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Journal articles on the topic 'Dostoevskij'

Author: Grafiati

Published: 4 June 2021

Last updated: 11 March 2023

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1

Egeberg, Erik. "Ф. М. Достоевский – 200 лет со дня рождения." Poljarnyj vestnik 24 (December 3, 2021): 76–81. http://dx.doi.org/10.7557/6.6344.

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This article explores two Norwegian publications related to Dostoevskij, both of which were published in 1922. In his doctoral dissertation, Martin Gran, who was the first scholar in Norway to defend a dissertation in the field of Slavic studies, discussed the works of the young Dostoevskij. The second publication under scrutiny is Erik Krag’s novel Ottar Wreike, which shows influence from Dostoevskij’s Raskol’nikov.

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2

Swiderski, Bronisław. "Gombrowicz's Dostoevskij." Scando-Slavica 37, no. 1 (January 1991): 48–57. http://dx.doi.org/10.1080/00806769108600990.

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3

Telloni, Agnese Ilaria, and Carlo Toffalori. "Dostoevskij matematico." Lettera Matematica Pristem 93, no. 1 (June 2015): 56–64. http://dx.doi.org/10.1007/bf03356687.

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4

Kornmesser, Sebastian. "AMNESTIE BEI DOSTOEVSKIJ." Folia linguistica et litteraria XII, no. 38 (November 8, 2021): 185–204. http://dx.doi.org/10.31902/fll.38.2021.10.

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The term amnesty means the waiving of punishment (to a group of people) without, however, erasing the guilt. Amnesties are usually granted in connection with political events such as national or international peace amnesties in times of political change or wars. However, there are also waivers of criminal prosecutions, popularly known as "mercy before justice". Amnesties can therefore be seen, on the one hand, as a humane act of mercy, but on the other hand they can also cause problems in the population's sense of justice, since punishments are treated differently, and the principle of equality is shaken. The concepts of punishment, guilt and innocence, as well as their representation, offer a basis for the question of how amnesties are formed in Dostoevsky's texts. Dostoevsky's characters are usually ambivalent and challenge a reflective reading as well as an ethical judgement. By making social injustice an important theme in his texts, the author focuses on the restoration of justice through amnesty. A co-responsibility in society as well as a co-guilt in a higher sense form the core of his argumentation, both as a contrast to justice, which considers the guilt of the individual, and as a consideration of man's hereditary guilt and his responsibility to the community. A comparison with ancient Greek jurisprudence also shows that amnesties were closely connected with the collective, with emotion and ritual. This results in new ways of looking at prominent texts by Dostoevsky, as will be shown with the example of The Brothers Karamazov and other works. This will provide a brief overview of how Dostoevsky understands guilt and innocence, what function punishment has in his texts and how amnesty emerges as a result

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5

Hansen-Löve, Aage A. "Medienkonkurrenz Bei Dostoevskij:." Poetica 48, no. 1-2 (June 27, 2016): 111–43. http://dx.doi.org/10.30965/25890530-04801006.

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6

Basom, Ann Marie. "‘Trichiny’: Dostoevskij and Vološin." Russian Literature 41, no. 1 (January 1997): 1–17. http://dx.doi.org/10.1016/s0304-3479(97)84906-x.

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7

Telloni, Agnese Ilaria, and Carlo Toffalori. "Dostoevskij matematico □ parte II □." Lettera Matematica Pristem 94, no. 1 (October 2015): 51–57. http://dx.doi.org/10.1007/bf03356696.

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8

STAMILE, NATALINA. "Notes on Dostoevskij's thought." Revista Jurídica de Investigación e Innovación Educativa (REJIE Nueva Época), no. 10 (July 1, 2014): 9–36. http://dx.doi.org/10.24310/rejie.2014.v0i10.7716.

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In this few pages we will try to explain, although somewhat briefly, the thoughts of Fëdor Dostoevskij. The Russian writer is certainly acclaimed as one of the greatest thinkers and literary men of his time, and of all time for that matter. Always considered a [cruel intelligence], the attractiveness of his writing stems from the perverse voluptuousness of his torment. He is a cruel intelligent because only a mind free from any frivolous sentimentalism can conceive and implement the figure of the "double", the "imposter", providing "the poor people" with a selfconsciousness so tormented as to go beyond the mere social denunciation. Reading Dostoyevskij is, one could say, to find ourselves marked as troubled. “He induces us in the labyrinth from which we, with breathlessness, search for a way out without success, from the force he holds over the reader”. The thoughts of Dostoevskij are inherent ideals related to existensialism, irrationalism and finally to nihilism. Undoubtedly we are dealing with the works of practical ethics, philosophy applied to reality, and not a mere intellectual exercise, in which some of the most important ancient and modern philosophical positions are in the characters of Dostoevskij's own life.

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9

Kozakova, Slata. "DIE WEIBLICHE LEICHE BEI DOSTOEVSKIJ." Folia linguistica et litteraria XII, no. 38 (November 8, 2021): 205–17. http://dx.doi.org/10.31902/fll.38.2021.11.

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THE FEMALE CORPSE IN DOSTOEVSKY The concept of the “beautiful female corpse” of E. Bronfen is used to analyse the narrative functions of the dead woman in Dostoevsky’s “Idiot” (“The Idiot”, 1868) and “Krotkaja“ (“A Gentle Creature“, 1876).

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10

Rothe, Hans. "Herzen et Dostoevskij : un essai." Revue des études slaves 78, no. 2 (2007): 279–97. http://dx.doi.org/10.3406/slave.2007.7084.

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11

Nivat, Georges. "La poétique du fragment chez Dostoevskij." Revue des études slaves 70, no. 3 (1998): 597–605. http://dx.doi.org/10.3406/slave.1998.6532.

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12

Gribinski, Elsa. "Dostoevskij ou l'Art de la variation." Revue des études slaves 71, no. 2 (1999): 319–32. http://dx.doi.org/10.3406/slave.1999.6598.

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13

Hansen-Löve, Aage A. "MEDIENKONKURRENZ BEI DOSTOEVSKIJ: Ikonen — Gemälde — Photographien." POETICA 48, no. 1-2 (November 18, 2016): 111–43. http://dx.doi.org/10.1163/25890530-048-01-90000006.

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14

Thieulin, Jean. "Dostoevskij : un plaidoyer pour la culture." Revue des études slaves 58, no. 2 (1986): 197–203. http://dx.doi.org/10.3406/slave.1986.7237.

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15

Kopcha, Nataliya A. "“Siberian Possibilities”: German Reception of Dostoevsky." Studia Litterarum 3, no. 3 (2018): 82–93. http://dx.doi.org/10.22455/2500-4247-2018-3-3-82-93.

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16

Ponzio, Augusto. "Dialogo e polifonia in Dostoevskij e Bachtin." Letrônica 14, sup. (December 31, 2021): e42481. http://dx.doi.org/10.15448/1984-4301.2021.s.42481.

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Ritornare alla prima edizione del Dostoevskij di Bachtin è particolarmente importante per una riconsiderazione dell’opera bachtiniana. In essa si delineano due concetti centrali: quello di “dialogo” e quello di “polifonia”. La loro centralità è tale che il loro fraintendimento comporta il fraintendimento dell’intero pensiero bachtiniano. E purtroppo si deve constatare che essi sono stati spesso fraintesi e, cosa peggiore, anche da coloro che hanno avuto il merito di aver contribuito alla diffusione delle idee di Bachtin.

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17

Feuillebois, Victoire. "Tolstoj et/ou Dostoevskij : généalogie d’une comparaison." Revue des études slaves 93, no. 2-3 (September 26, 2022): 353–68. http://dx.doi.org/10.4000/res.5480.

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18

O'Connor, Katherine Tiernan. "Rereading Lolita, Reconsidering Nabokov's Relationship with Dostoevskij." Slavic and East European Journal 33, no. 1 (1989): 64. http://dx.doi.org/10.2307/308384.

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19

Makolkin, Anna. "Tyranny of Nationality: Puškin, Dostoevskij, and Berdjaev." Russian Literature 46, no. 3 (October 1999): 299–312. http://dx.doi.org/10.1016/s0304-3479(99)00060-5.

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20

Astuto, G. "Dostoevskij: La Russia e l’Europa. Alcune riflessioni sulle opere letterarie." Язык и текст 7, no. 1 (2020): 6–30. http://dx.doi.org/10.17759/langt.2020070101.

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Сerco di capire le modalità di espressione delle concezioni di Dostoevskij che, per il tramite della «vivente fantasia», traducono i rapporti reali in sistemi di segni artistici, con le inevitabili strutture problematiche interne e le significative contraddizioni. Per gli slavofili, la polarità Russia-Europa si concretizza in due modelli di vita diversi. Dostoevskij, al contrario, riprende le tensioni presenti nel rapporto tra Russia ed Europa, per esempio quello tra popolo e intelligencija, «verità di Cristo» e arbitrio individualistico, e le analizza con un impianto concettuale nuovo e originale. L’elemento «positivo» della concezione dostoevskojana è rappresentato dall’esperienza sociale e dalla capacità di avvertire, proprio per questo suo radicamento, «la frattura con il passato» e la crisi dell’epoca in cui vive. Nell’ambito di tale crisi vanno collocate le drammatiche vicende dell’«uomo del sottosuolo», dei Roskol’nikov e della famiglia Karamzov. Per tali ragioni, si può sostenere che Dostoevskij, tramite il confronto tra Europa e Russia e con la sua visione genialmente penetrante, riesce a individuare i conflitti fondamentali e le tensioni esistenziali dell’uomo contemporaneo, che hanno le radici nel passato e si proiettano nell’essenza problematica del futuro. Da qui deriva anche la diffusione della popolarità della sua opera, e tutto ciò a prescindere dagli aspetti riconducibili all’utopia sociale.

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21

Whitcomb, Curt, F. M. Dostoevskij, and Edmund Heier. "Literary Portraits in the Novels of F.M. Dostoevskij." Slavic and East European Journal 36, no. 4 (1992): 501. http://dx.doi.org/10.2307/309008.

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22

Strazzeri, Marcello. "Figurazioni letterarie del processo penale: Dostoevskij, Musil, Camus." SOCIOLOGIA DEL DIRITTO, no. 2 (December 2009): 5–25. http://dx.doi.org/10.3280/sd2009-002001.

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- This research sets out to verify the plausibility of certain writings in literature, in particular Dostoevsky's Crime and Punishment, Musil's The Man without Qualities and The Stranger by Camus, as critiques of how the law relates to crime and punishment. Using Elias' figurational theory, cross-fertilised with the writings of Foucault, the author considers literature because it is capable of visualising and declaring the relationship's complexity, the construction and practical declension of legal paradigms and the problematic juncture between law in force and living law. As a result, he illustrates how the story told by Dostoevsky in Crime and Punishment, in which he defends criminal responsibility as a primary subjective responsibility against all forms of bio-psychic and statistical-social determinism, can make a major contribution to today's criminological debate. Similarly, the interrelated fortunes of the two main characters in Musil's novel, Ulrich and Moosbrugger, the man without qualities and the criminal awaiting sentence, join with those of the chorus of characters from Viennese society that provide the backdrop to the tale to question the legal concept of mental infirmity. Lastly, The Stranger features the mechanism of the "pre-judicial" construction of guilt, in the course of legal proceedings that aim to demonstrate chronological continuity between the personality of the accused and the commission of the criminal act.

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23

Pope, Richard, and Nikita Lary. "G.M. Fridlender and the Academy Edition of Dostoevskij." Slavic and East European Journal 37, no. 1 (1993): 23. http://dx.doi.org/10.2307/308618.

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24

Stupazzoni, Marco. "Marco Nuti, Balzac, Dostoevskij e l’“alea” del gioco." Studi Francesi, no. 153 (LI | III) (December 1, 2007): 679. http://dx.doi.org/10.4000/studifrancesi.9597.

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25

Posacki, Aleksander. "„Il tragico d'iniziazione" in F, Dostoevskij secondo V. Ivanov." Forum Philosophicum 3 (1998): 132–35. http://dx.doi.org/10.5840/forphil1998312.

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26

Pursglove, Michael, and Edmund Heier. "Literary Portraits in the Novels of F. M. Dostoevskij." Modern Language Review 87, no. 3 (July 1992): 814. http://dx.doi.org/10.2307/3733054.

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27

Allain, Louis. "Les Démons de Dostoevskij ou les Voies de l'apocatastase." Revue des études slaves 60, no. 4 (1988): 813–27. http://dx.doi.org/10.3406/slave.1988.5799.

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28

Klimova, Svetlana. "Conceptualizing religious discourse in the work of Fëdor Dostoevskij." Studies in East European Thought 59, no. 1-2 (July 14, 2007): 55–64. http://dx.doi.org/10.1007/s11212-007-9017-8.

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29

Terras, Victor, S. K. Somerwil-Ayrton, and Dostoevskij. "Poverty and Power in the Early Works of Dostoevskij." Slavic and East European Journal 34, no. 2 (1990): 256. http://dx.doi.org/10.2307/309154.

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30

Schult, Maike. "F. M. Dostoevskij: ein Klassiker in Zeiten des Krieges." Praktische Theologie 57, no. 4 (November 1, 2022): 250–52. http://dx.doi.org/10.14315/prth-2022-570414.

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31

Rosenshield, Gary. "The Imprisonment of the Law: Dostoevskij and the Kroneberg Case." Slavic and East European Journal 36, no. 4 (1992): 415. http://dx.doi.org/10.2307/308999.

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32

Cabassi, Andrea. "Il Dostoevskij di Bachtin, il Bachtin di Seikkula nell'Open Dialogue." RICERCA PSICOANALITICA, no. 3 (December 2017): 89–94. http://dx.doi.org/10.3280/rpr2017-003008.

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33

Shalina, Marina A. "On the Question of “Living Life” in Dostoevsky’s Novel The Adolescent." Dostoevsky and World Culture. Philological journal, no. 4 (2021): 42–57. http://dx.doi.org/10.22455/2619-0311-2021-4-42-57.

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The article examines the specifics of Dostoevsky’s comprehension of the phenomenon of “living life” and its correlation with the female images in the novel The Adolescent. The author assumes that the decision to name Katerina Nikolaevna Akhmakova “living life” belongs exclusively to the fantasy of Arkady, who is in love with her, carried away and blinded by the her brilliant beauty, and it does not coincide with the author’s position. Sometimes in Dostoevsky studies it is stated the vagueness of Dostoevsky’s ideas about “living life”, however, as it is proved by the numerous contexts of the use of the formula in journalism and the writer’s notebooks (including during the making of the novel The Adolescent), Dostoevsky had a very specific view of this phenomenon and associated it with the “great idea” of the immortality of the soul, and with the special maternal and messianic role of Orthodox Russia. In this regard, the article suggests that the author’s concept of “living life” is nearer to the image of the “mother” Sofia Andreevna Dolgorukaya. It is concluded that in the novel, with the help of opposition and at the same time juxtaposition of the “queen of the earth” and the “angel of heaven”, Dostoevskij creates an artistic image of the Russian woman in its dual unity: flesh, intellect (Akhmakova) and soul, heart (Sophia). The personalities of both heroines also embody Dostoevsky’s idea of “life” in its various forms: the earthly one, made of flesh, and the heavenly, made of spirit.

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34

Gravina, Renata. "Konstantin Baršt, Disegni e Calligrafia di Fëdor Dostoevskij. Dall’immagine alla parola." Revue des études slaves 88, no. 3 (December 30, 2017): 610–12. http://dx.doi.org/10.4000/res.1302.

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35

Goes, Gudrun. "AT 200 YEARS OLD, DOSTOEVSKIJ HAS ARRIVED IN THE 21st CENTURY." Folia linguistica et litteraria XII, no. 38 (November 8, 2021): 7–10. http://dx.doi.org/10.31902/fll.38.2021.0.

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Let's look into our time. Dostoevsky’s works, which have to be rediscovered by every generation, appear not only in a new way through colorful front pages (this is now part of the visual presentation), but also through new translations. For the past 30 years, Swetlana Geier has been responsible for the translation of the Russian poet's novels and stories into German. Now, in small individual publications, the names of new translators appear in all European languages.

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36

Tammi, Pekka. "Invitation to a decoding. Dostoevskij as subtext in Nabokov'sPriglašenie na kazn‘." Scando-Slavica 32, no. 1 (January 1986): 51–72. http://dx.doi.org/10.1080/00806768608600896.

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37

LeBlanc, Ronald D. "Dostoevsky Studies/Dostoevskii: stat'i i materialy." Slavic and East European Journal 40, no. 3 (1996): 557. http://dx.doi.org/10.2307/310151.

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38

Stuchebrukhov, Olga. "“Ridiculous” dream versus social contract: Dostoevskij, Rousseau, and the problem of ideal society." Studies in East European Thought 59, no. 1-2 (March 14, 2007): 101–17. http://dx.doi.org/10.1007/s11212-007-9025-8.

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39

Broda, Marian. "Dostoevskij in the eyes of Leont’ev. The foundations and consequences of different identities." Studies in East European Thought 62, no. 1 (February 16, 2010): 29–40. http://dx.doi.org/10.1007/s11212-010-9095-x.

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40

Silvestri, Chiara. "Liminalità e confini dell’io ne Le stelle fredde: l’intermedio difficile di Guido Piovene." Quaderni d'italianistica 41, no. 2 (June 11, 2021): 93–113. http://dx.doi.org/10.33137/q.i..v41i2.36773.

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Dopo la fine di una relazione e le dimissioni dal lavoro “io” de Le stelle fredde sceglie di ritornare nella villa d’infanzia, dove le sue visioni e peregrinazioni straniate s’intrecceranno alla presenza inquisitiva di un poliziotto-filosofo e al racconto dell’aldilà di un Dostoevskij resuscitato. Il sostrato psicoanalitico del romanzo non porta tanto a una decostruzione formale quanto a una rielaborazione della soggettività secondo la teoria della percezione di Merleau-Ponty e altre suggestioni della cultura novecentesca. Rinnegati idealismo e intellettualismo “io” trova infine sollievo nella schedatura di oggetti in un difficile spazio liminale e purgatoriale che scambia e confonde coscienza e mondo, vita e morte.

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41

SPENCER, ANDREW. "Gender as an inflectional category." Journal of Linguistics 38, no. 2 (July 2002): 279–312. http://dx.doi.org/10.1017/s0022226702001421.

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Russian adjectives, especially participles, can be used as nouns denoting people, e.g. bol′noj/bol′naja ‘(male/female) patient’ from bol′noj ‘sick’, učaščijsja/učaščajasja ‘(boy/girl) pupil’, participle from the verb učit′sja ‘to learn, study’. These are unusual in that they formally reflect the sex of their referent by means of inflectional morphology. Moreover, many surnames inflect like adjectives and they, too, inflect for gender: Mr. Puškin, Čexov, Tolstoj, Dostoevskij but Ms. Puškina, Čexova, Tolstaja, Dostoevskaja. Lexemes such as ‘patient, pupil’ are genuine nouns and not just adjectives modifying null nouns. The latter type do exist and have different properties from converted nouns. Converted nouns and adjectival surnames thus form systematic gender pairs which are forms of a single lexeme. However, gender is not conventionally regarded as an inflection category of the kind which induces word forms of lexemes in this way, rather it is an inherent ‘classificatory’ property of nouns. The paper discusses the peculiar nature of this type of inflectional marking and provides an explicit analysis of the construction. On the semantic side, nouns such as bol′noj, učaščijsja have a similar representation to that of a phrase person who is sick/studies and we effectively have an instance of the poorly researched phenomenon of de-phrasal word formation. On the morphosyntactic side, the lexical entry of the deadjectival noun or surname shares crucial properties with 3rd person pronouns. The analysis raises questions about the nature of lexical categories (especially ‘mixed categories’) and the structure of lexical entries generally.

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42

Ghini, Giuseppe. "Il pentimento in Tolstoj e Dostoevskij. Dal cerchio magico dell’Io al bisogno di perdono." Linguae & - Rivista di lingue e culture moderne, no. 2 (December 2013): 67–90. http://dx.doi.org/10.7358/ling-2013-002-ghin.

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Given the religious metaphysics of Russian Realism (Steiner 1995: 49), repentance is one of the pivotal moments necessary for the characters of Tolstoy’s and Dostoevsky’s works: it is through repentance that such characters radically change their lives, become aware of evil committed, and renounce evil forever; in other words, they die and are reborn. The two great novelists have, however, two very different attitudes towards repentance: Tolstoy examines all its aspects in the psychological consciousness of his characters, while Dostoyevsky shows their necessary openness to the transcendent world.

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43

Varga, Orsolya. "Boekbespreking: Boulogne, Pieter, Het temmen van de Scyth. De vroege Nederlandse receptie van F.M. Dostoevskij." Internationale Neerlandistiek 51, no. 3 (October 1, 2013): 277–80. http://dx.doi.org/10.5117/ivn2013.3.varg.

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44

Terras, Victor, Attila Fáj, and Attila Faj. "I Karamazov tra Poe e Vico: Genere poliziesco e concezione ciclica della storia nell'ultimo Dostoevskij." Slavic and East European Journal 29, no. 4 (1985): 475. http://dx.doi.org/10.2307/307470.

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45

Voisine-Jechová, Hana. "Le motif du péché commis et non commis : les écrivains tchèques devant Dostoevskij et Kafka." Revue des études slaves 65, no. 1 (1993): 149–58. http://dx.doi.org/10.3406/slave.1993.6109.

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46

Blank, Ksana. "The Rabbit and The Duck: Antinomic unity in Dostoevskij, the Russian religious tradition, and Mikhail Bakhtin." Studies in East European Thought 59, no. 1-2 (July 10, 2007): 21–37. http://dx.doi.org/10.1007/s11212-007-9019-6.

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47

Andreichuk, Kseniia R. "Socialism and/or Christianity: F.M. Dostoevsky’s Influence on S. Lagerlöf's Novel Antichrist’s Miracles." RUDN Journal of Studies in Literature and Journalism 26, no. 3 (December 15, 2021): 490–500. http://dx.doi.org/10.22363/2312-9220-2021-26-3-490-500.

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In the 1880s. F.M. Dostoevsky was perceived in Sweden as a revolutionary writer, therefore there was great attention to his political views, which influenced among others S. Lagerlf, who read Dostoevsky in Swedish, Danish and, possibly, in French. In the novel Antichrists Miracles (1897) S. Lagerlf talks about Italy, a Catholic country where the church has much more power than in Protestant lands. In this regard, Lagerlf actualizes F.M. Dostoevskys reflections on the connection between the state and the church, presented in Brothers Karamazov and other novels. The key question that interests both F.M. Dostoevsky and S. Lagerlf is whether people can build the kingdom of Christ on earth when Christ said: My kingdom is not of this world. F.M. Dostoevsky examines this problem in most detail in the unfinished article Socialism and Christianity , which S. Lagerlf could not read, but she was undoubtedly familiar with Dostoevskys thoughts on this matter put into the mouths of Zosima and Prince Myshkin. In S. Lagerlf's novel Antichrists Miracles , the main character becomes a socialist, though he dreamed of becoming a priest in childhood, like Alyosha Karamazov. A fake image of Christ with the words My kingdom is only on earth becomes a banner of socialism in Lagerlf's novel. This image works wonders but only related to earthly goods. At the end of the novel, Lagerlf comes to the conclusion (put into the mouth of the Pope) that this image should not be destroyed, but the earth should be reconciled with heaven. This conclusion is consistent with Dostoevskys ideas about the universal church realized on earth.

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48

Cirac, Stephanie. "Al'fred Bem sur Dostoevskij : de la biographie au dictionnaire : l'influence de la psychanalyse dans les études littéraires." Slavica litteraria, no. 1 (2022): 71–84. http://dx.doi.org/10.5817/sl2022-1-7.

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Gentili, Carlo. "Nihilismo, nihilistas. Sobre una posible fuente de Nietzsche." Estudios Nietzsche, no. 19 (February 2, 2021): 63–86. http://dx.doi.org/10.24310/estudiosnieten.vi19.11718.

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Abstract:

El artículo trata de las fuentes del concepto de «nihilismo» en Nietzsche. Es bien conocido que el término «nihilismo» adquiere un significado filosófico gracias a Nietzsche. Martin Heidegger y en menor medida Karl Löwith han contribuido luego a la transformación filosófica final del término. Sin embargo es igualmente bien conocido que Nietzsche no es el creador del término/concepto. La literatura secundaria sobre el tema nos informa que Nietzsche probablemente tomó prestado el término/concepto de la mediación literaria proporcionada por Turgeniev y Dostoevskij. El artículo tiene como objetivo mostrar que la reflexión de Nietzsche sobre el tema del nihilismo comenzó antes se su lectura de Dostoevkij (otoño-invierno 1884/1888) y al menos al mismo tiempo que él lee a Turgeniev (segunda mitad de los años 70). A fin de justificar esta retroactividad, el artículo mostrará fuentes nuevas e inexploradas en la Nietzsche-Forschung, tales como una novela escrita por Karl Gutzkow y un libro del teólogo Hermann Reuter.

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50

Blumenkrantz, Mikhail. "From nimrod to the grand inquisitor: The problem of the demonisation of freedom in the work of Dostoevskij." Studies in East European Thought 48, no. 2-4 (September 1996): 231–54. http://dx.doi.org/10.1007/bf02585166.

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