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1
Maltsev, Leonid A. "Czesław Miłosz’s “Theological treatise” in the context of Fyodor Dostoevsky’s religious worldview." Slovo.ru: Baltic accent 12, no. 4 (2021): 107–22. http://dx.doi.org/10.5922/2225-5346-2021-4-6.
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The article investigates a religious and philosophical dialogue of Miłosz and Dostoevsky. The antinomic content of Miłosz's poem “Theological Treatise” is analyzed in the context of Dostoevsky's Christocentric worldview, as well as religious and heretical teachings of early Christianity, which aroused Milosz's interest throughout his career. In their works, Dostoevsky and Miłosz explored the theological problem of apoсatastasis and offered their interpretation of it. The paper also examines Miłosz’s contribution as an essayist to the comparative study of Dostoevsky's works (Dostoevsky — Mickiewicz and Dostoevsky — Swedenborg). The ideological basis of “Theological Treatise” is the dialectical relationship between faith and truth, which is associated with Miłosz's appeal to Dostoevsky's ‘creed’ from his famous letter to Fonvisina. Like Dostoevsky, Miłosz criticizes the natural-scientific concept of truth in its depersonalized and, therefore, dehumanized version, which seems to the author of “Theological Treatise” as an instrument of ‘devilish theology’. In a dialogue with the traditions of Russian religious philosophy, and above all with Dostoevsky’s legacy, Miłosz turns to the Apocalypse, in which the most aesthetically significant the idea for him is that of restoring paradisiacal existence. However, unlike Dostoevsky, the concept of life after death in “Theological Treatise” is not free from pessimism and skepticism. Miłosz is inclined towards the ideological paradigm of the West, and the concept of “Theological Treatise” includes the ideas of Dostoevsky's unbelieving heroes.
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Dementyeva, Tatyana. "Was the Dostoevsky Estate Profitable?" Неизвестный Достоевский 8, no. 1 (March 2021): 77–102. http://dx.doi.org/10.15393/j10.art.2021.5241.
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In August 1831, the parents of Fyodor Dostoevsky purchased an estate in the Kashirsky district of the Tula Province, consisting of the hamlet of Darovoe and the village of Darovaya. In February 1833, they bought the neighboring village of Cheremoshnya. The entire property, including the above-named villages and hamlet, also included land plots in the wastelands: Nechaeva, Trypillya, Harina, Shelepova and Chertkova. Having become the owners of 58 peasant souls and more than 500 dessiatines of land, the Dostoevskys were considered average local landowners. However, Darovoe, well-known as the childhood place of the writer Fyodor Dostoevsky, remains poorly studied from an economic point of view. One of the reasons is that today there are very few documents that could reliably indicate the economic condition of the estate for the memorial period. An exception is the monograph of V. S. Nechaeva “In the Dostoevsky family and estate,” published in 1939, where, based on the correspondence of M. F. Dostoevskaya and M. A. Dostoevsky, the author claims that the estate they acquired was not merely unprofitable, but also caused a family tragedy. The opinion of V. S. Nechaeva became fundamental for researchers of the writer's biography. However, this issue can be revised today, which is what the presented work is devoted to. The correspondence of Fyodor Dostoevsky's parents, the letters of his older brother M. M. Dostoevsky, who was the guardian over the estate and the Memoirs of the younger brother of A. M. Dostoevsky in the aggregate allow to take a fresh look at the estate and the income it brought. In the context of this problem, it is of interest to refer to the newly published “Report of the headman of the village of Darovoe Savin Makarov to Mikhail Mikhailovich Dostoevsky” dated October 8, 1850. The document was discovered in the Russian State Archive of Literature and Art and complements the well-known sources on the economic condition of the Dostoevsky estate.
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Myakinchenko, Mariya A. "Varvara Karepina, née Dostoevskaya – sister and heroine of Fyodor Dostoevsky." Vestnik of Kostroma State University 26, no. 4 (January 28, 2021): 113–19. http://dx.doi.org/10.34216/1998-0817-2020-26-4-113-119.
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The article discusses various aspects of the relationship between Fyodor Dostoevsky with his sister Varvara Karepina, née Dostoevskaya, and their reflection in the writer's work. Varvara Karepina served as the prototype for the writer's various characters. The author of the article dwells in detail on the image of Varvara Karepina, collected from her memoirs; the author states that the history of Varvara Karepina’s marriage and the image of her husband were also vividly reflected in the work of Fyodor Dostoevsky. The article provides some valuable comparisons of Varvara Karepina with Varvara Dobroselova and various other female images of Fyodor Dostoevsky's works, the conclusion is drawn that the use of the prototype’s all kinds of personality traits, sometimes opposite ones, when creating images of the heroes of the works, was a feature of the writer's creative method.
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Murzina, Svetlana V., and Elena G. Novikova. "The Image of Garibaldi in Fyodor Dostoevsky’s Works." Vestnik Tomskogo gosudarstvennogo universiteta, no. 460 (2020): 37–45. http://dx.doi.org/10.17223/15617793/460/4.
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The study is the first to collect, describe and analyze the main body of Fyodor Dostoevsky’s comments related to Giuseppe Garibaldi. The image of the Italian political figure is reconstructed in the creative works of the Russian writer. The image is analyzed from historical and political perspectives of the nineteenth-century Russia (1860–1870) and the Italian Risorgimento. The relevance of the study is due to the modern perception of Dostoevsky as an original political thinker and the wide context of Russian-Italian relations. Giuseppe Garibaldi is one of the most distinguished political figures in the European history of the middle of the second half of the 19th century. He is a national hero of Italy, one of the leaders of the Risorgimento whose main political achievement was unification of the country and nation. Dostoevsky repeatedly referred to Garibaldi during two decades, from 1860 to 1876. Dostoevsky’s creative works related to the image of Garibaldi are as follows: Petersburg Dreams in Verse and Prose, Winter Notes on Summer Impressions, The Double, The Adolescent, A Writer’s Diary, as well as his letters of 1867 and 1868. The way Garibaldi’s image is reflected in Dostoevsky’s creative writing is worth noting: Garibaldi is mentioned only in final versions of two works of the beginning of the 1860s, i.e. Petersburg Dreams in Verse and Prose and Winter Notes on Summer Impressions; in the works of the 1860s–1870s (The Double, The Adolescent, A Writer’s Diary), Garibaldi is mentioned only in preliminary drafts, not in the final canonical versions of the works. Garibaldi’s image is of particular importance in Dostoevsky’s creative writing; however, it is often “hidden” being not explicit, but implicit textual evidence. All the mentioned materials show that Dostoevsky was aware of the events and circumstances related to Garibaldi and the Italian Risorgimento as a whole. He received the information from European and Russian newspapers and journals, Garibaldi’s Notes, and, finally, an occasional face-to-face meeting with him in 1867. Garibaldi’s image is created in different ways: Dostoevsky simply mentions his name or creates a vivid artistic image (A.G. Dostoevskaya also contributed to shaping Garibaldi’s image). With all the attention that Dostoevsky paid to Garibaldi’s political activity, the image that he finally created in his works stands out for personal features and traits associated with the unique personality of the “Italian hero”. According to Dostoevsky, “genius” and “open-heartedness” are the essential features of Garibaldi’s personality.
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Ulbrecht, Siegfried. "Ernst Jünger and his Reception of Fyodor Dostoevsky." Dostoevsky Journal 22, no. 1 (July 30, 2021): 45–71. http://dx.doi.org/10.1163/23752122-02201007.
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Abstract This contribution aims to present those aspects of the literary and intellectual legacy of F. M. Dostoevsky (1821–1881) that motivated Ernst Jünger (1895–1998) in formulating his own literary and essayistic work. Dostoevsky’s impact on Jünger has so far been researched only fragmentarily and sporadically. This builds on previous research and complements it with new findings. Ernst Jünger inquired into Dostoevsky’s works throughout his life. He perceived Dostoevsky as a foreteller of crises and disasters. Many of Jünger’s motifs, literary images, characters, and symbols were either influenced by or borrowed from Dostoevsky and developed further. Of great importance to Jünger are such phenomena as power, evil or misery, and pain. Dostoevsky also shaped Jünger’s approach to nihilism.
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Fedorova, Elena. "Mikhail Semevsky and Fyodor Dostoevsky." Неизвестный Достоевский 8, no. 4 (December 2021): 91–111. http://dx.doi.org/10.15393/j10.art.2021.5861.
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The article presents the history of business and friendly relations between F. M. Dostoevsky and M. I. Semevsky, an employee of the “Vremya” journal and the editor of “Russkaya Starina”, the largest historical journal of the 19th century. Semevsky most likely met Dostoevsky in the early 1860s, when the former became a contributing author of the “Vremya” journal and wrote two large-scale historical essays for the publication: “Tsarina Praskovya” and “The Mons Family.” Dostoevsky was familiar with Semevsky’s works even prior to their personal meetings and intended to polemize with his concept of Peter's time, as evidenced by the surviving sketches of the writer's critical review. The idea of a polemic was rejected when Semevsky became the author of the “Vremya” journal. Its editors, the Dostoevsky brothers, appreciated his cooperation and, as confirmed in the fee book, paid him more than many other authors. The meetings of Dostoevsky and Semevsky were reflected in the epistolary legacy and in the notes of Semevsky, which he wrote in the autumn of 1866 after the trial of the revolutionary Nikolai Ishutin. In November 1876, Semevsky gave Dostoevsky the documents for “A Writer's Diary”, requesting him not to identify the source. The communication between Dostoevsky and Semevsky in the last year of the writer's life is mentioned in the memoirs of E. N. Opochinin. The article provides an overview of Dostoevsky's letters of 1854‒1879, published in “Russkaya Starina” in 1883‒1885, as well as of memoirs of various persons about Dostoevsky, published during the life of the editor and after his death. Archival documents revealing new facts of the biography of Dostoevsky, Semevsky and their contemporaries were used and introduced into scientific circulation in the study.
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Zakharova, Olga. "Fyodor Dostoevsky’s Pseudonyms. Insertion by F. M. Dostoevsky in the Feuilleton by N. N. Strakhov." Неизвестный Достоевский 8, no. 1 (March 2021): 21–41. http://dx.doi.org/10.15393/j10.art.2021.5221.
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Identification of pseudonyms is one of the key tasks of attribution of many articles in the Vremya and Epokha magazines, and the Grazhdanin weekly. I. F. Masanov's article on Dostoevsky in the authoritative Dictionary of Pseudonyms contains errors and repetitions. Fyodor Dostoevsky signed his literary works with his personal name: Fyodor Dostoevsky, F. M. Dostoevsky, or, more often, F. Dostoevsky. On the contrary, the writer preferred to work as a journalist anonymously, more rarely — under pseudonyms. The range of Fyodor Dostoevsky's pseudonyms should be clarified. It is necessary to exclude “N. N.” from the list of pseudonyms, remove repeat “—y, M.” и “M. —y”, leave Dostoevsky's personal pseudonym “Zuboskalov” and add a new pseudonym “Ch. Komitetskiy”. The insert in the “Chronicler's notes” article is not the proper basis to make N. N. Strahov's pseudonym “Letopisets” (Epokha. 1865. № 1) a collective one or assign it to Dostoevsky. Most of Dostoevsky's pseudonyms are of an occasional nature, they are isolated and random. The names and surnames of real persons (M. Dostoevsky, A. Poretsky) in the role of his pseudonyms are accidental. As a result of critical analysis, it was established that in his literary and journalistic activities Dostoevsky used both regular (“F. D.”), (“D.”), (“Ed.”) and isolated pseudonyms “Zuboskal”, “Zuboskalov”, “N. N.”, “M. —y”, “Ch. Komitetskiy”, “Drug Kuzmy Prutkova” (“Friend of Kuzma Prutkov”). At this time, their range can be limited to this list. The appendix to the article contains an insert attributed to Dostoevsky in N. N. Strakhov's feuilleton «Notes of the Chronicler» from the January issue of the «Epoch» for 1865.
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Podosokorsky, Nikolay N. "Fyodor Dostoevsky’s Masonic Environment." Dostoevsky and world culture. Philological journal, no. 3 (2021): 215–37. http://dx.doi.org/10.22455/2541-7894-2021-3-215-237.
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For the first time are here presented to Dostoevsky scholars new facts concerning the masonic environment of the writer, who starting from his education in Chermak’s boarding school in 1834-1837 cultivated close relations of friendship with masons, some of them initiated even in 1840s (Apollon Grigorev), when masonry in Russia was officially forbidden, but nevertheless underground meetings continued. Reasons are given in support to the hypothesis, expressed for the first time by Tatiana Kasatkina in the middle of 1990s, of the possibility for Dostoevsky to have been a mason during the 1840s. Whether or not, direct references to masons and masonic symbolic in Dostoevsky’s oeuvre are impossible to explain (Uncle’s Dream, The Humiliated and the Insulted, The Adolescent, The Brothers Karamazov) if one ignores his interest for masonic teaching.
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Podosokorsky, Nikolay N. "Fyodor Dostoevsky’s Masonic Environment." Dostoevsky and World Culture. Philological journal, no. 3 (2021): 215–37. http://dx.doi.org/10.22455/2619-0311-2021-3-215-237.
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For the first time are here presented to Dostoevsky scholars new facts concerning the masonic environment of the writer, who starting from his education in Chermak’s boarding school in 1834-1837 cultivated close relations of friendship with masons, some of them initiated even in 1840s (Apollon Grigorev), when masonry in Russia was officially forbidden, but nevertheless underground meetings continued. Reasons are given in support to the hypothesis, expressed for the first time by Tatiana Kasatkina in the middle of 1990s, of the possibility for Dostoevsky to have been a mason during the 1840s. Whether or not, direct references to masons and masonic symbolic in Dostoevsky’s oeuvre are impossible to explain (Uncle’s Dream, The Humiliated and the Insulted, The Adolescent, The Brothers Karamazov) if one ignores his interest for masonic teaching.
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Dostoevsky, Alexey D., and Natalia V. Shwarts. "“My Husband's Lifelong Dream Was for Our Children to Get an Education...”: Gymnasium Students Lyuba and Fedya Dostoevsky." Неизвестный Достоевский 7, no. 2 (June 2020): 196–218. http://dx.doi.org/10.15393/j10.art.2020.4701.
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Dostoevsky's main concern was to educate his children, Lyuba and Fedya. After the writer's death, this desire was realized by his widow Anna Grigoryevna. Little was known about the education of Dostoevsky’s children, primarily from memoirs (penned by Anna and Lyubov Dostoevsky, Anna Ostroumova). The article presents previously unknown documents from the Central State Historical Archive of Saint Petersburg (name books, personal statements, etc.), containing information about the education of F. M. Dostoevsky's children: Lyuba — at the Foundry Gymnasium, Fedya — at the F. F. Bychkov Gymnasium (purchased by Ya. Gurevich in 1883). Letters related to the education of Dostoevsky's children were introduced into scientific circulation: Lyuba’s and Fedya’s to their mother, teacher V. Ivanova’s to A. G. Dostoevskaya. In the course of commenting on archival documents, the author emphasizes the continuity between home education and the education of the writer and his children, and reveals the role of A. G. Dostoevskaya in fulfilling Fyodor Mikhailovich's dream: to provide them with a quality education. Home education, first and foremost, the established tradition of family reading, which the Dostoevskys always heeded great attention to, allowed Lyuba to enter the gymnasium at the age of thirteen, bypassing two primary classes, and successfully reach the second, pre-graduation, class. Her classmates were A. P. Ostroumova (Lebedeva) and N. Ya. Polonskaya (Yelachich), who later became famous figures in Russian history. The education received at the gymnasium helped the writer's daughter to prove herself in literature during the years in emigration, to become a Russian writer in Italy, to represent the legacy of Dostoevsky in Europe, and to successfully conduct educational and cultural activities in Italy. The writer’s son Fedya, who studied at the St. Petersburg F. F. Bychkov Gymnasium in 1882-1889, entered the law faculty of the St. Petersburg Imperial University in 1890, became interested in horse breeding, and in the latter years of his life paid great attention to the preservation of his father's handwritten heritage. Thus, the children of F. M. Dostoevsky fulfilled his legacy: “Do not forget to study, both of you”.
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Korotchenko, Tatiana V. "Political Issues in Fyodor Dostoevsky’s Writings: American Reception." Vestnik Tomskogo gosudarstvennogo universiteta, no. 464 (2021): 32–41. http://dx.doi.org/10.17223/15617793/464/4.
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The article explores the American reception of Fyodor Dostoevsky’s political ideology. The relevance of the study is due to the interdisciplinary character of modern literary criticism and perception of Dostoevsky not only as a talented writer, but also as an original philosopher and political thinker. It is for the first time when the reception of Dostoevsky’s political ideology is revealed on the basis of works by American philologists and political analysts; namely, the study unveils the image of Dostoevsky as a political thinker formed within American scientific discourse. In addition, the analysis of the reception of Dostoevsky’s writings in a foreign scientific culture contributes to a deeper understanding of the mechanisms of cultural interaction. The analysis of literary works on the basis of comparative-historical and comparative-cultural approaches, as well as modern semiotic concepts, reveals the basic periods and trends in the reception of Dostoevsky’s writings on political issues in the USA in the 20th and the 21st centuries. The evolution of scholars’ views on the writer’s political ideology is disclosed. In the 1950s–1960s, Dostoevsky’s political philosophy is primarily analyzed in terms of its fictional representation. In the context of cultural interaction, this period can be termed as a preliminary one followed by the period of active transmission of the texts that explore the essence of Dostoevsky’s political ideology. Indeed, an intensive study of political views of the writer started in the 1970s–1980s. At this time, scholars addressed Dostoevsky’s opinion journalism, incorporating the writer’s political ideology into his social and religious views. A new period started in the 2000s. It is characterized by the synthesis of the most characteristic features of Dostoevsky’s artistic method, his philosophical and political ideas. Thus, the image of Dostoevsky as a political thinker in American literary studies is characterized by analyzing the writer’s political philosophy within his religious and social thoughts and considering Russian literature closely connected with the state policy. The most negative evaluation of Dostoevsky’s political ideology, accusatory statements on writer’s nationalism, imperialism, and chauvinism are found in the works whose authors investigate Dostoevsky’s political ideology beyond his religious views. The interest of American scholars in Dostoevsky’s political ideology is registered at all stages of Dostoevsky studies development. The changes in diplomatic relations between Russia and the Western world stimulate American scholars to address political issues in Dostoevsky’s writings. However, besides pure political circumstances, the alteration of periods in addressing political issues in Dostoevsky’s writings is due to the mechanisms of cultural interaction when the period of passive saturation with new semiotic material is followed by the period of active transmission of new texts.
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Ulitin, A. Yu, G. V. Odintsova, V. G. Nezdorovina, and S. M. Malyshev. "Dostoevsky’s epilepsy." Russian journal of neurosurgery 23, no. 3 (October 26, 2021): 113–21. http://dx.doi.org/10.17650/1683-3295-2021-23-3-113-121.
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There is a lot of evidence that a great Russian writer and essayist Fyodor Mikhailovich Dostoevsky suffered from epilep‑ sy. Not only this disease had influence on Dostoevsky’s personality and social life, but also affected his creative work. Dostoevsky is believed to suffer from mesiobasal temporal lobe epilepsy with an ecstatic aura – a form named after him afterwards.
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Ponkratova, Ekaterina M., and Daria A. Tarakanova. "China in the Perception of Fyodor Dostoevsky." Vestnik Tomskogo gosudarstvennogo universiteta, no. 462 (2021): 49–55. http://dx.doi.org/10.17223/15617793/462/6.
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The aim of the study is to form a holistic image of China as presented in the artistic and journalistic works of Fyodor Dostoevsky. The article examines the issue of China’s place in Dostoevsky’s works and its special significance for the formation of a holistic picture of the writer’s world. A broad historical and cultural background is presented, showing the relevance of Dostoevsky’s views on Chinese issues. Despite the existence of works devoted to the Chinese issue in the writer’s work, the issue of the place and significance of China in the writer’s heritage has not yet been resolved. For the first time, a number of fragments are introduced into academic discourse that reveal Chinese problems in the writer’s works. The imagological concept unfolds on the broad material of the entire body of Dostoevsky’s texts, bringing the scholarly apparatus of research to a new level. The article uses the following works: White Nights, Humiliated and Insulted, The Village of Stepanchikovo, The House of the Dead, The Idiot, Crime and Punishment, The Possessed, The Brothers Karamazov, the poem “On European Events in 1854”, A Writer’s Diary, preparatory materials for A Writer’s Diary, notebooks of 1864 and 1865. It is concluded that the understanding of the Chinese theme is in harmony with the general journalistic trends of the second half of the 19th century, on the one hand; on the other hand, the unique place of China in Dostoevsky’s creative mind is emphasized. A clear structure of the constituents that form the writer’s idea of China is proposed. China is considered in several significant aspects. China is a symbol of the alien and the distant. China is like a set of clichés and a fashion for Chinese household items. China is a real threat to the outskirts of Russia, Siberia. These positions are consistently analyzed in the article. The article also analyzes the Chinese attributes found in different works by Dostoevsky, demonstrates the writer’s acquaintance with the clichéd idea of China. The position of understanding China as a symbol of the alien and the distant is considered in detail. The article shows how the author imposes the realities of Chinese statehood and the principles of organizing society on Russian reality based on the key theme of chaos and disorder. Particular attention is paid to the perception of China as a real threat to the outskirts of Russia. In considering this aspect, Dostoevsky’s geopolitical ideas about the place and role of Siberia in the issue of the revival of Russia are touched upon. The need to expand the understanding of the specifics of Dostoevsky’s Asian views is shown by including a detailed analysis of China and the Asian outskirts of Russia, which undoubtedly are part of the writer’s circle of special reflections on the role and mission of Russia.
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Myakinchenko, Maria A. "“Even here your uncle has been of use to you!” On the history of creative relationships of Fyodor Dostoevsky and Ivan Goncharov." Vestnik of Kostroma State University 27, no. 2 (June 28, 2021): 96–103. http://dx.doi.org/10.34216/1998-0817-2021-27-2-96-103.
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The article is devoted to the study of literary and biographical connections between the collision of Ivan Goncharov's first novel “A Common Story” and the conflict between Fyodor Dostoevsky and his guardian Pyotr Karepin. Analysing biographical materials, the author hypothesises that Fyodor Dostoevsky, meeting with Ivan Goncharov, while the latter was working on “A Common Story”, could partly influence the creation of the main collision and central images of the novel. Noting the plot and figurative convergence, the author of the article also shows the ideological difference between Ivan Goncharov and Fyodor Dostoevsky in the presentation of the conflict between uncle and nephew – two different minds, worldviews and representatives of two different generations. The author of the work presents significant and interesting correspondences between the life and creative paths of Ivan Goncharov and Fyodor Dostoevsky, noting the similar literary influences experienced by both writers, and also points to salons and literary circles where they could meet.
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Novikova, Elena G. "Fyodor Dostoevsky in Japanese Comics." Tekst. Kniga. Knigoizdanie, no. 19 (April 1, 2019): 75–94. http://dx.doi.org/10.17223/23062061/19/6.
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Whitcomb, Curt, and W. J. Leatherbarrow. "Fyodor Dostoevsky: The Brothers Karamazov." Slavic and East European Journal 38, no. 1 (1994): 172. http://dx.doi.org/10.2307/308557.
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Busch, R. L., and Peter Conradi. "Fyodor Dostoevsky. Macmillan Modern Novelists." Slavic and East European Journal 34, no. 2 (1990): 253. http://dx.doi.org/10.2307/309152.
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Khazagerov, G. G., and A. A. Bondareva. "Fyodor Dostoevsky and forensic oratory." Communication Studies 8, no. 4 (2021): 659–70. http://dx.doi.org/10.24147/2413-6182.2021.8(4).659-670.
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Zakharova, Olga. "The 1862 Case of the Writer F. M. Dostoevsky." Неизвестный Достоевский 8, no. 3 (September 2021): 72–93. http://dx.doi.org/10.15393/j10.art.2021.5621.
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Dostoevsky's first trip abroad in the summer of 1862 took place in the midst of an aggravated political situation in Russia, facilitated by radical revolutionary unrest in St. Petersburg, Moscow and other cities, fires that followed the proclamations and raised suspicions of arson. To combat radical propaganda, an Investigative Commission for the dissemination of revolutionary appeals was established under the chairmanship of Prince A. F. Golitsyn. F. M. Dostoevsky, who had met with Herzen in London in July 1862, came to its attention. The article examines materials from the investigation file of the III Department “On the writer Fyodor Dostoevsky,” which have not been previously published and which allow to clarify both the facts of the writer’s biography, and the significance of this historical and literary event. The register of books and papers seized from Dostoevsky at the border is of particular interest. An analysis allows to understand what concerned the writer, what he read and deliberated. The first issue of the magazine "Russische Revue", published in May 1862, is of particular importance. Its editor V. Wolfson witnessed Dostoevsky's literary success in 1845. He witnessed Dostoevsky’s triumph at the salon of Prince Odoevsky, and was an admirer and translator of his works. The article establishes new facts of German-Russian literary contacts in 1840-1860 and Dostoevsky’s biography.
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Rachman, Stephen. "Ellison and Dostoevsky: A Critical Reassessment of the Aesthetics and Politics." Literature of the Americas, no. 11 (2021): 34–81. http://dx.doi.org/10.22455/2541-7894-2021-11-34-81.
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After an overview of the well-known aspects of Ralph Ellison’s interest in and connections to the works and literary ideas of the Russian novelist Fyodor Dostoevsky, this paper reveals the hitherto unknown depths of Ellison’s research into and usage of the works and aesthetic theories of the Russian writer as he applied them to American and African American literary and social contexts. Making use of archival materials (including Ellison’s correspondence, draft of his unfinished novel Three Days Before the Shooting..., highlighting and marginalia in the books from his personal library, which includes numerous works by and about Dostoevsky), this reassessment addresses the role of the Russian classics, and in particular, of Dostoevsky, in Ellison’s intellectual formation, the role that Dostoevsky played in Ellison’s literary relationship with Richard Wright; the ways that Ellison’s interests in the blues, jazz and other folk and vernacular forms of African American culture were filtered through his analysis of nineteenth-century Russian culture; and the Dostoevskyan origins of a number of fictional scenarios that would find their way into Three Days Before the Shooting... The essay concludes with a discussion of the correspondence between Ellison and Joseph Frank, Dostoevsky’s biographer.
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Mikhnovetc, Mariia V. "FORMATION OF THE IMAGE OF THE CAUCASUS IN FYODOR DOSTOEVSKY’S CREATIVE PERSONALITY." Vestnik of Kostroma State University, no. 1 (2020): 132–37. http://dx.doi.org/10.34216/1998-0817-2020-26-1-132-137.
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The article explores the Caucasian theme in Fyodor Dostoevsky’s fi ction and non-fi ction writings. The paper is based on a set of biographical, historical-cultural and historical-literary sources of the writer’s knowledge of the Caucasus. The article shows Fyodor Dostoevsky’s works were marginally affected by the information on the Caucasus and on the Caucasian wars the writer has at his disposal. The writer referred to characters’ military service in the Caucasus several times in his fi ction works, however, such detail never had infl uence on their development. In Fyodor Dostoevsky’s novels, the Caucasus is a stable topos of romantic literature but it often has pejorative overtones. The present study shows a paradoxical discrepancy between the volume of the writer’s knowledge about the Caucasus and the prominence of the Caucasian theme in his works. To further understand this discrepancy, it is important to consider the theme of the Caucasus in the context of the writer’s geopolitical views. Fyodor Dostoevsky appears to have little interest in the ethnocultural features of what he saw as a peripheral region of the Russian Empire. In Fyodor Dostoevsky’s world-view, the Caucasus had no symbolic capital and therefore was only represented using one simplifi ed feature.
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Supino, V. "When the Sun Shines it's Almost Heaven." Язык и текст 8, no. 1 (2021): 69–75. http://dx.doi.org/10.17759/langt.2021080108.
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The article describes Fyodor Mikhailovich Dostoevsky's visit to Italy. Fyodor Mikhailovich was in Italy three times. For the first time in 1862, after visiting Paris and London, in his winter Notes on summer impressions, he fought both for the mores, especially the bourgeois ones, and for the inhabitants, whom he despises to the maximum and ridicules them. Dostoevsky was not an ordinary tourist: he was interested in the history of the country, Italian politics, risorgimental movements, the struggle for unification. He was a big fan of Garibaldi. He visited Italy for the second time with his great love Apollinaria Suslova in 1863. The third time he arrived in Italy in 1868, after marrying Anna in 1867, they decided to move to Europe in order to avoid the imprisonment of Dostoevsky F. M. for debts, and also to protect Anna from the oppression that the family had caused her to suffer. Also Dostoevsky F. M. was strongly impressed by painting and in his works you can notice the presence of art in general and in particular Raphael.
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WESTERMAN, RICHARD. "FROM MYSHKIN TO MARXISM: THE ROLE OF DOSTOEVSKY RECEPTION IN LUKÁCS'S REVOLUTIONARY ETHICS." Modern Intellectual History 16, no. 3 (September 5, 2017): 927–60. http://dx.doi.org/10.1017/s1479244317000373.
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For European literati of the early twentieth century, Fyodor Dostoevsky represented a mythically Russian spirituality in contrast to a soulless, rationalized West. One such enthusiast was Georg Lukács, who in 1915 began a never-completed book about Dostoevsky's work, a model of spiritual community that could redeem a fallen world. Though framing his analysis in the language and themes of broader Dostoevsky reception, Lukács used this idiom innovatively to go beyond the reactionary implications this model might connote. Highlighting similarities with Max Weber's account of political ethics, I argue that Lukács developed an ethic derived from his reading of Dostoevsky, which focused on the idea of a hero defined by an ability to resolve the specific ethical dilemma of adherence to duty and moral law on the one hand, and, on the other, the need to restore spontaneous human community at a time when the social institutions embodying such laws had fallen into decay. Crucially, he deployed the same framework after his conversion to Marxism to justify revolutionary terror. However different his position from Dostoevsky's, it was through engagement with these novels that Lukács not only clarified his thought but also came to identify Lenin as a Dostoevskyan hero figure.
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Nocera, A. "Casts, Quotes, Parodies: the Italian Reception of Fyodor Mikhailovich Dostoevsky's Work." Язык и текст 8, no. 2 (2021): 28–40. http://dx.doi.org/10.17759/langt.2021080203.
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This article aims to provide a preliminary picture on the complex phenomenon of the reception of the work of F. M Dostoevsky in Italy starting from the diffusion of the first translations of the novels. Dostoevsky was not well received by the first critics and writers who criticized its style, excess morbidity and “drama”. He was considered a writer excessively related to the disturbances of the human soul, and in this regard the label of “psychologism”was used. Beyond this apparent negativity, the writers who were influenced and who admitted openly to consider Dostoevsky's not only a teacher of writing, but also an inexhaustible source of ideas and suggestions to delineate the characters of the novels were so many of them and go through all the panorama of the literature of the last twenty years of the Nineteenth century and throughout the Twentieth century: D'annunzio, Oriani, Moravia, Gadda, Tozzi, Sciascia, Landolfi, Piovene. Each of them declines a particular aspect of Dostoevskij’s poetics, using quotes, casts, parodies or real rewrites of the Dostoevsky text.
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Gornostaeva, Svetlana A. "Psychoanalysts of the first quarter of the 20th century about “Crime and Punishment” by Fyodor Dostoevsky." Vestnik of Kostroma State University 27, no. 1 (March 31, 2021): 161–65. http://dx.doi.org/10.34216/1998-0817-2021-27-1-161-165.
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The article examines the judgements of representatives of psychoanalysis of the early 20th century on the life and work of Fyodor Dostoevsky and, in particular, his novel "Crime and Punishment". The works of such famous psychoanalysts and followers of psychoanalysis as Alfred Adler. Jolan Neufeld, Sigmund Freud and Erich Seligmann Fromm are analysed. In the article "Dostoevsky" Adler, noting the contradictory nature of the characters, points to the general direction of movement for them towards finding inner peace, which, in turn, reveals a similarity with the nature of the writer himself. The researcher's particular attention is drawn to the theme of the boundaries of what is permitted and what is not permitted in Dostoevsky's work. Neufeld in his work "Dostoevsky" indicates that the basis of artistic depiction in the work of Dostoevsky is the emotional experience of the writer himself, whose personality makeup the psychoanalyst assesses as hysterical, which, in turn, turns out to be characteristic of his heroes. The researcher also notes the writer's increased attention to the category of the unconscious and highlights a number of features characteristic of Dostoevsky's poetics. In the well-known work of Freud "Dostoevsky and Parricide", the influence of "unconscious impulses" in the work of the Russian classic on the structure and peculiarities of plot lines in his works is indicated. The founder of neopsychoanalysis, Fromm, also draws attention to the category of the unconscious, but he is more inclined to interpret the behaviour of the heroes taking into account social and worldview factors. On the whole, the considered studies of psychoanalysts laid the foundations for a close study of the features of psychologism in Dostoevsky's work.
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Gubanova, L. V., M. O. Petrova, and E. N. Vejber. "Dostoevsky, Western Writers and Schola." Язык и текст 7, no. 1 (2020): 76–82. http://dx.doi.org/10.17759/langt.2020070107.
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The article is devoted to the review of the relations of the great Russian writer F. M. Dostoevsky, Western writers and scientists. We consider the mutual influence of Dostoevsky on Western literature and Vice versa. Dostoevsky belongs to writers whose biography is closely connected with their work. Dostoevsky's attempts to penetrate deeply into the soul are attempts to understand himself. This is why he was able to penetrate so deeply into the soul of his characters. Despite the fact that Dostoevsky was strongly influenced by Western European writers (Dickens, Schiller, Hoffman, etc.), he believed that the European way is disastrous for Russia and the great future of Russia, which will save the whole world, is possible only in Christ, in Orthodoxy, in the Church. Fyodor Mikhailovich Dostoevsky is a writer who created unforgettable realistic pictures of the world. Dostoevsky can be loved, admired, and hated (like Nabokov), but the fact that he is a genius writer cannot be denied.
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Uzhankov, Aleksander, and Larisa Soboleva. "Under the Sign of Fyodor Dostoevsky." Quaestio Rossica 7, no. 4 (2019): 1043–54. http://dx.doi.org/10.15826/qr.2019.4.423.
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Dergacheva, Irina. "The Eschatological Chronotope of Fyodor Dostoevsky." Quaestio Rossica 7, no. 4 (2019): 1143–59. http://dx.doi.org/10.15826/qr.2019.4.429.
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Erokhin, Alexander V. "Fyodor Dostoevsky in Walter Benjamin’s Assessment." Vestnik Tomskogo gosudarstvennogo universiteta. Filologiya, no. 72 (August 1, 2021): 212–31. http://dx.doi.org/10.17223/19986645/72/11.
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Dimkov, Petar Radoev. "Ecstatic Aura as Mystical Experience in Dostoevsky’s Epilepsy." Balkan Journal of Philosophy 11, no. 1 (2019): 65–74. http://dx.doi.org/10.5840/bjp20191118.
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Fyodor Mikhailovich Dostoevsky is one of the best Russian novelists. It is also known that he had been suffering from epilepsy―one can find many descriptions of this particular condition in Dostoevsky’s novels. These writings are most probably based on his personal experience. There are numerous neurological hypotheses about the type of epilepsy with which Dostoevsky suffered, the most notorious feature of his type of epilepsy being the so-called “ecstatic aura.” In fact, the type of epilepsy Dostoevsky experienced is often termed “Dostoevsky’s epilepsy with ecstatic aura.” In the current article, I offer a review of the literature on Dostoevsky’s epilepsy. Subsequently, the notorious feature “ecstatic aura” is compared with mystical experience, and a conclusion is reached: the two states are in fact identical in the sense that mystical experience can occur during ecstatic aura. A neuroscientific explanation of the experience is presented as well. Finally, a philosophical analysis is performed.
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Pamuk, Orhan. "Lecture about Fyodor Dostoevsky at the solemn ceremony of awarding the mantle and diploma of the SPbU Honorary Doctor." Vestnik of Saint Petersburg University. Language and Literature 18, no. 3 (2021): 436–43. http://dx.doi.org/10.21638/spbu09.2021.301.
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The lecture of the most famous Turkish writer of our time, winner of the Nobel Prize in Literature for 2006, was delivered at St.Petersburg State University on February 20, 2017 and was dedicated to the literary works of Fyodor Mikhailovich Dostoevsky, whose has always been appreciated by the Turkish prose writer. In his speeches and interviews Orhan Pamuk often says that he was influenced primarily by Russian writers: Leo Tolstoy, Fyodor Dostoevsky, and Vladimir Nabokov. The lecture is devoted to the analysis of two works by Dostoevsky — The Brothers Karamazov and Demons. It is based on the author’s personal impressions and perception of the novels in the context of Turkish culture, social and political life, and everyday life. In this case, a look at the work of Dostoevsky “from the outside” is especially interesting since Pamuk represents a country that is largely oriented towards Western culture, but at the same time preserves Eastern traditions, including religious ones. Pamuk reflects on Dostoevsky’s novels and notes they are politically significant novels, even though in the Russian literary tradition they are interpreted differently. Parallels drawn between the events that unfold in The Brothers Karamazov and Demons and the events in the public life of Turkey allow Pamuk to draw a conclusion about the deep mental kinship of Russian and Turkish societies with their ambiguous attitude towards the West.
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Dzyk, Roman. "To the 200th Anniversary of Fyodor Dostoevsky." Pitannâ lìteraturoznavstva, no. 104 (December 27, 2021): 255–57. http://dx.doi.org/10.31861/pytlit2021.104.255.
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Panyukova, Tatiana V. "Factual Sources in Research on the Biography of Fyodor Dostoevsky: From Documents to Facts and Interpretation." Dostoevsky and world culture. Philological journal, no. 4 (2020): 158–96. http://dx.doi.org/10.22455/2541-7894-2020-4-158-196.
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The article contains new facts that clarify or complete some particulars in the biographies of 13 persons from Dostoevsky’s milieu. Some facts derive from documentary sources discovered through archival research: Aleksandr Isaev’s metric records, the birth and death in Darovoe of the infant Simeon, the illegitimate son of Mikhail Dostoevsky, the first marriage and divorce of Dostoevsky’s son Fyodor Fedorovich, the death of the writer’s sister-in-law Sof’ia Constant, and an excerpt from the memoirs of Ekaterina Alexandrovna, wife of Konstantin Pobedonostsev, about her acquaintance with Dostoevsky. The combination of archival research and textual analysis of the writer’s manuscripts and correspondence allowed us to suppose his possible acquaintance with Fyodor Bychkov, the founder of the grammar school for boys in St. Petersburg where the writer’s son was later enrolled, and with the aspiring writer Lydia Lamovskaya. Finally, the article investigates the name “Lizaveta Kuzminichna” recurring three times in different Dostoevsky’s autographs. The name works as a code for the writer’s unidentified personal associations going back to his childhood in Moscow, and is linked to his parents’ friends, the Shchirovsky family. These examples show that even today, archival work, search for new factual sources, and “small observations” over the texts remain fruitful and promising methods for research of both biographical and interpretative nature.
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Panyukova, Tatiana V. "Factual Sources in Research on the Biography of Fyodor Dostoevsky: From Documents to Facts and Interpretation." Dostoevsky and World Culture. Philological journal, no. 4 (2020): 158–96. http://dx.doi.org/10.22455/2619-0311-2020-4-158-196.
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The article contains new facts that clarify or complete some particulars in the biographies of 13 persons from Dostoevsky’s milieu. Some facts derive from documentary sources discovered through archival research: Aleksandr Isaev’s metric records, the birth and death in Darovoe of the infant Simeon, the illegitimate son of Mikhail Dostoevsky, the first marriage and divorce of Dostoevsky’s son Fyodor Fedorovich, the death of the writer’s sister-in-law Sof’ia Constant, and an excerpt from the memoirs of Ekaterina Alexandrovna, wife of Konstantin Pobedonostsev, about her acquaintance with Dostoevsky. The combination of archival research and textual analysis of the writer’s manuscripts and correspondence allowed us to suppose his possible acquaintance with Fyodor Bychkov, the founder of the grammar school for boys in St. Petersburg where the writer’s son was later enrolled, and with the aspiring writer Lydia Lamovskaya. Finally, the article investigates the name “Lizaveta Kuzminichna” recurring three times in different Dostoevsky’s autographs. The name works as a code for the writer’s unidentified personal associations going back to his childhood in Moscow, and is linked to his parents’ friends, the Shchirovsky family. These examples show that even today, archival work, search for new factual sources, and “small observations” over the texts remain fruitful and promising methods for research of both biographical and interpretative nature.
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Mikhnovets, Mariya V. "The geopolitics of the «Kirghiz steppe» in the works of Fyodor Dostoevsky: from the «zone of undeveloped wilderness» to the new Heartland." Vestnik of Kostroma State University 26, no. 4 (January 28, 2021): 120–27. http://dx.doi.org/10.34216/1998-0817-2020-26-4-120-127.
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The article aims to explore the geopolitics of the Kirghiz steppe in Fyodor Dostoevsky’s sociopolitical works and novels. The paper is based on a collection of biographical, historical-cultural and historical-literary sources. When considering the representation of the geopolitical position of the Kirghiz steppe, several periods in the work of Dostoevsky have been distinguished. Initially, Dostoevsky considered the region to be a periphery of the Russian Empire, a so-called «zone of undeveloped wilderness» with «being on the frontier» as its defining characteristic. As the concept of a unified Orthodox-Slavic world developed in the writer's work, Dostoevsky’s idea of reorienting Russia's development from Europe towards a so-called «land zone» became more prominent. The shift corresponds to Sir Halford John Mackinder’s notion of land power in classical geopolitics. As a result, Dostoevsky recognises the significance of the Kirghiz steppe and its potential to become the new Heartland.
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Romanova, Galina. "Сюжетные функции мотива смерти в романах Федора Достоевского." Slavica Wratislaviensia 167 (December 21, 2018): 161–69. http://dx.doi.org/10.19195/0137-1150.167.13.
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The plot functions of the motivе of deathin the novels of Fyodor DostoevskyThe article deals with а meaningful functions of one of the most frequent plot in the works by Fyodor Dostoevsky — death of a character. The narrative role of the image of death is analyzed. Philosophical meaning of this plot and its connection with the theodicy in Dostoevsky’s novels are revealed.Сюжетні функції мотиву смертів романах Федіра ДостоєвськогоУ статті розглянуто змістове значення однієї з найбільш поширених сюжетних ситуацій у творах Федіра Достоєвського — смерті персонажа. Аналізуються розповідні функції зображення смерті героїв. Розглядається філософський сенс даної сюжетної ситуації та її зв’язок з теодицією у романах Достоєвського.
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Edoshina, I. A. "A.N. Ostrovsky and F.M. Dostoevsky: to the History of the Relationship." Solov’evskie issledovaniya, no. 4 (December 15, 2021): 106–18. http://dx.doi.org/10.17588/2076-9210.2021.4.106-118.
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The article reconstructs the relations between two contemporaries, two classics of Russian culture – Alexander Ostrovsky and Fyodor Dostoevsky. The relations are considered in the dynamics of their development. Despite the fact that contemporaries of Ostrovsky and Dostoevsky noted the playwright’s critical perception of Dostoevsky’s work, the emphasis is placed on the friendly nature of their relationship, the proximity of their aesthetic views, and the commonality of their creative framework. The article stresses that the proximity of their aesthetic views on artistic creativity will become the basis for Ostrovsky’s cooperation with the Dostoevsky brothers’ journal “Vremya” (Time). The research undertaken here analyzes the reasons for the termination of this cooperation and the nature of further relations between Ostrovsky and Dostoevsky, their mutual assessment of each other’s creativity. As a result, it is noted that although Dostoevsky did not enter Ostrovsky’s inner circle, in his plays the playwright addressed the issues that worried both of them.
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Syromyatnikov, Oleg I. "THE CONCEPT ‘DEMON’ IN THE WORKS BY FYODOR DOSTOEVSKY." Вестник Пермского университета. Российская и зарубежная филология 13, no. 2 (2021): 121–31. http://dx.doi.org/10.17072/2073-6681-2021-2-121-131.
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The article deals with the concept ‘demon’ in the works by Fyodor Dostoevsky. It is found in various grammatical forms in the writer's works published in magazines in 1861 and 1877, in the story The Mistress, as well as in the novels The Idiot and Demons. In Dostoevsky's letters, this concept is not given a single mention. The paper reveals a number of specific features in the use of the concept by the writer. First, locality and compactness – the concept is always used within the same topic (in works published in magazines) or scene (in fiction). Second, the concept does not have any romantic connotation traditional for European and Russian literature; the writer always uses it in its main meaning fixed by the Church Slavonic language, where a demon is understood as an immaterial intelligent creature that is hostile to man. We consider these features to be related to the writer’s Orthodox worldview, which determined his ontology, epistemology and speech tactics. According to the Orthodox tradition, the use of the names of evil spirits should be extremely limited, therefore Dostoevsky used this concept only when it was impossible to express the idea otherwise without loss of meaning.In the writer's works published in magazines in 1861, the concept ‘demon’ is represented through the lexemes ‘Mephistopheles’ and ‘mephistophelity’, which serve to denote the apostasy processes of the Russian reality contemporary with the writer. In the novel Demons, this concept is represented through the lexeme ‘imp’, used to denote the spirit of the lower hierarchy in relation to a demon.The paper concludes that the concept ‘demon’ and the subordinate lexemes are used by Dostoevsky to depict the spiritual state of a character or to identify the spiritual causes of a particular social phenomenon.
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Tikhomirov, Vladimir V. "Alexander Ostrovsky vis-a-vis Fyodor Dostoevsky: the omedy “Rich Brides” and the novel “The Idiot”." Vestnik of Kostroma State University 27, no. 4 (December 23, 2021): 113–19. http://dx.doi.org/10.34216/1998-0817-2021-27-4-113-119.
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The comedy “Rich Brides” by Alexander Ostrovsky and the novel “The Idiot” by Fyodor Dostoevsky are close in staging the main plot move – the fate of a woman who sinned due to life circumstances. The main characters of both works fell victims to wealthy patrons who were going to marry them off. They have different personalities, and the heroine of “Rich Brides” Valentina Belyosova, unlike Fyodor Dostoevsky's heroine Nastasya Barashkova, at first glance seems frivolous, but the women, being accused of immorality, transformed, as female pride and a desire to defend themselves awakened in them. Impressed by Yuriy Tsyplunov's bitter emotional accusations, Valentina Belyosova is imbued with respect for him and even confesses her love. The characters in “Rich Brides” are melodramatic and comic with unexpected turns of events. Alexander Ostrovsky does not parody or imitate the author of the novel “The Idiot”, but the metamorphosis that occurred in the feelings and behaviour of Valentina Belyosova (partly in Yuriy Tsyplunov) testifies to the playwright's ability to portray complex characters, which brings his talent closer to Fyodor Dostoevsky's ability to artistically represent the dialectic of personality.
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Klyukina, Lyudmila. "RELIGIOUS AND PHILOSOPHICAL IDEAS IN “THE DREAM OF A RIDICULOUS MAN” BY FYODOR DOSTOEVSKY." Studia Humanitatis 18, no. 1 (June 2021): 36–42. http://dx.doi.org/10.15393/j12.art.2021.3682.
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Staying in the framework of the hermeneutic approach, this article reveals and analyses the religious and philosophical ideas of Saint Augustine of Hippo’s Confessions in the text of Fyodor Dostoevsky's short story “The Dream of a Ridiculous Man”. This study demonstrates that Dostoevsky, while staying within the boundaries of contemporary culture, independently comprehended such universal ideas and problems as the origin of evil, free will, theodicy and salvation, which were first formulated in the European philosophical tradition by Saint Augustine. The author concludes that the idea of unbounded free will and universal salvation, offered by Dostoevsky who demonstrated that rejecting individual freedom is justified only for the sake of said salvation, profoundly influenced Russian religious philosophy of Vladimir Solovyov.
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Kovalevskaya, Tatyana V. "Charles Gounod’s Faust and Dostoevsky Artistic Principles." Dostoevsky and world culture. Philological journal, no. 2 (2021): 89–115. http://dx.doi.org/10.22455/2541-7894-2021-2-89-115.
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The article considers the “Faustian” scene in Fyodor Dostoevsky’s The Adolescent as the musical embodiment of Dostoevsky’s central poetic device: statements with maximum formal similarity and maximum semantic divergence. This device is contextualized within Mikhail Bakhtin’s polyphonic novel concept and within the context of the history of polyphony as a musical phenomenon starting with its origins in the Western European music. We follow Larisa Gogotishvili’s suggestion that Mikhail Bakhtin’s polyphony is not the polyphony of the 18th-19th century (Johann Sebastian Bach, for instance) but the 20th-century polyphony (Arnold Schoenberg) and propose that Bakhtin’s and Dostoevsky’s concepts of polyphony have different origins (relativist in Bakhtin and epistemological in Dostoevsky) and consequently serve different purposes: Bakhtin affirms a multiplicity of voices as a matter of principle, while Dostoevsky strives to ultimately overcome this multiplicity by covering as many concepts of reality as possible. The breadth of Dostoevsky’s conceptual range is intended to overcome humans’ epistemological limitations and avoid dangerous cognitive traps that lie in statements that are formally close, but semantically different.
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Kovalevskaya, Tatyana V. "Charles Gounod’s Faust and Dostoevsky Artistic Principles." Dostoevsky and world culture. Philological journal, no. 2 (2021): 89–115. http://dx.doi.org/10.22455/2619-0311-2021-2-89-115.
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The article considers the “Faustian” scene in Fyodor Dostoevsky’s The Adolescent as the musical embodiment of Dostoevsky’s central poetic device: statements with maximum formal similarity and maximum semantic divergence. This device is contextualized within Mikhail Bakhtin’s polyphonic novel concept and within the context of the history of polyphony as a musical phenomenon starting with its origins in the Western European music. We follow Larisa Gogotishvili’s suggestion that Mikhail Bakhtin’s polyphony is not the polyphony of the 18th-19th century (Johann Sebastian Bach, for instance) but the 20th-century polyphony (Arnold Schoenberg) and propose that Bakhtin’s and Dostoevsky’s concepts of polyphony have different origins (relativist in Bakhtin and epistemological in Dostoevsky) and consequently serve different purposes: Bakhtin affirms a multiplicity of voices as a matter of principle, while Dostoevsky strives to ultimately overcome this multiplicity by covering as many concepts of reality as possible. The breadth of Dostoevsky’s conceptual range is intended to overcome humans’ epistemological limitations and avoid dangerous cognitive traps that lie in statements that are formally close, but semantically different.
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Andrianova, Irina. "“Don’t Be Abashed Reading This”: Shadow of Barkov in the Texts of Dostoevsky." Неизвестный Достоевский 8, no. 1 (March 2021): 42–60. http://dx.doi.org/10.15393/j10.art.2021.5161.
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The subject of research in this article is a partially crossed out portion of a letter from Fyodor Dostoevsky to his brother Mikhail dated September 30, 1844. This letter communicates his decision to leave the military service and devote himself to professional literary work. The entry was first reproduced in the edition of Dostoevsky's correspondence prepared by A. S. Dolinin, and then in the academic Complete Works. However, this was done with distortions and without proper commentary. As a result, the entry was perceived by readers as a rude expletive, which included slang, obscene vocabulary, and insults to the guardian of the Dostoevskys, P. A. Karepin, who opposed the switch of his ward to a literary path and was in no hurry to provide him with financial assistance. Textual analysis of the record about Karepin demonstrated that the strikethrough was made twice — by Dostoevsky himself at the time of writing the letter, and almost 40 years later by his widow, who was preparing the letters for publication. Due to her shyness, A. G. Dostoevskaya could not tolerate obscene words contained in the body of the letter, and she removed them with a thick strikethrough, while encrypting their meaning using shorthand. The restoration of the complete record made it possible to determine the source of the quote, namely, the “indecent” poem “Luka Mudishchev,” written in the post-Pushkin period and attributed to Ivan Barkov, but not written by him. The fact that Dostoevsky knew this poem by 1844 narrows down the range of its dating. In the heat of his “struggle” with Karepin, who criticizes the “abstract laziness and bliss of Shakespeare's dreams,” the novice writer turns the obscene satirical language of Barkoviana against his guardian in a sharp pamphlet style. Continuing his observations on common people's speech in the Siberian Notebook and the Writer’s Diary, Dostoevsky came to a paradoxical conclusion about the combination of profanity and chastity in the Russian people. The writer’s viewpoint on this matter was not clear to his contemporaries and was ridiculed in journalism and caricature.
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Illing, Sean. "Between Nihilism and Transcendence: Camus's Dialogue with Dostoevsky." Review of Politics 77, no. 2 (2015): 217–42. http://dx.doi.org/10.1017/s0034670515000042.
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AbstractThis article examines the influence of Fyodor Dostoevsky on Albert Camus's political philosophy of revolt. The aim is to clarify Camus's reactions to the problems of absurdity, nihilism, and transcendence through an analysis of his literary and philosophical engagement with Dostoevsky. I make three related claims. First, I claim that Camus's philosophy of revolt is informed in crucial ways by Dostoevsky's accounts of religious transcendence and political nihilism. Second, that Camus's conceptualization of the tension between nihilism and transcendence corresponds to and is personified by the dialogue between Ivan Karamazov and Father Zossima in Dostoevsky'sThe Brothers Karamazov. Finally, that Camus uses his novelThe Plagueto bridge the moral and metaphysical divide between these two characters. In particular, I argue that Camus offers a distinct vision of revolt inThe Plague, which clarifies both the practical implications of revolt and his philosophical rejoinder to Dostoevsky.
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Leigh, David J. "The Philosophy and Theology of Fyodor Dostoevsky." Ultimate Reality and Meaning 33, no. 1-2 (March 2010): 85–103. http://dx.doi.org/10.3138/uram.33.1-2.85.
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Poljakova, Ekaterina. "Fyodor Dostoevsky and Friedrich Nietzsche: power/weakness." International Journal of Philosophy and Theology 78, no. 1-2 (March 15, 2017): 121–38. http://dx.doi.org/10.1080/21692327.2016.1249015.
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Novikova, Elena G. "Fyodor Dostoevsky and Siberian Regionalism. Article One." Vestnik Tomskogo gosudarstvennogo universiteta. Filologiya, no. 59 (June 1, 2019): 185–97. http://dx.doi.org/10.17223/19986645/59/11.
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Novikova, Elena G. "Fyodor Dostoevsky and Siberian Regionalism. Article Two." Vestnik Tomskogo gosudarstvennogo universiteta. Filologiya, no. 67 (October 1, 2020): 268–77. http://dx.doi.org/10.17223/19986645/67/14.
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Abu-Fares, Ashra. "Truth in Nietzsche’s and Dostoevsky’s Philosophy: A Comparative Study." Journal of Gender, Culture and Society 1, no. 1 (September 26, 2021): 22–26. http://dx.doi.org/10.32996/jgcs.2021.1.1.4.
Full textAbstract:
The German philosopher Fredrick Nietzsche is one of the most significant thinkers whose work immensely impacted modern intellectual history. Likewise, the Russian writer Fyodor Dostoevsky is an influential figure whose philosophy and contribution to literature is also huge. However, there are common grounds that these two prominent figures share, especially with the fact that they were contemporaries and influenced each other. The aim of this paper is to explore the connection between Nietzsche and Dostoevsky in terms of the concept of truth. Nietzsche’s concept of ‘perspectivism’, which he proposes in some of his works, will be linked to Dostoevsky’s novel Notes from Underground to show how these two prominent figures share a common ground in this respect.
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Tarasova, Natalia, Sergey Kibalnik, Boris Tikhomirov, and Vladimir Zakharov. "K. Barsht's Works on Dostoevsky: Imitation of Research." Неизвестный Достоевский 8, no. 4 (December 2021): 177–231. http://dx.doi.org/10.15393/j10.art.2021.5841.
Full textAbstract:
In the article, Konstantin A. Barsht’s publications devoted to the study of Fyodor Dostoevsky’s creativity are subjected to a critical analysis: 1) works on the drawings and calligraphy of the writer; 2) a commented edition of Dostoevsky’s novel “Poor Folk” for “Literary Monuments” series; 3) publications about the manuscripts of the novel “Demons”, including the publication of Dostoevsky’s workbooks with draft notes for this novel (2021); 4) Barsht’s articles from the collection “Dostoevsky: Еtymology of Narration” (2019). The analysis of these publications reveals Barsht’s unprofessionalism as a researcher, as well as his violation of scientific ethics. The authors of the article proceed from the idea that this kind of imitation of research is unacceptable, publications should undergo a qualified examination and receive expert evaluation.