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The representation of the superfluous man in Demons, by Dostoevsky
No full textO romance Os Demônios, de Fiódor Mikháilovitch Dostoiévski, foi concebido inicialmente como resposta ao episódio relacionado à organização política clandestina Justiça Sumária do Povo, liderada por S. G. Nietcháiev. O caso consistiu no assassinato de um de seus membros, uma vez que, por divergências políticas, resolvera se afastar do grupo. Dostoiévski, à medida que investiga as informações sobre a realidade do crime, resolve utilizá-lo como um dos temas para compor um romance que abrange as principais forças culturais da Rússia do século XIX. Em particular, o autor percebe que poderia estabelecer um elo entre as ideias concebidas pelos liberais russos de 1840 e a forma como essas mesmas ideias foram postas em prática pela geração seguinte da intelligentsia, os radicais de 1860. A partir da combinação de alguns de seus projetos até então inconclusos, Dostoiévski estabelece duas das principais personagens do romance: Nicolai Vsievolódovitch Stavróguin e Stiepan Trofímovitch Vierkhoviénski. Ambas apresentam características que as vinculam ao fenômeno do homem supérfluo: tipo literário presente nas principais obras dos romancistas russos do século XIX. A proposta desta pesquisa, portanto, é investigar os elementos que formam a estrutura de Os Demônios, como foco narrativo, enredo, personagem e tempo, a fim de se compreender como eles são utilizados para a caracterização da superfluidade presente no duo de protagonistas desse romance. Investigamos, igualmente, como essa superfluidade influencia o narrador de Os Demônios e como esse narrador, afetado pela superfluidade, gera o universo de contingências característico desse romance. Por fim, oferecemos uma interpretação para essa obra, baseada nessa análise específica.The novel Demons, by Fyodor Mikhaylovich Dostoevsky, was initially considered a response to an episode related to the clandestine political organization called Peoples Summary Justice, led by S. G. Nechayev. The event consisted of the killing of one of its members, since, because of political divergences, he had decided to step away from the group. Dostoevsky, as he investigates information about the reality of the crime, decides to use it as one of the themes to compose a novel that ranges 19th century Russias main cultural forces. Particularly, the author realized he could create a link between the ideas brought by Russian liberals from 1840 and the way in which those same ideas were put to practice by the following generation of the intelligentsia, the Russian radicals of the 1860´s. From a combination of some of his so far unfinished projects, Dostoevsky establishes two main characters for the novel: Nikolai Vsevolodovich Stavrogin and Stepan Trofimovich Verkhovensky. Both of them have characteristics that associate them to the superfluous man phenomenon: a literary type present in the main works from 19th century Russian novelists. Therefore, the proposition of this research is investigating the elements that form Demons structure, such as point of view, plot, character and time, in order to comprehend how they are used to characterize the superfluity present on both of the main characters of the novel. We investigate, as well, how this superfluity influences the narrator of Demons and how this narrator, affected by superfluity, generates the universe of contingencies that characterizes this novel. At last, we offer an interpretation to the work, based on this particular analysis
The absence of affective memory and the non-conversion of Goryanchikov in Dostoevsky’s Notes from the House of the Dead
No full textThis article analyzes the narrator Alexander Petrovich Goryanchikov in Fyodor Dostoevsky\u27s Notes from the House of the Dead, arguing that his inability to achieve spiritual redemption and union with the common people stems from a narrative construction centered on the sterility of affective memory. The analysis identifies three interconnected characteristics: the narrator\u27s immateriality, as he observes the prison from a detached perspective, without embodying the physical experience; temporal stasis, which confines him to a cyclical and empty present, reflected in the fragmentary structure of the narrative; and, most crucially, the absence of pre-incarceration affective memories. Goryanchikov does not evoke positive recollections from his past and remains entirely silent about his crime, preventing any elaboration of guilt or remorse. This deficiency renders inner conversion impossible. The article contrasts this condition with the sketch "The Peasant Marey," in which Dostoevsky himself recounts how an affective memory from his childhood brought about a redemptive transformation in his perception of the convicts. The deliberate absence of this resource in Goryanchikov\u27s characterization consolidates his tragedy: reason, divorced from affective memory, becomes an inner prison, condemning him to a sterile freedom and isolation.O artigo analisa o narrador Alexander Pietróvitch Goriántchikov em Escritos da Casa Morta, de Dostoiévski, argumentando que sua incapacidade de redenção espiritual e de união com o povo resulta de uma construção narrativa centrada na esterilidade da memória afetiva. A análise identifica três características interligadas: a imaterialidade do narrador, que observa o cárcere de forma distanciada, sem se encarnar na experiência corporal; a estase temporal, que o prende a um presente cíclico e vazio, refletido na estrutura fragmentária da narrativa; e, essencialmente, a ausência de memórias afetivas pré-carcerárias. Goriántchikov não evoca lembranças positivas de seu passado e silencia completamente sobre seu crime, impedindo qualquer elaboração de culpa ou arrependimento. Esta carência inviabiliza a conversão interior. O artigo contrasta essa condição com a esquete “O Camponês Marei”, na qual o próprio Dostoiévski relata como uma memória afetiva da infância operou uma transformação redentora em sua percepção dos presos. A ausência deliberada desse recurso em Goriántchikov consolida sua tragédia: a razão, divorciada da memória afetiva, torna-se um cárcere interior, condenando-o a uma liberdade estéril e ao isolamento.
The memorial solipsism of Anton Lavrentievich G-v in Demons, by Dostoevsky
No full textO artigo analisa como o estatuto da memória garante verossimilhança ao romance Os demônios, a despeito da complexa disposição do foco narrativo dessa obra. A análise parte da concepção fenomenológica de tempo literário a partir de três instâncias ficcionais: histórica, discursiva e narrativa. Depois, é examinado como o realismo dostoievskiano se vale da memória e de sua lógica própria, avessa à dinâmica causal naturalista, para construir o protagonismo sutil do narrador Anton Lavriéntievich G-v. A partir das concepções filosóficas de tempo e de memória de Santo Agostinho e de Henri Bergson, é investigado como o discurso do romance pode ser intrinsecamente vinculado às associações significativas da memória de G-v, o que viabiliza outra leitura da obra: a de uma crônica majoritariamente composta por solipsismos confessionaisThis article analyses how the state of memory contributes to verisimilitude in the novel Demons, despite the complex narrative focus of the work. The analysis is based on the phenomenological conception of literary time in three fictional instances: historical, discursive, and narrative. It then examines how Dostoevsky’s realism uses memory and its particular logic, opposed to casual naturalist dynamics, to build a subtle protagonism into the narrator, Anton Lavrentievich G-v. Using of Saint Augustine’s and Henri Bergson’s philosophical conceptions of time and memory, it investigates how the novel\u27s discourse might intrinsically be linked to the significant associations of G-v’s memory, allowing for a different reading of the work - as a chronicle composed mostly of confessional solipsism
Going Beyond Counting First Authors in Author Co-citation Analysis
Get PDFThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Variations on the Author
Get PDF“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
Appropriate Similarity Measures for Author Cocitation Analysis
Get PDFWe provide a number of new insights into the methodological discussion about author cocitation analysis. We first argue that the use of the Pearson correlation for measuring the similarity between authors’ cocitation profiles is not very satisfactory. We then discuss what kind of similarity measures may be used as an alternative to the Pearson correlation. We consider three similarity measures in particular. One is the well-known cosine. The other two similarity measures have not been used before in the bibliometric literature. Finally, we show by means of an example that our findings have a high practical relevance.information science;Pearson correlation;cosine;similarity measure;author cocitation analysis
Dispelling the Myths Behind First-author Citation Counts
Get PDFWe conducted a full-scale evaluative citation analysis study of scholars in the XML research field to explore just how different from each other author rankings resulting from different citation counting methods actually are, and to demonstrate the capability of emerging data and tools on the Web in supporting more realistic citation counting methods. Our results contest some common arguments for the continued
use of first-author citation counts in the evaluation of scholars, such as high correlations between author rankings by first-author citation counts and other citation
counting methods, and high costs of using more realistic citation counting methods that are not well-supported by the ISI databases. It is argued that increasingly available digital full text research papers make it possible for citation analysis studies to go beyond what the ISI databases have directly supported and to employ more
sophisticated methods
koamabayili/VECTRON-author-checklist: VECTRON author checklist
No full textWe have done our best to complete the author checklist relating to the use of animals in the hut study. Note that the objective for the hut study was to evaluate the IRS treatment applications for residual efficacy against Anopheles mosquitoes, including the local An. coluzzii mosquito population. Cows were only used to attract mosquitoes into the huts and no tests were carried out directly on the cows. The author checklist is intended for use with studies where experiments are carried out on animals, which is why we have had such difficulty in completing this for the hut study, as many of the questions do not relate to how the cows were used
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