, along with some of Dostoevsky's parallel writings and thus exposing a shared vision on the theologico-political question with relevance for the post-secular scenario.

A presente tese consiste de uma reflexão sobre a multidão de um ponto de vista ontológico, político e estético, tendo como referência a literatura e outras práticas linguísticas multitudinárias. O que está em jogo é uma crítica de algumas tendências do pensamento, do imaginário e da política moderna que com frequência conceberam a multidão (HARDT e NEGRI) — legião de corpos singulares e desejantes — como massa impotente ou comunidades essenciais, minando a produção de riqueza comum. Antagonizando tais tendências, a determinação que nos move é como hoje aventar, no âmbito da produção linguística, da economia imaterial e da biopolítica, as possibilidades de uma comunialidade que não preceda a si mesma (NANCY), mas que se articule num agenciamento não essencial, não teleológico e colaborativo que produz o comum enquanto se produz. Defendemos que, se a multidão há muito tem sido vista como demoníaca, isso não se dá porque ela constitui uma afronta ao ideal da democracia real, mas, precisamente ao contrário, porque com frequência faz desse ideal uma alternativa tangível e "monstruosa" em face da transcendência do direito constituído, do biopoder (FOUCAULT) e do capital. Lançando mão de uma metodologia expressamente cartográfica, buscamos trazer à tona não somente algumas aporias que assombraram o pensamento e o imaginário moderno diante da emergência política do grande número, mas igualmente conceitos e reivindicações hoje centrais para se pensar criticamente a produção de linguagens e de riquezas simbólicas para além de noções em franca crise de sentido como progresso, civilização, Povo nacional, identidade, classe, alta/baixa cultura, originalidade, indústria cultural, espetáculo, copyright, cânone, etc.

INGLÊS

The objective of this thesis is to reflect on the multitude from an ontological, political and aesthetic point of view, with reference to the different outlooks literature and other multitudinous linguistic practices can offer. At stake is a critique of some trends in modern thought or politics that frequently devised the multitude (HARDT and NEGRI) — legion of desiring bodies and singularities — as impotent mass or essential communities and thus suspended the production of the commonwealth. Antagonizing these trends, the determination that moves us is how to conceive, in the realm of language production, immaterial economy or biopolitics, the possibilities of an open and constituent communality that does not precede itself (NANCY), but revolves around a non-essential, non-teleological, collaborative and multitudinous assemblage (agencement) that produces the common as it produces itself. We defend that, if the multitude has been seen as demonic throughout modernity, it is not because it is an affront to the ideal of genuine democracy, but precisely on the contrary, because it often turns this ideal into a tangible and "monstrous" alternative to the transcendence of law, biopower (FOUCAULT) and capital. Drawing on an expressly cartographic methodology, we intend to bring to surface not only some aporias that haunted the mind and the imagination in view of the political emergence of modern crowds, but also concepts and claims that today become central to thinking critically the production of language and symbolic richness in a way that exceeds notions that face a profound crisis of meaning — progress, civilization, peoples, identity, class, high/low culture, originality, cultural industry, copyright, spectacle, canon, etc.

La experiencia del amor como lugar de revelación juega un papel central en el universo del pensamiento de estos dos grandes autores rusos. Las categorías de Verdad, Existencia, Inmortalidad, Don y Theosis  se hallan íntimamente entrelazadas en sus obras con la experiencia amorosa siendo un testimonio singular del amado en el amante y el amante en el amado. Tomaremos como punto de partida las peripecias de Mishkin (El idiota)  y Stepán Trofimovich (Demonios),  personajes de las novelas de Dostoievski y los pondremos en dialogo con La columna y el fundamento de la verdad, de Pavel Florenskij

The present paper discusses Dostoevsky’s Crime and Punishment as a novel that pushes the boundaries of psychological analysis in literature. Following L. S. Vygotsky’s approach to psychology of art, the commentary intends to delve into the structure of the novel to find the unique psychological perspective that is embedded in it. The analysis focuses on the opposition between fragmentation and unity in the novel’s structure and character portrayal, as well as on the epilogue as a moment in the narrative that fully unveils the anti-psychological nature of this literary work. The depiction of a deeper reality that cannot be grasped by a linear biographical-scientific understanding of personality is simultaneously the core of the novel’s anti-psychologism and its unique psychology, one that encompasses a metaphysical and spiritual realm in which epiphany finds its meaning. Lastly, we hope that this analytic and sensible effort can somehow contribute to enriching the contact with Dostoevsky’s literature, an experience that is in itself irreplaceable.

 « A Simple Doubling. Double Identity in the 20thC novel »
In the 19thC, starting with Germany (E.T.A. Hoffman) before spreading throughout the West, the double was so common as to attain the status of a literary cliché. In the 20thC, the double was still a lively figure, but in a radically different way : from its erstwhile rooting in the Fantastic of Romanticism, it took on a realist discursivity. The questions it posed regarding identity engendered new forms of narrative : the romantic short story gave way to long, open-ended texts in which narrative was displaced by the discursive.
From the point of view of the present study, what could first appear to be no more than a theme becomes a poetics of the double. And while literary criticism has, to date, made much of the Romantic double, there has been no attempt to offer a synthetic vision of doubling in twentieth century literature, despite the fact that it is very different.
Our study begins by laying down the characteristics of the romantic double, and making manifest the rupture opened up by Dostoevsky and Stevenson, before going on to develop the different attempts which were made to lay the figure to rest at the end of the romantic period : through a rationalist discourse with Freud, through a parody of the tradition with Nabokov, or through a declared absence of the motif in the work of Aragon.
This diversity of intertextual responses makes it possible to offer a typology of doubling, based upon the four great Graeco-Roman myths of the double : Castor and Pollux, Sosia, Tiresias, and Narcissus.
The last part of our study makes clear the narratological specificities of the figure of the modern double : a movement towards an internalisation of the duplication, coupled with a decentring aesthetic underpinned by an incognito character and a lyrical narration.
In conclusion, I underline - without intending any value judgement - the narcissistic content of the twentieth century double : Narcissus ousts Echo.
The study terminates with the proposition of a glossary of the double.
Key words :
1. double
2. identity
3. novel
4. narration
5. Romanticism
6. Narcissus
7. Hungarian literature
8. Literature of the 20thC
9. the fantastic

« Un simple dédoublement.
Identité double dans le roman du XXe siècle »

Au XIXe siècle, irradiant d’Allemagne (E.T.A. Hoffmann) vers tout l’Occident, le double connut une fortune telle qu’il atteignit le statut de cliché littéraire. Au XXe siècle, le double est toujours vivace mais de façon radicalement différente : de romantique fantastique qu’il était jadis, il vise à développer une discursivité réaliste. Ce questionnement sur l’identité engendre de nouvelles formes de récits : la nouvelle romantique laisse place à de longs textes sans fermeture où le discursif l’emporte sur le narratif.
Ce qui, pour cette étude, pourrait sembler au départ un simple thème devient une poétique du double. Et si la critique littéraire s’est jusqu’à présent largement consacré au double dans la littérature romantique, il n’existait pas encore de perspective synthétique sur le dédoublement littéraire au XXe siècle, pourtant essentiellement différent.
L’étude commence par poser les caractéristiques du double romantique et montrer la brèche qu’ouvrent Dostoïevski et Stevenson, pour ensuite développer les différentes façons par lesquelles la figure vise à être mise à mort à la fin du romantisme : par un discours rationalisant chez Freud, par une parodie de la tradition chez Nabokov, par une absence revendiquée du motif chez Aragon.
Cette diversité des réponses intertextuelles permet de proposer une typologie du dédoublement, fondée sur les quatre grands mythes gréco-romains du double : Castor et Pollux, Sosie, Tirésias et Narcisse.
La dernière partie de l’étude montre les spécificités narratologiques de la figure du double moderne : une inflexion vers une intériorisation de la duplication ainsi qu’une esthétique du décentrement soutenue par un personnage incognito et une narration lyrique.
En conclusion, je souligne la teneur narcissique (sans connotation péjorative) du double du XXe siècle : Narcisse évince Echo.
L’étude s’achève par une proposition de glossaire du double.

Mots clefs :
1. double
2. identité
3. roman
4. narration
5. romantisme
6. Narcisse
7. littérature hongroise
8. littérature au XXe siècle
9. fantastique

Resumen: El presente artículo se propone realizar un análisis del deseo de parricidio que presenta F. Dostoievski por medio de sus personajes en su novela titulada Los hermanos Karamazov (1880). Dicha problemática será interpretada a partir de la sentencia "Dios ha muerto" (Gott ist Tot) que presenta el filósofo F. Nietzsche en el aforismo §125 de su obra La ciencia jovial (1882). El deseo de parricidio es interpretado como una de las consecuencias de una enfermedad mayor que padece Occidente, a saber: el nihilismo. Éste es un concepto que abordan ambos autores, pero ante el cual toman posiciones diferentes. Mientras Dostoievski optará por apoyarse en la fe, Nietzsche, en cambio, invitará a reflexionar sobre la voluntad de poder y el ultrahombre como camino para la superación del nihilismo.

Este trabajo es un capítulo de una obra colectiva titulada "Manantial en el desierto. Ensayos multidisciplinarios sobre empatía y compasión." Dentro de esta obra mi capítulo recorre la cuestión de la compasión o de su ausencia y sus diferentes consecuencias para la vida personal, como actitudes éticas fundamentales en algunos personajes de la obra de Dostoievski. Intenta relacionar la obra del autor por otra parte, con grandes coordenadas del pensamiento filosófico y de tradiciones espirituales rusas

Eterodoxia opticei psihologice dostoievskiene delimitează traseul narativ, în care, Dostoievski, mai mult ca oricine, ne-a arătat, prin viaţa sufletească a eroilor săi, eterogenitatea elementelor care compun conştiinţa omenească. Astfel, eroii săi cunosc o duplicitate a existenţei lor şi manevrează cârma vieţii într-o atmosferă de orientări bipolare. Toţi oamenii se contrazic succesiv de-a lungul unei vieţi dar în eroii lui Dostoievski, contradicţia coexistă, antinomia e simultană iar mecanismul intelectului nu receptează nici o pliroforie. Totul este un joc ameţitor de imagini între oglinzi paralele, a complexităţilor şi ciudăţeniilor pe care le au deopotrivă toate personajele aduse pe ecranul epic. Universul moral adus de romanul dostoievskian este eruptiv şi multiplu în sentimentele sale, de aceea, ca şi în întreaga viaţă, Dostoievski creează oameni din fragmente de senzaţie, emoţie, credinţă sau convingere. Aceştia nu apar unitari sau unilaterali, nu pot fi socotiţi ca tipare narative. Scopul lor este adevărul, desluşirea înţelesului ascuns al vieţii. Personajele sunt Sisifii propriilor lor gânduri, ei întind mâna lor crispată, dar mâna le dibuie în întuneric şi în noaptea îndoielii lor, încearcă marea cu degetul. În veşnicele întrebări, ce şi le pun asupra rostului lor, ei îşi ascut tăişul ideii şi nerviilor, de parcă viaţa nu ar avea alt rost decât să îi ţină pe marginile prăpastiei nebuniei. S-au dovedit astfel oameni-păpuşi ai unor idei fixe. Puterea originalităţii marelui scriitor, în crearea întregei sale opere, constă în prinderea adevărului ce se ascunde în lumea sufletului omenesc, iar nu în aceea a adevărului aparent din lumea exterioară. În experienţa artistică a lui Dostoievski, viaţa lasă impresia că se află aşezată într-o retortă de alchimist şi înfierbântată la o temperatură maximă pentru a-i lămuri aspectele esenţiale. Autorul însuşi afirmă despre personajele sale că a descoperit "tragismul subteranei, un tragism al suferinţei, al autoexecutiei, al conştiintei de mai bine fără putinţă de a atinge acest mai bine, şi în primul rând al convingerii nestrămutate a acestor nefericiţi, că de vreme ce tot sunt aşa, la ce bun să se mai îndrepte." Acerbul vrăjmaş al raţionalizării, Dostoievski îşi condamnă locuitorii subteranei la pendularea permanentă între sentimentul viu, dragostea eliberatoare şi teoriile egoiste care mortifică sufletul. Ideologia creştină, însă, conferă operei dostoivskiene sensul ei major, cu adevărat unic, care o face să depăşească cu mult, prin bogăţia implicaţiilor, simpla structură de roman senzaţional, de roman psihologic sau de roman social. Încercând să dea un inventar moral al personajelor lui Dostoievski, Nichifor Crainic descoperă că se poate face o împărţire în spiritul categoriilor stabilite în Apocalips: omul "călduţ" personificat de individul de "duzină", eminamente "mediocru" (Fedka, ocnaşul), omul "rece", acel posedat de spiritul răului (Raskolnikov, Verhovenski, Kirilov, şi mai ales Stravoghin) şi omul "fierbinte" avându-şi întruparea în "creştinul adevarat" care este iluminat de puterea supranaturală a harului (Satov). Această discrepanţă între noţiunile de "rai" şi "iad" au fost abordate necontenit în literatura universală, dar în diverse accepţiuni. Pentru Dante, raiul şi iadul sunt perspective exterioare omului, care încep dincolo de hotarul morţii, însă pentru Dostoievski, ele se deschid înăuntru omului actual. Poetul catolic le vede ca existenţe escatologice, dar romancierul ortodox ca existenţe psihologice, ca realităţi imanente mai înainte de a fi transcendente. Pentru acest studiu, cele mai concludente personaje sunt marcate de Raskolnikov ("Crimă şi pedeapsă") şi Nikolae Stavroghin ("Demonii"), ambele fiind victime ale tragismului individualist dostoievskian. În concepţia lui Tudor Vianu, Raskolnikov este definit ca "un napolionid, care îşi are fratele cel mai bun în Julien Sorel, eroul lui Stendhal şi care totodată, anunţă supraomul lui Nietzsche". El insistă asupra modului cum se lichidează noţiunea tradiţională de caracter, în favoarea unei investigaţii psihologice de o complexitate inedită, ducând la descoperirea "naturii contradictorii" a fiinţei umane. "Dostoievski continuă linia romanului romantic şi a viziunii lui despre om, dar cu o ştiinţă într-atât mai adâncă a sufletului omenesc, a laturilor lui cele mai obscure, încât psihologia eroilor romantici apare în

A partir du repérage d’un point aveugle de la littérature générale et comparée, ce travail vise à faire de la littérature turque le site d’interrogation de la discipline et de l’intelligibilité régionale de la littérature européenne. La mondialisation du discours critique permet de situer la réception de la littérature européenne chez un romancier turc contemporain dans le cadre des échanges littéraires inégaux entre un espace littéraire ancien et très doté et la périphérie turque. Les particularités de ce champ socio-historique dont Orhan Pamuk est tributaire permettent de comprendre sa trajectoire exceptionnelle, mais aussi son ethos de lecteur de la bibliothèque européenne, marqué par l’excentricité et l’héritage de la dépendance. Dès lors, l’étude du recours d’Orhan Pamuk au roman européen met en valeur trois usages de celui-ci : un usage mimétique, un usage générique et un usage architextuel dont témoigne la réécriture des Buddenbrook de Thomas Mann. Le recours au roman dostoïevskien met en lumière, quant à lui, l’homologie structurale de deux anciens empires dans le rapport à l’Europe, et révèle à Orhan Pamuk l’intelligibilité des « démons » de la Turquie. Le roman pamukien se présente alors comme une négociation poétique de la dépendance et de l’excentricité de la littérature et du roman turcs. La poétique intertextuelle très appuyée, dans un geste de réécriture du canon (Proust, Dante, Dostoïevski) permet la captation de l’héritage littéraire européen ; la poétique de la taklit, centrée sur les jeux fictionnels et les feintises ludiques, permet enfin de transmuer le complexe de dépendance mimétique dans une nouvelle catharsis romanesque de laquelle émerge la « fiction » de l’auteur pamukien.

The “Cross-talking” Work, from Dostoevsky to Danielewski. A “No-reading” of the Negative Literature.   

Abstract
The thesis looks into the entanglements of text, speech and ontology in the self-negation of the literary work. It does not try to find how to reformulate the theoretical angles of this self-negation, neither how to make from it a symbol of the literature self-negation. It aims directly at the act that constitutes this self-negation, and which fully devotes itself to the text. Its purpose is to outline the appropriated way of meeting with the communicated deletion and its consequences. A work which denies itself doesn’t let itself to be read. The self-negation of the work carries along the one of the reading. This double negation strongly calls into question the law, the instrument and the destination of the literary representation. By rejecting the reading, the work invites the “no-reader” to perform a no-reading as well as an “other-way-than-reading” of the text.

Keywords
Delete-text, deleted-text, (self-)retextualization, becoming-image of the text, text-image, no-reading, other-way-than-reading, “dissociationism”.

Résumé
La thèse étudie les implications textuelles, vocales et ontologiques de l’auto-négation de l’œuvre littéraire. Elle ne cherche pas à reformuler les aspects théoriques de cette auto-négation, ni à en faire un symbole de l’auto-négation de la littérature. Elle vise directement l’acte que constitue cette auto-négation, et qui se traduit, dans le texte même, par la "communication de la rature". Notre ambition a été de chercher le mode de rencontre approprié avec la rature communiquée, avec ses résultats et résidus. Une œuvre qui se nie elle-même ne se laisse pas lire. L’auto-négation de l’œuvre entraîne celle de la lecture. Il s’agit, dans cet acte double, d’une mise en question extrêmement radicale des lois, de l’instrument et de la destination de la représentation littéraire : repoussant la lecture, l’œuvre inviterait à un « non-lire » et à un « autrement-que-lire ». Contre tout paradigme herméneutique, l’œuvre « diaphonique » – œuvre à deux voix hostiles – force à reconnaître l’être autarcique du texte : un être indépendant de la lecture.

Mots-clés
Texte-rature, texte-raturé, (auto-)retextualisation, devenir-image du texte, texte-image, non-lecture, autrement-que-lire, « dissociationisme ».

En el presente estudio se exponen los inicios de la penetración de la literatura rusa en España, para centrarse a continuación en el caso particular de F. M. Dostoievski. Con tal fin, se analiza la imagen del escritor ruso transmitida por la Condesa Pardo Bazán en 1887 a través de sus conferencias impartidas en el Ateneo de Madrid, así como las distintas visiones e interpretaciones que se pueden hallar de Dostoievski en la prensa española hasta finales de la Guerra Civil (1939).

RESUMEN La poética de Andréi Tarkovski (1932-1986) coincide con la aproximación que tenía Dostoyevski a la hora de entender la actividad creadora: el arte como ideal, el arte como salvación y el poder transfigurador del arte. El escritor ruso, cuya obra está llena de la contradicción de la vida, ve que para él, crear,-escribir en su caso-era la única vida posible. Lo mismo que luego afirma Tarkovski, que considera que el arte nos tiene que dar fuerza ante un mundo monstruosamente cruel que roza, en sus sinsentido, el absurdo. Esta visión de la creación artística como ilusión redentora y salvadora tiene hilos que se ramifican en toda la cultura europea, y es particularmente fuerte en una tradición cultural como la rusa, en la cual el arte se constituye como una especie de educador del alma. La obra de ambos autores ilustra además como, en la tradición rusa, el artista siempre ha sido una figura en la que se superponen el filósofo y el poeta o el filósofo y el artista. Este artículo propone ilustrar cómo la concepción del arte como mago que salva y como educador del alma revierten tanto en la literatura de Dostoyevski, como en el cine Tarkovski. ABSTRACT The poetics and aesthetics of Andrei Tarkovski (1932-1986) coincide with Dostoyevsky's understanding of artistic creativity: art as an ideal, art as a salvation and the transfiguring power of art. The Russian writer, whose work is full of the contradictions of life, sees that for him, creating-to write in his case-was the only life possible. Just as Tarkovsky says, that art has to give us strength against a monstrously cruel world that rubs on us, in its nonsense, the absurd. This vision of artistic creation as a redemptive and saving illusion has threads that branch out across European culture, and is particularly strong in a cultural tradition such as the Russian, in which art becomes some kind of teacher of the soul. The work of both authors also illustrates how, in Russian tradition, the artist has always been a figure in which the philosopher and the poet or the philosopher and the artist are superimposed. This article proposes to illustrate how the concept of art as a magician who saves, and as an educator of the soul revert both in the literature of Dostoyevski, and in the Tarkovski cinema.

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.

Addresses the importance of literature to theology, taking as an example the book Crime and
Punishment by Dostoevsky. Make a brief biography of the author. Research which
philosophical and religious context that influenced the creation of the work. Conceptualizes the
blame according to Christian theology, then apply to the book's protagonist feeling. Concludes
emphasizing the importance of theological concepts to enrich the human sciences, and makes
the analysis of guilt an example of the importance of literature as a spokesman of theology.
Key words: Theology, Literature, Dostoevsky, guilt, sin.

Este artigo tem por objetivo analisar de que forma a figura do duplo atua na relação entre os personagens Alieksiêi Fiódorovitch Karamázov e Mikhail Ivánovitch Rakítin, ambos personagens do romance Os Irmãos Karamázov, obra escrita pelo autor Fiódor Dostoiévski. Tendo em vista teorias acerca do duplo, pode-se notar que o autor russo eleva o recurso da polifonia a tal ponto que não apenas diferentes personagens entrem em conflitos uns com os outros, como também criam-se embates entre personagens e seus respectivos duplos, sejam eles seres totalmente diferentes ou exatamente iguais na aparência. Entre Aliócha e Rakítin, em específico, há diversos pontos convergentes que nos permite dizer que um é duplo do outro. No entanto, são as contradições que nos mostram as possíveis intenções dostoievskianas na criação de tais personagens. Utiliza-se nesse artigo os teóricos Gross (2010), Martinho (2003), entre outros para tratar do recurso do duplo. Por fim, concluímos em nossa pesquisa que os embates entre os dois personagens surgem a fim de expor em Aliócha suas pulsões emocionais e instintivas, recalcadas devido à forte ideologia hebraico-cristã.

La vida de Piotr Kropotkin daría para redactar el guión de una larga lista de películas de aventuras. Geógrafo, viajero, etnógrafo, estudioso, naturalista, revolucionario, sería imposible definirlo en un sólo epíteto. Kropotkin tenía sangre de la alta aristocracia rusa, y huyendo de las formas de vida comunes a su estamento social pronto buscó nuevos paisajes, motivaciones y pensamientos que le hicieron convertirse en una de las personalidades políticas y culturales más importantes de su generación. Rechazó su rica herencia familiar, algo heróico extrapolándolo a nuestro mundo contemporáneo en el cual dinero y poder se han convertido en las más grandes premisas, dedicando su vida entera al aprendizaje, a la publicación de textos libertarios, al activismo y en general a la causa de la mayoría de la población, es decir a la mejora de las condiciones de las paupérrimas clases populares existentes en todos los países de la Tierra. En su camino se encontró con el más granado grupo de pensadores, revolucionarios y académicos
existente en sus días, con ellos supo formarse y a la vez les legó sus reflexiones, esa simbiosis hizo que Kropotkin no fuera únicamente especialista en un solo campo, sino que se interesó por multitud de sectores, buscando esa universalidad del conocimiento que publicitó abundantemente en sus escritos. No es raro comprender entonces su pronta disposición hacia las ideas que propugnaba el anarquismo, llegando a ser uno de sus máximos teóricos, sus obras desde entonces han sido leídas, soñadas o perseguidas por muchas personas. Kropotkin, al igual que bastantes libertarios de su tiempo era considerado como todo un erudito por sus coetáneos, sus lecturas fueron devoradas convirtiéndose en verdaderos best seller del cambio de siglo, escuchado con atención en sus múltiples simposios, invitado para conferenciar en numerosísimas ciudades y sus estudios analizados en países de todos los continentes.

O objetivo deste estudo é fazer uma investigação, de cunho crítico, histórico e teórico, sobre algumas das propriedades mais caras à tradição do romance enquanto gênero literário, a partir de uma perspectiva que leve em conta, por exemplo, as reflexões sobre a carnavalização da literatura de Mikhail Bakhtin, sobre a mistura de estilos de Erich Auerbach, sobre a seriedade cotidiana oitocentista de Franco Moretti, sobre a mediação do desejo de René Girard e sobre o humorismo moderno de Milan Kundera. Para tanto, a obra "O eterno marido" de Dostoiévski deve ser tomada como cenário emblemático e privilegiado para investigar, principalmente do ponto de vista histórico do gênero narrativo em prosa, as feições, as disposições, os questionamentos mais pertinentes ao estudo do romance, em especial o do século XIX.

"La belleza es algo temible y amedrentador… en ella se juntan las riberas, cohabitan todas las contradicciones" (…) "el diablo lucha con Dios y el campo de batalla es el corazón del hombre" (…) "la lucha se efectúa al amparo de lo bello". Fedor M. Dostoievski

Resumen: el artículo reflexiona sobre distintas afirmaciones sobre la belleza puestas en boca de varios personajes en diferentes novelas de Fedor Dostoievski y las compara con el pensamiento de Semen L. Frank, Sergei Bulgákov, Andrei Tarkovski, Pavel Florenski. La belleza aparece ligada a la verdad y el bien, trascendiendo su perfil meramente estético hacia una comprensión pascual encarnada en la historia Divino-humana.

Abstract: the article reflect on different assertions about the beauty put in the mouths of several characters in different novels by Fedor Dostoyevsky and compares them with thought of Semen L. Frank, Sergei Bulgákov, Andrei Tarkovski, Pavel Florenski. Beauty appears linked to truth and good, transcending its merely aesthetic profile towards a paschal understanding embodied in the divine-human history.

Sumario del número:
Artigos Temáticos
-O Romance como Teologia: reflexões em diálogo com Fiódor Dostoiévski, Lubomir Žak, Marcio Luiz Fernandes 11-32

-Science and Religion in Dostoevsky’s Thought, Tereza Obolevich, 33-45

-Dostoevsky: Religion, Art, and Nihilism, Jimmy Sudario Cabral, 46-60

-¿La belleza salvará al mundo? Marisa Mosto, 61-88

-Homo Cordis Absconditus: A Mística do Coração nos Relatos de um Peregrino Russo, Wiliam Alves Biserra, Victor Hugo Pereira de Oliveira
89-115

-Teologia e semiótica russa: implicações da semiótica da cultura para o discurso teológico, Abdruschin Schaeffer Rocha, Kenner Roger Cazotto Terra, 116-148

-Nicolas Berdiaev, o teatro russo e o simbolismo, Ramon Maia, 149-164

-O Padre e a Peste – e o método Karamázov, Rafael de Castro Lins, 165-202

-O Mestre e Margarida de Mikhail Bulgákov: Um Diabo Russo, Patricia Leonor Martins, 203-230

-Dostoiévski: das influências românticas às convicções religiosas
Arlene Fernandes

Mevlânâ, Gelibolulu Âlî, Dostoyevski, Anatoly France, Firdevsî, Zerdüşt ve daha pek çok büyük düşünce insanı bizleri hep şeytanın iğvasına karşı uyarıyor. Şeytan, kendisinin yücelerden kovulmasına sebep olan insandan intikam almak için hangi taktikleri uyguluyor? Büyük klasiklere baktığımız zaman neden hep aynı uyarılarla karşılaşıyoruz? Şeytanın oyunlarına dikkat çeken bu büyük insanlar bu sinsi tuzakları nasıl anlatıyorlar? Kanmamak için uyarıları derlenen literatürden yalnızca bir kaçına bakarak yapılan araştırma.

This discussion provides a comparative analysis between the novel Pedro Páramo (1955),
by the Mexican writer Juan Rulfo, and one of the short stories by the Russian author
Dostoevsky, entitled Bobok (1873), which also deals with the subject of the afterlife. At the
same time, the hypothesis is put forward that the Russian short story might well have been
one of the Mexican novel’s literary sources, while the endeavor is made to pinpoint the
connections, whether direct or indirect, between both works. What they have in common is
also derived from the literary genre to which they belong, this serving as a starting point for
an examination of the features they share, together with the similarities and differences that
exist between them.

O artigo é dedicado aos aspectos da dramaticidade da obra de Dostoievski, ou seja, análise das qualidades de seu estilo artístico que possibilitam a transformação do discurso literário em discurso dramático. O estilo artístico do escritor russo forma-se no limite e na interação de dois mundos estéticos – o literário e o teatral. São relevantes as formas de discurso dramático utilizadas por Dostoievski: a ação dramática dupla ou múltipla de seus romances, o predomínio do diálogo como fonte típica do drama. Mas será que a “estrutura polifônica” (segundo a definição de M. Bakhtim) de sua obra contradiz a composição puramente monológica “do drama”?

Amb aquesta lectura Els Dimonis de Dostoievski, que fem a través de les lents de la teoria mimètica de l'antropòleg René Girard, pretenem reconsiderar el concepte de llibertat que solem emprar. Allunyant-se d'alguns dels pressupostos existencialistes i psicoanalítics, a la primera part del treball expliquem breument els trets principals de la teoria mimètica, del boc expiatori i la particularitat del Cristianisme, així com la lectura girardiana de Nietzsche. Tot seguit, passarem a la lectura, a través d'aquests conceptes, de la novel·la de Dostoievski "Els Dimonis" - la gran novel·la sobre la llibertat, la religió, la revolució, la modernitat, i la vinguda de l"Anticrist" -, cosa que ens portarà a fer una breu reflexió i reconsideració del concepte de llibertat del qual fem gala, puix que l’acceptació de l’ineludible comportament mimètic ja hi convida.

Trata-se de apresentar, por um prisma dentre outros, a concepção cioraniana do homem e da condição humana. Iluminando o caráter fragmentário e paradoxal de seu pensamento, buscamos elucidar o sentido peculiar e a originalidade da noção de lucidez tal como a desenvolve Cioran, e de que maneira esta lucidez culmina, paradoxalmente, numa atitude religiosa radicalmente heterodoxa. De onde a alegoria da "queda no tempo" [La chute dans le temps] e a acepção heterodoxa (de viés gnóstico) do pecado original segundo autor, que faz dele um pensador pessimista em relação à condição e à história humanas, em oposição ao mito utópico do progresso na modernidade e o meliorismo que, segundo diversas antropovisões modernas, postula a perfectibilidade do ser humano através da ciência e da política.

When Bakhtin dedicates his literary studies to Dostoiévski's novels, the author observed that the Russian writer was the biggest responsible for creating what he calls the modern polyphonic novel. Using this concept of polyphony, the critic shows an analysis which defends that the construction of the characters was exceptional to the history of literature when it proposes personalities and particular voices to each subject of the novel. His theory consists in defending that the author's voice is not the one in charge of conducting the narrative anymore, but all the voices of all characters are now active in the story. That being so, the main intention of this article is to show how the narrator's voice of the novel " The Idiot " , from Dostoiévski, gains space in a polyphonic novel. The objective is to analyze how, specifically in this novel, the narrator's voice is identified in relation to the others characters' and author's voices. It is intended to investigate if his voice can be considered equivalent to the others voices in the narrative and if it is possible to defend that even the narrator's voice can be considered a character's voice.

Dostoevsky’s short novel Notes from Underground (Записки из подполья) was first published in the Russian magazine Epocha in 1864. The story of the nameless man in the underground (or ‘cellar hole’ as it is called in the German and other translations) is divided into two parts. In the first part, the then 40-year-old civil servant lays out his life philosophy in the narrative now of the story and in the second he recalls a number of events that took place in the narrative past of the story, fifteen years earlier.
I will first reconstruct my reading of Notes from Underground and then relate them to a personality type that I for completely different reasons have dealt with in my research over the past ten years: the conspiracy theorist and, where applicable, his radicalized manifesto leading to deadly violence. Since Anders Behring Breivik and his terrorist attacks in Oslo and on Utøya in 2011, which claimed 77 victims, we have in recent years witnessed a series of attacks carried out by lone perpetrators and which were accompanied by a terrorist manifesto. To this can be added another component: the so-called ‘Incel’ movement of misogynistic men who claim to be in a state of ‘involuntary celibacy’ and from their digital cellar holes vent their vulgar Darwinist dissatisfaction with the alleged hegemonic power of women and gender studies.