Relevant bibliographies by topics / Dostoevsky, Feodor

Academic literature on the topic 'Dostoevsky, Feodor'

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Published: 4 June 2021
Last updated: 21 February 2023

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Journal articles on the topic "Dostoevsky, Feodor"

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Fitzgerald, Gene, and Alba Amoia. "Feodor Dostoevsky." Rocky Mountain Review of Language and Literature 48, no. 2 (1994): 184. http://dx.doi.org/10.2307/1347909.

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Tarasova, Nataliya, and Tatyana Panyukova. "Semantics and Ideography of Dostoevsky's Handwritten Text: from Handwriting to Meaning." Неизвестный Достоевский 7, no. 4 (December 2020): 222–91. http://dx.doi.org/10.15393/j10.art.2020.5081.

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The paper analyzes the material from two workbooks (1864–1867) that belonged to Feodor Dostoevsky (Russian State Archive of Literature and Art. Collection 212, inventory 1, storage units 4 and 5). The research was conducted in three main areas: selection of information for the letter style alphabet; comparative analysis of sources (manuscripts and publications of handwritten text) for the purpose of identifying and correcting errors in its reading; a review of calligraphy and graphics of Feodor Dostoevsky. The alphabet of letter styles allows to establish typical and atypical letter styles in the handwriting of Feodor Dostoevsky. This made it possible to compile a classification of letters, describe their features, and use this information in the study of difficult-to-read and previously undecipherable records. The latter may contain valuable information that allows to clarify the facts in the creative history of the works of Feodor Dostoevsky, biographical information, chronology of the creative process, and so on. The second area of research includes the comparative analysis of manuscript sources and their published versions — is of particular value for ascertaining the original author's text and eliminating the inaccuracies of research interpretations that often appear in the process of manuscript publishing. There is a direct connection between these areas of analysis — the letter style alphabet is a tool that allows to read the handwritten text more accurately and correct the mistakes of the publishers. The third direction, dedicated to the study of calligraphy, expands the range of tasks related to the study of graphics in the writer's texts and allows to draw preliminary conclusions about the nature of its function in the handwritten text. The scientific novelty of the work consists in the systematization of data on the writer's handwriting in manuscripts of the specified period, on the features of his creative work, and in correcting the errors made by publishers of handwritten materials and restoring the true meaning of the author's notes. The practical value of the work consists in collecting information about the writer's handwriting, which is relevant for the textual analysis of his works, publication of his texts, and use of the collected information for subsequent scientific work.
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Fedorova, Elena A. "Experimental Novels by Nikolay Nekrasov and Feodor Dostoevsky in the Light of Ethnopoetics." Two centuries of the Russian classics 3, no. 2 (2021): 138–49. http://dx.doi.org/10.22455/2686-7494-2021-3-2-138-149.

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The article considers novels The Life and Adventures of Tikhon Trostnikov (1843) by N. A. Nekrasov and Humiliated and Insulted (1861) by F. M. Dostoevsky as experimental works in which the authors sought to combine European and national traditions. The reference to biographical material, the use of the structural method allowed to discover the similarity in genre content of the works and the difference of ideological attitudes of the authors. Both novels were created as autobiographical works, adventurous and satiric, included elements of “natural essay”, but each of the authors sought to use national genre content: Nekrasov's is a folk drama, and Dostoevsky refers to the traditions of Old Russian calendar literature, a literary story that shows the verification of the Holy Scriptures. Nekrasov failed to create a complete work, largely due to the narrative form, in which in some cases the parody begins to appear. But Dostoevsky managed to bring the novel to a new level, especially in his last works The Raw Youth and The Brothers Karamazov. Performing the task of “restoring the lost man”, Dostoevsky turns to the church calendar, Gospel allusions and parable plot.
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Andrianova, Irina. "Aspiration for Independence." Canadian-American Slavic Studies 50, no. 3 (2016): 299–312. http://dx.doi.org/10.1163/22102396-05003002.

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This article analyzes Anna Dostoevskaia’s (1846–1918) publication work on the basis of new evidence drawn from hitherto unpublished archival materials. Dostoevskaia’s contribution to the world of publishing has never before been the subject of a special investigation; the documents testifying to her massive work, such as her memoir, correspondence and notebooks, all kept in archives, have never been published. Anna Dostoevskaia was not only the wife of the great Russian author Feodor Dostoevsky, but also one of the first female publishers and book-sellers in Russia. In the second half of the nineteenth century, when women were struggling for economic independence and equal rights to take up “men’s jobs,” Dostoevskaia managed to start out and successfully handle a publishing business. The article expands on Dostoevskaia’s educational and professional development, the history of her publishing and book-selling business, and the difficulties she encountered in the process. Her most outstanding achievement was Dostoevsky’s Complete Works which underwent seven editions (1882–1906). Anna Dostoevskaia had an immense contribution to the publishing business of the late nineteenth and early twentieth centuries and played an important role in the enhancement of the cultural life and feminist movement in Russia.
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Igor Vasil’evich, Ruzhitskiy. "Mask and masquerade in Feodor Dostoevsky’s creative works." Novosibirsk State Pedagogical University Bulletin 5, no. 5 (October 7, 2015): 38–46. http://dx.doi.org/10.15293/2226-3365.1505.03.

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Revyakov, Ivan. "INFERNAL PRINCIPLE IN F.M. DOSTOEVSKY’S STORY BOBOK." Literaturovedcheskii Zhurnal, no. 3 (2021): 175–87. http://dx.doi.org/10.31249/litzhur/2021.53.12.

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The article is devoted to the analysis of Feodor M. Dostoevsky’s short story Bobok from the point of view of the embodiment and action of the infernal principle in it. It is shown that the infernal principle plays a structure-forming role in the artistic reality of Bobok , being, in fact, its ontological basis. The article esablishes the relashions between Bobok and Plato’s dialogue Symposium . It is discussed also the phenomenon of infernality in Dostoevsky’s novel The Brothers Karamazovs and its traces in Michail A. Bulgakov’s novel Master and Margarita .
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Hobbs, J. B. "Book Review: Resurrection from the Underground: Feodor Dostoevesky, The Girard Reader." Review & Expositor 94, no. 4 (December 1997): 616–17. http://dx.doi.org/10.1177/003463739709400420.

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HONG KEE-SOON. "A analyse of drawings in Feoder Dostoevsky's manuscripts." Korean Journal of Slavic Studies 24, no. 1 (June 2008): 197–222. http://dx.doi.org/10.17840/irsprs.2008.24.1.008.

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9

"Feodor Dostoevsky." Choice Reviews Online 31, no. 04 (December 1, 1993): 31–1992. http://dx.doi.org/10.5860/choice.31-1992.

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"Resurrection from the underground: Feodor Dostoevsky." Choice Reviews Online 35, no. 02 (October 1, 1997): 35–0810. http://dx.doi.org/10.5860/choice.35-0810.

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Dissertations / Theses on the topic "Dostoevsky, Feodor"

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Simitopol, Anca Eliza. "Ideas of Community in the Thought of Pierre Leroux and of Feodor Dostoevsky: Agape, Philia and Eros." Thèse, Université d'Ottawa / University of Ottawa, 2012. http://hdl.handle.net/10393/23280.

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In this thesis I compare Pierre Leroux, a French utopian socialist (1797 – 1871), with Feodor Dostoevsky, the well-known Orthodox Russian novelist (1821 – 1881). I argue that both authors reacted against what they considered to be the dissolution of the social order, brought about by the increasing nineteenth-century bourgeois individualism. On the other hand, they reacted as well against the opposite phenomenon, the idea of a universal socialist state, which was, in fact, according to them, the outcome of bourgeois individualism. My purpose is to bring close and to compare Leroux’s republican socialism with Dostoevsky’s Christian socialism, and to explore to what extent the two authors give similar answers to a common problem. In order to better explain their thought, I divide my thesis into three chapters. The first analyzes and compares Leroux’s and Dostoevsky’s critiques of individualism. If Leroux reaches the conclusion that the ultimate expression of individualism is Malthusianism, Dostoevsky argues that individualism ends in nihilism. The second chapter analyzes the type of socialism against which Leroux and Dostoevsky reacted, as well as the critiques of the two authors. I argue here that Saint-Simonian socialism – the main object of Leroux’s critique – and the socialism of the Grand Inquisitor – a Dostoevskyan character – are the expression of a certain utopian thought which considers the requirement for freedom incompatible with the requirement for unity. In the last chapter, I analyze the ideas of community of Leroux and of Dostoevsky, which are centered on philia, in the case of the former, and on agape, in the case of the latter. Philia and respectively agape are the expression of organic social relations, through which the two requirements, of freedom and unity, are made compatible, and which create unity in multiplicity. Their ideas of community appear as active utopias, grounded on the life of relation in a spontaneous, organic community.
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Barros, Andrea de. "A dúvida em discursividade: Machado de Assis e Dostoiévski." Pontifícia Universidade Católica de São Paulo, 2007. https://tede2.pucsp.br/handle/handle/14811.

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Made available in DSpace on 2016-04-28T19:59:02Z (GMT). No. of bitstreams: 1 Andrea de Barros.pdf: 695765 bytes, checksum: c4e065b020ab721c958ae27d0ddb0a15 (MD5) Previous issue date: 2007-03-28
Conselho Nacional de Desenvolvimento Científico e Tecnológico
The present essay is constituted of an analisis of the theme of the construction of the doubt in Dostoevsky s The Eternal Husband (1870) and in Machado de Assis s Dom Casmurro (1899), following the concepts of polifony and dialogism, created by Mikhail Bakhtin. It is orientated by the following objectives: studying the dialogical relations between the emissor discourse (authors voice), the narrator and the characters, focusing their implications in the construction of the doubt in the romances of the corpus; investigating the forms through which the senses of the doubt are recreated in both narratives; analizing the logical procedures of the enounciation, by which José Dias guides Bentinho s discourse, as Trussotzki guides Vieltchaninov s discourse, studying the aplication of these procedures to the construction of the doubt in both romances; and, finally, contributing to the reflections about the literature of Machado de Assis and Dostoevsky, through a critical reading of the books in study. The research is orientated by the following hypothesis: José Dias acts as an aggregation to Bentinhos s conscience, in Dom Casmurro, and Trussotzki acts as an aggregation to Vieltchaninov s conscience, in The Eternal Husband. The metodological approach is the dialogical one, by which it is created a dialog among the romances. Otherwise, the manners and functions of this aggregation are specifically differents on each narratives. This study defends that, in the high level of dialogism of their romanesque speeches, Machado and Dostoevsky are pairs, and considers that, as Dostoevsky is the founder of the polyphonic romance and the greatest example of dialogism in the literary universe, Machado can be recognized as the precursor of the same genre in Brazilian Literature
Este trabalho constitui-se de uma análise do tema da construção da dúvida nos romances O Eterno Marido (1870) de Dostoiévski e Dom Casmurro (1899) de Machado de Assis, à luz da polifonia e do dialogismo, de Mikhail Bakhtin. Pauta-se pelos seguintes objetivos: estudar as relações dialógicas entre os discursos do emissor (voz autoral), do narrador e do destinatário (personagens) e suas implicações na construção da dúvida nos romances do corpus; investigar as formas por meio das quais os sentidos de conotação da dúvida e da suspeita do adultério são recriados nas duas narrativas; analisar os procedimentos lógicos da enunciação pelos quais a personagem José Dias orienta o discurso de Bentinho, à semelhança de como Trussótzki orienta o de Vieltchâninov, e estudar as implicações da aplicação desses procedimentos à construção da dúvida em ambos os romances; e, finalmente, contribuir para as reflexões sobre as escrituras de Machado de Assis e de Dostoiévski, a partir de uma leitura crítica das obras em estudo. A pesquisa orienta-se pela seguinte hipótese: José Dias atua como um agregado de consciência de Bentinho, em Dom Casmurro, e Trussótzki atua como agregado de consciência de Vieltchâninov, em O Eterno Marido. A metodologia aplicada é a dialógica, por meio da qual se estabelece um diálogo entre os romances. Entretanto, conclui-se que as formas e as funções desse agregamento se configuram de maneiras específicas e diferentes em cada narrativa. O estudo defende que, no alto grau de dialogismo de seus discursos romanescos, Machado e Dostoiévski se encontram como pares e considera que, assim como Dostoiévski é o fundador do romance polifônico e exemplo máximo de dialogismo no universo literário, segundo Bakhtin, Machado pode ser reconhecido como precursor, na Literatura Brasileira, deste mesmo gênero
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Powell, Elisabeth, University of Western Sydney, College of Arts, and School of Humanities and Languages. "A literature of modern suffering : suffering in the work of Feodor Dostoevsky, Albert Camus and Milan Kundera." 2007. http://handle.uws.edu.au:8081/1959.7/15716.

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This thesis examines the treatment of the theme of suffering by three modern authors: Feodor Dostoevsky, Albert Camus, and Milan Kundera. The analysis proceeds through the identification and examination of three primary concepts which I will argue are at the heart of their work, and which provide the conceptual foundations for their depictions of suffering: the wretched, the absurd, and the banal. These concepts will be used as an avenue through which to explore and articulate their treatment of suffering. It will be argued further that the work of these three authors forms a conceptual series, in that each contributes in an important way to the evolution of a modern secular way of thinking about suffering by producing portraits of suffering informed by concepts appropriate to specific moments in the modern era. The sense of wretchedness which emerges from Dostoevsky’s work is inextricably linked with the late nineteenth-century crisis-of-faith. The concept of the absurd ties Camus to the early-twentieth-century existentialist tradition, while the sense of banality in Kundera’s novels locates him in an era which has witnessed both the horrors of World War Two and the decline in the humanist tradition. The factor that unites them and gives order to their differences, however, is a common concern with questions of meaning. The loss of meaning in the modern era, and in particular the loss of meaning in relation to suffering, is a thread which develops progressively throughout the series. It is, as will be argued at the outset, what binds these three disparate authors together and what gives their work and their treatment of suffering a particular modern character.
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Powell, Elisabeth. "A literature of modern suffering : suffering in the work of Feodor Dostoevsky, Albert Camus and Milan Kundera." Thesis, 2007. http://handle.uws.edu.au:8081/1959.7/15716.

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This thesis examines the treatment of the theme of suffering by three modern authors: Feodor Dostoevsky, Albert Camus, and Milan Kundera. The analysis proceeds through the identification and examination of three primary concepts which I will argue are at the heart of their work, and which provide the conceptual foundations for their depictions of suffering: the wretched, the absurd, and the banal. These concepts will be used as an avenue through which to explore and articulate their treatment of suffering. It will be argued further that the work of these three authors forms a conceptual series, in that each contributes in an important way to the evolution of a modern secular way of thinking about suffering by producing portraits of suffering informed by concepts appropriate to specific moments in the modern era. The sense of wretchedness which emerges from Dostoevsky’s work is inextricably linked with the late nineteenth-century crisis-of-faith. The concept of the absurd ties Camus to the early-twentieth-century existentialist tradition, while the sense of banality in Kundera’s novels locates him in an era which has witnessed both the horrors of World War Two and the decline in the humanist tradition. The factor that unites them and gives order to their differences, however, is a common concern with questions of meaning. The loss of meaning in the modern era, and in particular the loss of meaning in relation to suffering, is a thread which develops progressively throughout the series. It is, as will be argued at the outset, what binds these three disparate authors together and what gives their work and their treatment of suffering a particular modern character.
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Books on the topic "Dostoevsky, Feodor"

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Feodor Dostoevsky. New York: Continuum, 1993.

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René, Girard. Resurrection from the underground: Feodor Dostoevsky. New York: Crossroad Pub., 1997.

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René, Girard. Resurrection from the underground: Feodor Dostoevsky. East Lansing: Michigan State University Press, 2012.

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Jones, Elizabeth. Feodor Dostoevsky Library. Moonbeam Pubns, 1990.

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Dostoyevsky, Fyodor Mikhaylovich. Feodor Dostoevsky: Text and Drawings. Russky Yazyk, 1989.

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Dostoyevsky, Fyodor Mikhaylovich. The Grand Inquisitor - Feodor Dostoevsky. Book Jungle, 2007.

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Williams, James, and Girard René. Resurrection from the Underground: Feodor Dostoevsky. Michigan State University Press, 2012.

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SparkNotes. Feodor Dostoevsky (SparkNotes Library of Great Authors) (SparkNotes Library of Great Authors). SparkNotes, 2003.

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Book chapters on the topic "Dostoevsky, Feodor"

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Parks, Tim. "Feodor Dostoevsky: Crime or Punishment." In Life and Work, 24–47. Yale University Press, 2016. http://dx.doi.org/10.12987/yale/9780300215366.003.0002.

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"Feodor Dostoevsky: Crime or Punishment." In Life and Work, 24–47. Yale University Press, 2020. http://dx.doi.org/10.12987/9780300216738-003.

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"18 Mimetic Desire in the Underground: Feodor Dostoevsky." In Mimesis and Theory, 246–62. Stanford University Press, 2008. http://dx.doi.org/10.1515/9781503626409-020.

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"Conclusion." In A Well-Ordered Thing, edited by Michael D. Gordin, 229–44. Princeton University Press, 2018. http://dx.doi.org/10.23943/princeton/9780691172385.003.0009.

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This concluding chapter assesses the importance of Dmitrii Mendeleev as an individual. One could in principle similarly follow the paths of many figures in Imperial Russia or in nineteenth-century science—or, in fact, in almost any place or time. Yet Mendeleev offers a particularly valuable perspective on the history of both Russia and chemistry. The educated elite in Imperial Petersburg was quite small, and individuals who were prominent in several groups—such as Sergei Witte or Feodor Dostoevsky—were able to imprint their concepts deeply on Russia's state or its culture. Mendeleev, on the other hand, unified artists, writers, scientists, and bureaucrats while preserving their traces in his sizable personal archive; his life illustrates what it was like to live and work in St. Petersburg. Moreover, his chemical ideas demonstrate how European science functioned, as well as how barriers of language and culture placed constraints on scientific attempts at attaining universality.
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