ABSTRACT
No antepenúltimo parágrafo de "O mal-estar na civilização", Freud sugere que, apesar de todas as dificuldades, poderíamos esperar que um dia alguém se aventurasse na elaboração de uma patologia das comunidades culturais. Embora Freud considerasse Dostoiévski como um artista que em estatura não estaria muito atrás do próprio Shakespeare e cujo romance Os irmãos Karamázov seria o mais formidável romance jamais escrito, para ele, dada a severidade da patologia psíquica desse escritor, a humanidade pouco lhe teria a agradecer: ao invés de mestre libertador da humanidade, Dostoiévski teria tomado partido dos seus opressores. No presente artigo, pretendemos investigar o motivo da generalização das doenças psíquicas no universo dostoiévskiano e sugerir, valendo-nos da terminologia freudiana, que justamente o russo, demasiadamente russo Dostoiévski, seria aquele que, como desejara Freud, elaborou a patologia cultural característica à modernidade.
In the antepenultimate paragraph of "Civilization and its Discontents", Freud suggests that, despite all difficulties, we may expect that one day someone will venture to develop a pathology of cultural communities. Although Freud had considered Dostoevsky as an artist whose place was not far behind Shakespeare himself, and whose masterpiece, The Karamazov Brothers, was the most formidable novel ever written, because of the severity of psychic pathology of this writer, humanity will have a little to thank him for. Instead of making himself a liberator of humanity, Dostoevsky sided with his oppressors. In this article, we are willing to investigate the reason for the generalization of mental illness in the Dostoevskian universe, and to suggest that, through Freud's terminology itself, the Russian, all too Russian Dostoyevsky is the one who that develops such a cultural pathology characteristic of modernity.
ABSTRACT
Busca-se elucidar a leitura proposta por Freud sobre a histeroepilepsia de Dostoiévski, recorrendo-se aos textos, biografia e correspondência do escritor russo. A hipótese de ausência de epilepsia encontra limites, mas verifica-se que a relação de Dostoiévski aos representantes paternos tem papel decisivo em sua neurose, como construção sintomática para lidar com o desamparo.
This paper discusses Freud's reading of Dostoyevsky's hystero-epilepsy, based on this latter's literary production, biography and correspondence. The hypothesis that there was no epilepsy has its limits, but we found that the relationship between Dostoyevsky and father figures did play a crucial role in his neurosis, which served as a symptomatic construction to deal with his helplessness.
Dans cet article, nous cherchons à élucider la lecture proposée par Freud sur l'hystéro-épilepsie de DostoÏevski en nous référant aux écrits, à la biographie et à la correspondance de l'écrivain russe. L'hypothèse de l'absence de l'épilepsie a ses limites, mais nous vérifions que le rapport entre DostoÏevski et les représentants paternels joue un rôle décisif dans sa névrose en tant que construction symptomatique pour faire face à l'impuissance.
El artículo se propone a dilucidar la lectura propuesta por Freud a respecto de la histeroepilepsia de Dostoiesky recurriendo a textos, biografia y correspondência del escritor ruso. La hipótesis de ausencia de epilepsia es limitada, aunque se encuentra que la relación de Dostoiesky com los representantes paternos tienen um papel decisivo em su neurosis, como uma construcción sintomática para hacer frente al desamparo.
Subject(s)
Humans , Epilepsy , Fathers , HysteriaABSTRACT
Adentrarse , en las habitaciones del alma y escudriñar el corazón humano; eso es precisamente lo que logra Dostoyevski en su gran novela: El Jugador. Novela que a juzgar por sus biógrafos, deja percibir un retrato de sus vivencias, dado que Dostoyevski sentía una gran pasión por el juego y gustaba particularmente de la ruleta; ello le hacia un gran conocedor de las pasiones que configuran la existencia de un jugador.
Enter, in the rooms of the soul and scrutinize the human heart; That is precisely what Dostoyevski achieves in his great novel: The Player. Novel that, judging by his biographers, lets him perceive a portrait of his experiences, since Dostoyevsky felt a great passion for the game and particularly liked roulette; This made him a great connoisseur of the passions that make up the existence of a player.
Subject(s)
Humans , Gambling , Psychopathology , Behavior, Addictive/psychology , Interpersonal RelationsABSTRACT
Crimen y castigo, obra literaria en que de manera imponente, Dostoievski relata la historia de Raskolnikov, un joven que vive en un tugurio de Petesburgo pasando hambre, frío y soledad, lleno de resentimiento y orgullo, que se pasa los días encerrado pensando sobre su miseria, la que al parecer es la que lo moviliza a cometer un crimen... y es así, como una noche, luego de muchas dudas, el ex-estudiante, por fin lo decide y se va armado con una hacha a asesinar a una vieja usurera y rica que el define como un "piojo inútil y dañino" que esta reteniendo el dinero que necesita para retomar sus estudios y ayudar a su hermana y a su madre.
Crime and punishment, a literary work in which, in an imposing way, Dostoevsky tells the story of Raskolnikov, a young man who lives in a slum in Petesburg going hungry, cold and lonely, full of resentment and pride, who spends his days locked up thinking about his misery, which apparently is what mobilizes him to commit a crime ... and that is how, like one night, after many doubts, the former student finally decides and goes armed with an ax to kill an old and rich usurer who he defines as a "useless and harmful louse" who is holding back the money he needs to resume his studies and help his sister and mother.