走出地下室悲剧的卡拉马佐夫少年

The Karamazov Teenager out of the Underground Tragedy

在巴赫金《陀思妥耶夫斯基诗学问题》的复调小说观点上,可以大致认为陀思妥耶夫斯基是一位地下室悲剧作家。陀思妥耶夫斯基写出了代表俄罗斯大多数人的真实心声,并深刻体会果戈理被迫"撒谎与献丑"的相同处境。在陀思妥耶夫斯基历劫归来之后,为了能够继续创作,他以根基论之名与虚无主义者论战。然而在《地下室手记》创作告白后,萦绕他作品的三个问题分别是:拿破仑权力问题、罗特希尔德金钱问题与上帝是否缺席的宗教问题。晚年的陀思妥耶夫斯基一方面透过上述三个问题反映俄罗斯的困境,另一方面则在《少年》、《卡拉马佐夫兄弟》,以及在对普希金的纪念演说中,呈现出其走出地下室悲剧的创作心境。

Inspired by Mikhail Bakhtin＇s Problems of Dostoevsky＇s Poetics defining his novels polyphonic, this paper attempts to point out that Fyodor Dostoevsky was a writer on underground tragedies. Dostoevsky presented real thoughts of the Russian majority, and was brought home to the same situation as Nikolai Gogol, who was forced to ＂lie and clown＂. After undergoing misfortunes, in order to continue writing, Dostoevsky debated with Russian nihilists in the name ofprimordialism. Nevertheless, after the confession piece of Notes from the Underground, Dostoevsky was haunted by three questions： the power of Napoleon, the money of Rothschild and whether the God is absence. The late works of Dostoevsky reflected the plight of Russia through these three questions on the one hand; and on the other hand, he seemed to get out of the underground tragedy demonstrated in his novels A Raw Youth, The brothers Karamazov and memorial speech for the Pushkin monument.