Russian nihilism and its reflection in selected antinihilistic novels

Tato práce pojednává o fenoménu ruského nihilismu a o jeho reflexi ve vybraných antinihilistických románech. Práce se nejprve zabývá ruským nihilismem a objasňuje jeho vznik, vývoj a projevy. Dále pojednává o antinihilistickém románu, zaměřuje se zejména na vysvětlení tohoto literárního jevu a jeho dobové přijetí i přijetí odbornou literaturou. Ohniskem práce je pak analýza čtyř vybraných antinihilistických románů. Analýza románů Otcové a děti Ivana Sergejeviče Turgeněva, Běsi Fjodora Michajloviče Dostojevského, Přelud Viktora Petroviče Kljušnikova a Není kam Nikolaje Semjonoviče Leskova se zaměřuje zejména na to, jakým způsobem je nihilismus v těchto románech prezentován.This thesis deals with a phenomenon of Russian nihilism and its reflection in selected antinihilistic novels. The thesis is focused on Russian nihilism and explains its origins, development and manifestations. It also aims to describe an antinihilistic novel and focuses mainly on explaining this literary phenomenon and its initial reception and reception in specialized literature. The main focus of the thesis is an analysis of four selected antinihilistic novels. Analysis of novels Fathers and Sons by Ivan Sergeyevich Turgenev, Demons by Fyodor Mikhailovich Dostoevsky, Mirage by Viktor Petrovich Klyushnikov and No Way Out by Nikolai Semyonovich Leskov focuses particularly on the presentation of nihilism in these novels.Ústav východoevropských studiíInstitute of East European StudiesFilozofická fakultaFaculty of Art

Reflections on the work of R.O. Šor: Materials from institutional archives

The work of Rozalija Osipovna Šor (1894-1939) is examined through materials held in the archives of institutions in which she worked. Particularly important is the text of her self-criticism of 1932 in which she examines the formation of her own ideas and the influences on her work. This is supplemented with reflections on her published work and new information about aspects of her contribution to Soviet linguistc thought in the 1920s and 1930s that have remained unexplored. This brings new light to bear on Šor’s work by illustrating her relationship to European linguistic thought and the development of Soviet intellectual life in the period of the ascendency of the ideas of Nikolaj Marr

L'istituzione del matrimonio in Tolstoj

The Institution of Marriage in Tolstoy Family Happiness, Anna Karenina, The Kreutzer Sonata Maria Zalambani Tolstoy\u2019s works are not just literary masterpieces. They are also mirrors of the cultural, historical and social transformations that were taking place in Czarist Russia. This study examines three of his novels from this perspective, as reflecting the evolution of the marriage institution in Russia during the second half of the nineteenth century. Family Happiness anticipates the transition from the marriage of convenience, intrinsic to the economic and social structure deriving from large landed property, to the bourgeois marriage, mirroring the social changes which were taking place after the Great Reforms. Anna Karenina is the novel which best illustrates the nature of the marriage of convenience, depicting its definitive crisis in Anna\u2019s attempts to flaunt and justify her adultery. In this she challenges her contemporaries, and decrees the end of the marriage of convenience, which tolerated adultery provided it was committed privately. Anna\u2019s fearless decision to make her relationship public leads to her death. But her choice also illustrates a new alternative for women who, towards the end of the century, were acquiring greater awareness of the \u201cwoman problem\u201d. If Family happiness shows the first cracks in the institution of aristocratic marriage by questioning a mechanism which, being a mere contract of alliance between families, does not contemplate personal feelings and allows no expectation of happiness for the spouses (in particular for women), Anna Karenina shows an institution in deep crisis. An attempt at solution can be glimpsed in the complex sequences of events in The Kreutzer Sonata. Beyond Pozdny\u161ev\u2019s murderous insanity, we can see a transition to a new type of marriage based on sentiments. Between the lines of his confession, we can see the birth of a bourgeois marriage relationship, with a nuclear family based on love and the education of children (previously delegated to nurses and tutors). The time of the Great Reforms, with the birth of a new social class and the demise of the aristocracy, requires a family structure to match these changed conditions. The bourgeois family is now the focus for feelings, for love, as well as for sexuality, for which it is the only focus permitted by state and church. Nonetheless, the family remains a place in which relations of power on the axes of husband-wife and parents-children continue to exist, albeit with new modalities. The transition to a modern model does not mean the end of the family as a microcosm with disciplinary powers among its members, but its affirmation in different terms and manners. Considering these issues also raises the question of the relationship between society and literature. As well as mirroring social and cultural change, literature contributes to produce such change. This study aims to read historical reality from between the lines of literature and at the same time to show how, in a literature-centred society like Russia\u2019s, Tolstoy\u2019s works may have helped generate new models for life. Thus Anna\u2019s suicide is a shout of denunciation which appears to have penetrated the unconscious of Tolstoy\u2019s readers, influencing their mentalities and their behaviour

L’istituzione del matrimonio in Tolstoj

Leo Tolstoy's works are not only masterpieces of world literature, but also mirrors of their time, of the socio-cultural transformations which took place in Tsarist Russia; it is from this perspective that, in this work, this great writer’s production is analysed. In particular, the author examines the evolution of the institution of marriage in the second half of the 19th century in Russia, starting from the reading of Family Happiness , Anna Karenina and The Kreutzer Sonata. If Family happiness preludes to the crisis of the arranged marriage, its implosion is beautifully described in Anna Karenina . Anna announces the definitive death of this institution when she defies the society of her time by not hiding her adultery and, on the contrary, by exhibiting it and trying to legitimize it.The Kreutzer Sonata, lastly, demonstrates the successful overcoming of the aristocratic marriage model, replaced by the bourgeois one

Nihilismo, nihilistas. Sobre una posible fuente de Nietzsche

El artículo trata de las fuentes del concepto de «nihilismo» en Nietzsche. Es bien conocido que el término «nihilismo» adquiere un significado filosófico gracias a Nietzsche. Martin Heidegger y en menor medida Karl Löwith han contribuido luego a la transformación filosófica final del término. Sin embargo es igualmente bien conocido que Nietzsche no es el creador del término/concepto. La literatura secundaria sobre el tema nos informa que Nietzsche probablemente tomó prestado el término/concepto de la mediación literaria proporcionada por Turgeniev y Dostoevskij. El artículo tiene como objetivo mostrar que la reflexión de Nietzsche sobre el tema del nihilismo comenzó antes se su lectura de Dostoevkij (otoño-invierno 1884/1888) y al menos al mismo tiempo que él lee a Turgeniev (segunda mitad de los años 70). A fin de justificar esta retroactividad, el artículo mostrará fuentes nuevas e inexploradas en la Nietzsche-Forschung, tales como una novela escrita por Karl Gutzkow y un libro del teólogo Hermann Reuter

Nihilismo, nihilistas. Sobre una posible fuente de Nietzsche

The paper deals with the sources of Nietzsche’s concept of “nihilism”. It is well known that the term “nihilism” obtains a philosophical meaning thanks to Nietzsche. Martin Heidegger and to a lesser extent Karl Löwith have then contributed to the final philosophical transformation of the term. Nevertheless it is equally well known that Nietzsche is not the creator of the term/concept. The secondary literature on the topic informs us that Nietzsche probably borrowed the term/concept from the literary mediation provided by Turgenev and Dostoevskij. The paper aims at showing that Nietzsche’s reflection upon the theme of nihilism began well before his reading of Dostoevskij (autumn-winter 1887/1888) and at least at the same time as he read Turgenev (second half of the ‘70s). In order to justify this backdating, the paper will show new and unexlopered sources in the Nietzsche-Forschung such as a novel by the writer Karl Gutzkow and a book by the theologian Hermann Reuter.El artículo trata de las fuentes del concepto de «nihilismo» en Nietzsche. Es bien conocido que el término «nihilismo» adquiere un significado filosófico gracias a Nietzsche. Martin Heidegger y en menor medida Karl Löwith han contribuido luego a la transformación filosófica final del término. Sin embargo es igualmente bien conocido que Nietzsche no es el creador del término/concepto. La literatura secundaria sobre el tema nos informa que Nietzsche probablemente tomó prestado el término/concepto de la mediación literaria proporcionada por Turgeniev y Dostoevskij. El artículo tiene como objetivo mostrar que la reflexión de Nietzsche sobre el tema del nihilismo comenzó antes se su lectura de Dostoevkij (otoño-invierno 1884/1888) y al menos al mismo tiempo que él lee a Turgeniev (segunda mitad de los años 70). A fin de justificar esta retroactividad, el artículo mostrará fuentes nuevas e inexploradas en la Nietzsche-Forschung, tales como una novela escrita por Karl Gutzkow y un libro del teólogo Hermann Reuter

La Russie souterraine : l'émergence de l'iconographie révolutionnaire russe (1855-1917)

La présente thèse étudie la production et la consommation d’images par les révolutionnaires russes avant 1917. L’auteur soutient que l’iconographie révolutionnaire russe émane d’un long processus au cours duquel les révolutionnaires se sont appropriés et ont subverti certaines images et stratégies visuelles, ainsi que leurs moyens de production, déjà disponibles au sein de la culture qu’ils avaient entrepris de transformer. Cette appropriation est comprise comme une tentative d'insuffler une cohérence idéologique à un mouvement révolutionnaire en émergence et, ce faisant, en proie à une relative désorganisation. L’auteur montre comment l’usage de portraits et de stéréotypes visuels joua un rôle important dans la construction de l’identité et de la conscience révolutionnaires, d’une part, et comment un certain imaginaire révolutionnaire fut cristallisé dans la culture visuelle contemporaine, d’autre part.This dissertation studies the production and consumption of images by Russian revolutionaries prior to 1917. The author argues that Russian revolutionary iconography emanates from a long-term process in which revolutionaries appropriated and subverted the images, means of production and visual strategies already available in their surrounding cultural context. This cultural borrowing is analyzed as an attempt of the revolutionaries to give an ideological coherence to an emerging but still disorganized political movement. The author shows how portraits and visual stereotypes have been fundamental in the construction of the revolutionary identity and consciousness, on one hand, and how a certain revolutionary imagination have been crystallized in the contemporary visual culture, on the other hand

Ideologia e questione sessuale nella Russia sovietica degli anni 1918-1928. Il caso di Aleksandra Kollontaj

Lo scopo di questa tesi è quello di fornire un'analisi della raccolta di saggi "La nuova morale e la classe operaia" della rivoluzionaria marxista Aleksandra Kollontaj. Gli articoli qui analizzati furono scritti prima della rivoluzione d'ottobre e ripubblicati due anni dopo la presa del potere da parte dei bolscevichi. L'opera è significativa per le idee innovative in essa espresse a proposito dell'emancipazione femminile e per l'attenzione che l'autrice dedicò alla sfera della sessualità. L'obiettivo di Kollontai fu quello di riformare la morale sessuale della nuova società sovietica, introducendo una nuova idea di amore tra gli individui basata sui principi comunisti di solidarietà e di rispetto reciproco. Per comprendere al meglio la posizione di Kollontai, il primo capitolo offre una panoramica della nascita e dello sviluppo del polovoj vopros (questione di genere) nei primi anni del regime sovietico. Nel secondo capitolo, si fornisce un'analisi l'evoluzione delle idee di Kollontai attraverso una presentazione delle sue opere principali e si discute il rapporto tra la sua posizione e il pensiero socialista tradizionale. Nel terzo capitolo viene analizzato il contenuto dei tre articoli che compongono la collezione. La ricerca mira a fare luce su come, nel corso della lunga carriera letteraria e politica dell'autrice, il punto di vista di Kollontai si sia gradualmente omologato con la visione sovietica