陀思妥耶夫斯基小说《少年》中的伏尔泰喜剧《浪子回头》

Tatiana G. Magaril-Il’iaeva
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引用次数: 0

摘要

本文以伏尔泰的喜剧《浪子回头》为例,说明陀思妥耶夫斯基在小说《青春期》中是如何运用其他作家的文本,实现其意象背后的世界观和人生策略的。然而,陀思妥耶夫斯基不仅重新提出了几种不同的观点,而且还与它们进行了对话,并根据他的目标对它们进行了改造。陀思妥耶夫斯基将这位法国哲学家略为提及的喜剧彻底编织进了文本的结构中,作者同时在几个相互依赖的方向上与之合作。这段引文(摘自序言,而不是剧本)强调了序言中提出的问题,以及序言本身作为作品的重要元素。凡尔赛洛夫借用的法语句子将他的形象与伏尔泰的形象联系起来,正如陀思妥耶夫斯基所理解的那样。陀思妥耶夫斯基在小说中反思了浪子的母题,就像圣经中所呈现的一样,也在伏尔泰的改编版本中。
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Voltaire’s Comedy The Prodigal Son in Dostoevsky’s Novel The Adolescent
Through the example of Voltaire’s comedy The Prodigal Son, the article shows how Dostoevsky actualizes the worldview and life strategies behind the imagery of other authors, when using their texts in his novel The Adolescent. Nonetheless, Dostoevsky, not only reproposes several different perspectives, but also engages in a dialogue with them and transforms them according to his aim as. Dostoevsky thoroughly weaves the slightly mentioned comedy by the French philosopher into the fabric of the text, and the writer works with it in several mutually dependent directions at once. The quote (taken from the preface, not from the play) stresses the matters that are raised in the preface and the preface itself as a significant element of the composition. The French sentence borrowed by Versilov relates his image with Voltaire’s, as it was perceived by Dostoevsky. In the novel Dostoevsky reflects on the motif of the prodigal son as it is presented in the Bible and also in its transformed version by Voltaire.
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