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首页> 外文学位 >'The double-edged sword of word and deed': Revolutionary terrorism and Russian literary culture.
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'The double-edged sword of word and deed': Revolutionary terrorism and Russian literary culture.

机译：“言行双刃的剑”：革命恐怖主义与俄罗斯文学文化。

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摘要

This dissertation probes the relationship between Russian literary culture and revolutionary terrorism, the writer and the terrorist, the word and the deed, and argues that Russian literature played a significant role not only in making sense of terrorism for a society beset by revolutionary violence, but was integral to the phenomenon itself. The role that literature played vis-a-vis revolutionary terrorism is complex and even paradoxical: Russian literature called forth, modeled, valorized, demonized, analyzed, and re-mythologized revolutionary terrorism. This inquiry, however, is most interested in the evolution and permutations of a single image: that of the terrorist as a Messianic figure whose heroic deed [podvig] of murder/self-sacrifice is imagined as sacred violence capable of redeeming the national community. Each chapter has at its center a concrete act of political violence and its perpetrator and examines the influence of literary and non-literary discourses in their representation. Chapter One functions as a prologue, as well as an abbreviated cultural history of terror in Western Europe. I trace the transmission of the cult of the dagger from revolutionary France to Russia and identify the most salient features of the virtuous assassin (epitomized by Charlotte Corday), as well as the key representational moments (topoi) of the terrorist act. In Chapter Two, I examine the way in which Vera Zasulich's shooting of General Trepov in 1878 generated a female image of heroic-martyrdom that expressed the ideas of moral purity, compassion, self-sacrifice, and Russianness in a way that her male counterpart could not. Chapter Three investigates the effect of representations of terrorist violence on the viewer (reader) by revisiting the Symbolist poet and thinker Maksimilian Voloshin's decade-long meditation on individual psychology, violence, and aesthetics. In Chapter Four, I demonstrate the way in which the novelist, poet, and leader of the Combat Organization of the PSR, Boris Savinkov, turns to Byronism a la Dostoevsky for his terrorist self-fashioning. Throughout the dissertation, I return to Fyodor Dostoevsky's The Brothers Karamazov as the master text that provided both his contemporaries and posterity with resonant terms and archetypes for the discussion of revolutionary terrorism's moral and metaphysical problematic.
机译：本文探讨了俄罗斯文学文化与革命恐怖主义，作家与恐怖分子，言行之间的关系，并指出，俄罗斯文学不仅在为革命暴力所困扰的社会理解恐怖主义方面发挥了重要作用，而且是现象本身的组成部分。文学相对于革命恐怖主义所发挥的作用是复杂的，甚至是自相矛盾的：俄罗斯文学提出，模仿，重视，妖魔化，分析并重新神话化了革命恐怖主义。但是，这种询问对单个图像的演变和排列最为感兴趣：作为弥赛亚人物的恐怖分子，其谋杀/自我牺牲的英勇行为[podvig]被认为是能够救赎民族的神圣暴力。每章的中心都有具体的政治暴力行为及其肇事者，并考察了文学和非文学话语在其代表中的影响。第一章作为序幕，并简要介绍了西欧的恐怖文化史。我追踪了匕首邪教从革命法国到俄罗斯的传播，并确定了刺客的最显着特征（被夏洛特·科迪（Charlotte Corday）刺杀），以及恐怖行为的关键代表时刻（拓扑）。在第二章中，我考察了薇拉·萨苏里希（Vera Zasulich）1878年对特雷波夫将军的射击所产生的女性of难形象，该形象表达了道德纯正，同情心，自我牺牲和俄罗斯性的观念，而男性则可以不。第三章通过考察象征主义诗人和思想家马克西米利安·沃洛申（Maksimilian Voloshin）对个人心理，暴力和美学进行长达十年的沉思，研究了恐怖暴力表征对观看者（读者）的影响。在第四章中，我演示了小说家，诗人和PSR作战组织的领导者鲍里斯·萨文科夫（Boris Savinkov）如何将陀螺耶夫斯基称为“拜占教”，以表彰其恐怖分子的自我塑造。在整个论文中，我以费奥多尔·陀思妥耶夫斯基的《卡拉马佐夫兄弟》为主要文本，为他的同时代和后代提供了共鸣的术语和原型，以讨论革命恐怖主义的道德和形而上学的问题。

著录项

  • 作者

    Patyk, Lynn Ellen.;

  • 作者单位

    Stanford University.;

  • 授予单位 Stanford University.;
  • 学科 Literature Slavic and East European.
  • 学位 Ph.D.
  • 年度 2006
  • 页码 303 p.
  • 总页数 303
  • 原文格式 PDF
  • 正文语种 eng
  • 中图分类 各国文学;
  • 关键词

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