Artículos de revistas: "Dostoevsky"

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Maltsev, Leonid A. "Czesław Miłosz’s “Theological treatise” in the context of Fyodor Dostoevsky’s religious worldview". Slovo.ru: Baltic accent 12, n.º 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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Dostoevsky, Alexey D. y 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, n.º 2 (junio de 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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Fokin, Pavel. "Forgotten Memoirs About F. M. Dostoevsky in the Collection of A. G. Dostoevskaya". Неизвестный Достоевский 8, n.º 3 (septiembre de 2021): 136–55. http://dx.doi.org/10.15393/j10.art.2021.5601.

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In the 140 years that have passed since the death of F. M. Dostoevsky, almost all of his contemporaries’ memoirs about the writer have been published (in separate books and collections). To date, we can assume that the main corpus of Dostoevsky’s contemporaries’ accounts of him is publicly available. However, this does not mean that it is completely exhausted. A review of newspaper clippings collected by A. G. Dostoevskaya allowed us to identify several notes that were previously unaccounted for and missed by the publishers. For the most part, these are small fragments included by their authors in articles on other topics, nevertheless, they are also of interest to the biographers of F. M. Dostoevsky. The article publishes and comments on the memoirs of A. A. Sokolov, S. Atava, Vogue, V. G. Avseenko, V. F. Putsykovich. They are related to the final years of Dostoevsky's life, capturing distinct features of his everyday behavior, specific phrases and statements. Of interest is the story related by V. G. Avseenko about Dostoevsky's attitude to the political events in Europe, as well as Dostoevsky's commentary on his “The Grand Inquisitor,” was recorded by V. F. Putskovich after a meeting in Berlin in 1879.

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Dimitrova, N. I. "Types of philosophical reception of Dostoevsky in Bulgaria from the first half of the 20th century". Solov’evskie issledovaniya, n.º 1 (2020): 123–36. http://dx.doi.org/10.17588/2076-9210.2020.1.123-136.

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The article is devoted to the philosophical interpretations of Dostoevsky's work in Bulgaria in the first half of the twentieth century. Dostoevsky's initial presence in Bulgaria was investigated as well the response of the Bulgarian intelligentsia to his ideas compared to those of Tolstoy. The beneficial influence on the image of the writer as a thinker, philosopher, exerted by the Russian emigration in Bulgaria since the beginning of the 1920s is noted. Particular emphasis is placed on the work of Petr Bitsill, one of the best experts in the field of Dostoevsky studies. The types of interpretations of Dostoevsky as a philosopher are distinguished as follows: Dostoevsky as a Nietzschean. Dostoevsky and Nietzsche (opposition and identification) – bearing in mind the strong influence of Nietzsche in Bulgaria since the beginning of the twentieth century; Dostoevsky as one of the founders of Russian religious philosophy – considering the penetration of the Silver Age ideas in Bulgaria; Dostoevsky and psychoanalysis; Dostoevsky as a religious philosopher and innovator. The author concludes that the study of the peculiarities of the reception of Dostoevsky’s work in Bulgarian culture of the first half of the twentieth century reveals not only the variety of world views but also the specifics of the national spiritual tradition.

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Dementyeva, Tatyana. "Was the Dostoevsky Estate Profitable?" Неизвестный Достоевский 8, n.º 1 (marzo de 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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Proshchenko, Anastasia. "F. M. Dostoevsky in the Biased Opinions of the Feuilletonist and Critic V. P. Burenin". Неизвестный Достоевский 8, n.º 3 (septiembre de 2021): 107–35. http://dx.doi.org/10.15393/j10.art.2021.5561.

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The influence of the critic V. P. Burenin on the public life of the 1860s — 1880s is great: his popularity was comparable to that of V. G. Belinsky in the 1840s. According to B. B. Glinsky, everyone has secretly read Burenin's feuilletons, even those who despised the newspaper Novoe Vremya (New Time) and personally hated its critical columnist for the sharpness and rudeness of his polemical style. The article examines the evolution of the critic's views of F. M. Dostoevsky’s work and his role in Russian journalism and literature. In the initial period of his activity, V. P. Burenin tended to adhere to common moods and assessments, and scolded Dostoevsky. Gradually, he realized the scale of Dostoevsky's writing gift. Already a famous and influential author of the Novoe Vremya (New Time), V. P. Burenin became a great admirer, friend and defender of the writer. He was one of the few critics who appreciated the Writer's Diary. After Dostoevsky's death, Burenin maintained good communication with the writer's widow. Their correspondence makes it clear that A. G. Dostoevskaya considered Burenin her colleague in preserving the legacy of her late husband. The letters contain previously unknown information, namely, that the correspondence of the Novoe Vremya (New Time) about the fire in Staraya Russa were penned by A. G. Dostoevskaya herself, as well as some other information about Dostoevsky and the fate of his legacy.

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Fokin, Pavel y Maria Zusmanovich. "F. M. Dostoevsky: Biography in Photographs". Неизвестный Достоевский 7, n.º 3 (septiembre de 2020): 114–48. http://dx.doi.org/10.15393/j10.art.2020.4802.

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The collection of photographic materials of The Vladimir Dahl State Museum of the History of Russian Literature, related to the life and work of F. M. Dostoevsky, is the largest such collection and currently includes 2540 items. The collection of photographs is based on the memorial collection of A. G. Dostoevskaya from the Memorial Museum of F. M. Dostoevsky. In the 1930s, it was transferred to the F. M. Dostoevsky Museum, established in Moscow in 1928, and after its merge with the State Literary Museum in 1940 (since 2017 — The Vladimir Dahl State Museum of the History of Russian Literature), it became a part of its photography collection. The compendium of photographs related to the life and work of Fedor Dostoevsky continued to grow in the following years. The article provides a comprehensive description of the collection of photos based on two main criteria: by the type of material — original photos, reshot photos, duplicate photos; by genre and thematic content of the images — portraits of F. M. Dostoevsky, portraits of relatives, portraits of children of F. M. Dostoevsky, nephews, descendants, portraits of friends, acquaintances, сontemporaries, sights of places related to the biography of F. M. Dostoevsky. The article analyzes the accompanying inscriptions and autographs on the photographs, specifies the dating and location of the images, which allows to make corrections and additions to the Chronicle of the life and work of F. M. Dostoevsky. Based on a comparative analysis of the translator’s gift autograph on his photo, the facts of F. M. Dostoevsky’s biography, and the analysis of F. M. Dostoevsky’s letter to an unidentified person dated December 5, 1863, an assumption is made that the addressee of the letter is W. Wolfzon.

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Fokin, Pavel y Maria Zusmanovich. "F. M. Dostoevsky: Biography in Photographs". Неизвестный Достоевский 7, n.º 3 (septiembre de 2020): 114–48. http://dx.doi.org/10.15393/j9.art.2020.4802.

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The collection of photographic materials of The Vladimir Dahl State Museum of the History of Russian Literature, related to the life and work of F. M. Dostoevsky, is the largest such collection and currently includes 2540 items. The collection of photographs is based on the memorial collection of A. G. Dostoevskaya from the Memorial Museum of F. M. Dostoevsky. In the 1930s, it was transferred to the F. M. Dostoevsky Museum, established in Moscow in 1928, and after its merge with the State Literary Museum in 1940 (since 2017 — The Vladimir Dahl State Museum of the History of Russian Literature), it became a part of its photography collection. The compendium of photographs related to the life and work of Fedor Dostoevsky continued to grow in the following years. The article provides a comprehensive description of the collection of photos based on two main criteria: by the type of material — original photos, reshot photos, duplicate photos; by genre and thematic content of the images — portraits of F. M. Dostoevsky, portraits of relatives, portraits of children of F. M. Dostoevsky, nephews, descendants, portraits of friends, acquaintances, сontemporaries, sights of places related to the biography of F. M. Dostoevsky. The article analyzes the accompanying inscriptions and autographs on the photographs, specifies the dating and location of the images, which allows to make corrections and additions to the Chronicle of the life and work of F. M. Dostoevsky. Based on a comparative analysis of the translator’s gift autograph on his photo, the facts of F. M. Dostoevsky’s biography, and the analysis of F. M. Dostoevsky’s letter to an unidentified person dated December 5, 1863, an assumption is made that the addressee of the letter is W. Wolfzon.

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9

Burlakova, I. I. "Dostoevsky’s Italy". Язык и текст 6, n.º 2 (2019): 10–16. http://dx.doi.org/10.17759/langt.2019060202.

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The theme “Dostoevsky and Italy” is extensive and diverse due to the fact that a number of researchers constantly turn to it, opening new pages in the life of the great writer. It includes the following areas of research: Dostoevsky's journey through Italy, the images of Italy in the pages of Dostoevsky's works, the reception of the writer's creativity in journalism, cinema and art, the problems of translating Dostoevsky's works into Italian. A special appeal to this topic shows that these four areas of research are connected in the works of Dostoevsky with such Italian cities as Rome, Florence and Naples. This determines the problematic of this article. The author assumes that there is a special integrity in all the disparate impressions and plots of Dostoevsky connected with Rome, Naples, and Florence. Dostoevsky's great novels are born in Rome against the backdrop of the great creations of Italian architecture. Naples is a city of dreams, a city where “noise, thunder, life” is intertwined with Dostoevsky’s fatal love, with truly Italian passions that defined the love story of the writer and Apollinaria Suslova. Florence is a city of quiet family happiness and comfort, which the writer needed so much during his creative dawn.

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10

Zakharova, Olga. "The 1862 Case of the Writer F. M. Dostoevsky". Неизвестный Достоевский 8, n.º 3 (septiembre de 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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Yuri V., Pushchaev. "Dostoevsky and Socialism: Ambivalent Relations". Almanac “Essays on Conservatism” 4 (30 de octubre de 2022): 238–58. http://dx.doi.org/10.24030/24092517-2022-0-4-238-258.

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The article examines the ambivalent relationship between Dostoevsky and socialism, that is, both with a minus sign and with a plus sign. It is noted that for all Dostoevsky’s resolute rejection of socialism and criticism of it, he was characterized by certain hidden moments in which he assessed socialists and socialism positively. This, in turn, predetermined the fact that Dostoevsky, for all his anti-nihilism, was recognized as a classic in Soviet times and was never a banned author, even under Stalin. The decisive circumstance is that utopian socialist elements were interspersed and incorporated into Dostoevsky's Christian ideal, in the way he understood Christianity and its role in society. It was clearly expressed in the fact, for example, that Dostoevsky was able to understand the Church and Christianity as "our Russian socialism." And it is precisely this incorporation of foreign material into the Christian ideal, it is precisely this understanding of Christianity that K.N. Leontiev subjected in his famous criticism of the so-called pink Christianity in Dostoevsky.

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Skuridina, Svetlana A. "Doctors-foreigners in the Dostoevsky’s works: onomastic aspect". Neophilology, n.º 18 (2019): 150–55. http://dx.doi.org/10.20310/2587-6953-2019-5-18-150-155.

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We reveal the specificity of anthroponymicon of doctors-foreigners in the Dostoevsky’s works. The writer’s appeal to the image of a doctor is due to the desire of F.M. Dostoevsky to answer the question whether a person of this profession is only a healer of the body or can act as a healer of the soul and even spirit. Reflections on the purpose of the doctor dictated by the F.M. Dostoevsky biography: in the field of medicine worked not only the writer's father – M.A. Dostoevsky, but also his great-uncle V.M. Kotelnitsky. The purpose of this study is to identify the features of anthroponymic vocabulary used for doctors nominations. Doctors’ list of names in Dostoevsky's literary texts is socially and nationally determined, as well as chronotopical: the abundance of foreign anthroponyms is a vivid characteristic of the era depicted by the writer, when medical practice was conducted by specialists who came from other countries. F.M. Dostoevsky creates anthroponyms according to traditional models typical for a particular language. At the same time, he uses an easily disclosed etymology, in connection with which many foreign surnames can be attributed to “eloquent” and comic, contributing to the creation of an incompetent and strange doctor’s image. Another common technique of onomastic Dostoevsky’s laboratory is the assimilation of foreign name with Russian – with the aim of reducing or disclosure of the doctor’s image.

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Puschaev, Yuriy V. "Soviet Dostoevsky: Dostoevsky in Soviet culture, ideology, and philosophy". Philosophy Journal 13, n.º 4 (2020): 102–18. http://dx.doi.org/10.21146/2072-0726-2020-13-4-102-118.

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The article aims to analyze how Dostoevsky’s works were perceived and presented in the Soviet ideology and philosophy. Contrary to some commonly held views, it is shown that despite the restrictions, there was never any talk of a complete ban or non-publication of Dostoevsky’s works in the Soviet times including the Stalinist years. Individual works of Dostoevsky as well as collections of his works were actively published in those years. The author explores the presence of Dostoevsky in the school literature program as well as the perception of Dostoevsky’s legacy by the Soviet leaders – V. Lenin and J. Stalin. It is concluded that the official ideological position in relation to Dostoevsky was never devoid of dynamics even in the Stalinist years. Among the factors that Soviet ideologists noted as positive in Dostoevsky, the author identifies the following three: Dostoevsky’s allegedly revolutionary past, his humanism and fervent sympathy for the humiliated and offended, and his great skill of an artist and expert in the secrets of the human soul. The author also discusses the perception of Dostoevsky’s work by the Soviet philosopher E.V. Ilyenkov. The author sets the task of further research into the perception of Dostoevsky in the legacy of other creative Soviet Marxists and / or publicists of the sixties – G. Lukach, M.A. Lifshits, Yu. F. Karyakin, etc.

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Trukhan, Elena. "In Defense of Alexander Ivanovich Isaev (Using Materials of the State Archive of the Tomsk Region)". Неизвестный Достоевский 8, n.º 2 (julio de 2021): 48–67. http://dx.doi.org/10.15393/j10.art.2021.5341.

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The article introduces into scientific circulation official documents dated 1853‒1855, preserved in the State Archive of the Tomsk region and recreating the last months of the life of Alexander Ivanovich Isaev — a friend of F. M. Dostoevsky in Semipalatinsk, the first husband of Maria Dmitrievna Constant (Isaeva, Dostoevskaya). These documents include: A. I. Isaev's certificate of service, issued on September 27, 1853, and 6 reports and 12 official letters dated February‒November 1855. Until recently, the corpus of biographical literature about Dostoevsky offered an image of A. I. Isaev as a bitter drunkard, a weak-willed man who ruined his career and life and left his family in poverty. Materials of the State Archive of the Tomsk region contain positive characteristics of Isaev and confirm his professional achievements and career growth from 1840 to July 28, 1853, the day of his dismissal. These archival materials reveal an important fact — the official reason for his dismissal from service. It was not Isaev's alcoholism, exaggerated in the works of Dostoevsky's biographers, but a deadly disease, namely, consumption (tuberculosis). This fact explains the words of Dostoevsky in a letter to Baron A. E. Wrangel dated August 14, 1855. about Isaev’s “dark fate”, the writer's unwavering respect and goodwill towards him, as well as the desire to raise his son Pavel as if he was Dostoevsky’s own. Archival materials demonstrate that immediately after the Isaev's death on August 4 (16), 1855, many persons applied for his position as a tavern assessor in the Kuznetsk Zemsky court, but relinquished it soon after starting the job.

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Cicovacki, Predrag. "On the Central Motivation of Dostoevsky's Novels". Janus Head 10, n.º 1 (2007): 277–91. http://dx.doi.org/10.5840/jh200710118.

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This essay analyzes Marcel Proust's claim that "Crime and Punishment" could be the title of all of Dostoevskys novels. Although Proust reveals some important points regarding the motivation for Dostoevskys writings, his account is also inadequate in some relevant respects. For example, while Proust calls our attention to what happens to victimizers, he ignores the perspective of victims; thus Ivan Karamazovs challenge remains unaccounted for in Proust's interpretation. More importantly Proust does not account for Dostoevsky's optimism, which, in connection with his realism, is the central aspect of Dostoevsky novelistic and philosophical approach.

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Siddiqi, Bilal. "Existentialism, Epiphany, and Polyphony in Dostoevsky’s Post-Siberian Novels". Religions 10, n.º 1 (17 de enero de 2019): 59. http://dx.doi.org/10.3390/rel10010059.

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Dostoevsky can be meaningfully read as a defender of Russian Orthodoxy; a psychologist; a polemicizing anti-nihilist ideologue; a Schillerian romantic; a Solovyovian believer in love, goodness, and beauty; a prophet. I approach Dostoevsky through a new lens—Dostoevsky as an existential phenomenologist. Although writers such as Kauffman, Camus, and Shestov have cast Dostoevsky as an existentialist, their readings often focus too heavily on the critique of rationalist thinking in Dostoevsky’s The Underground Man and explore Dostoevsky’s existentialism largely in ethical rather than in existential-ontological terms. My interpretation will instead demonstrate that the primary focus of Dostoevsky’s novels is on immanent existential-ontological truths—human life—rather than on transcendental, ideal truth, although the emphasis on the former does not negate the possible existence of the latter. This interpretation will also provide an original route towards a polyphonic reading of Dostoevsky.

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Fokin, Pavel E. y Anna V. Petrova. "Pushkin Speech by Fedor Dostoevsky as an Event (Based on the Materials of the Manuscript Fund of the Vladimir Dahl State Museum of the History of Russian Literature)". Неизвестный Достоевский 7, n.º 2 (junio de 2020): 162–95. http://dx.doi.org/10.15393/j10.art.2020.4681.

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140 years ago, on June 8 (20), 1880, on the occasion of the celebrations associated with the opening of the monument to Alexander Pushkin, F. M. Dostoevsky gave a speech at the second meeting of the Society of Connoisseurs of Russian Literature at the Moscow Noble Assembly hall. It was immediately recognized as a social and cultural event. This episode in Dostoevsky's biography has repeatedly attracted the attention of researchers. The manuscript collection of The V. I. Dahl State Museum of the History of Russian Literature contains a significant set of materials related to Dostoevsky’s participation in the Pushkin Celebration. In the process of collecting materials for the Memorial Museum of F. M. Dostoevsky, A. G. Dostoevskaya, the writer’s widow conducted thorough bibliographic work, tracing almost all available publications in the Russian press devoted to Pushkin speech. She made extensive extracts from newspapers, which allow you to see the event through the eyes of Russian reporters. As the analysis shows, only minor fragments of newspaper reports were of interest to Dostoevsky's biographers. The characteristic of the responses of the Russian press to Pushkin speech as a major public event, presented in this article, allows to expand the context of Dostoevsky's speech and offer a more detailed overview of the audience of Pushkin speech. An observation is made about the similarity of the event associated with Dostoevsky's speech with his optimistic anthropology, formulated in the article Golden age in the pocket (1876, A Writer’s Diary). The presented systematic corpus of publications rooted in the Pushkin speech, allows us to conclude that the speech itself became the most important information event of 1880 as a social and cultural event and literary and journalistic essay. The Appendix to the article contains photos of some materials from the Manuscript Fund of the Vladimir Dahl State Museum of the History of Russian Literature.

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Vassena, Rafaella. "Dostoevsky’s Repertoire for Children". Неизвестный Достоевский 8, n.º 1 (marzo de 2021): 183–205. http://dx.doi.org/10.15393/j10.art.2021.5181.

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The article is devoted to two collections of works for children by F. M. Dostoevsky, compiled by his widow Anna Grigorievna: “A selection from the works of F. M. Dostoevsky for secondary school-age children (over 14 years of age),” edited by V. Ya. Stoyunin in 1887, and “Dostoevsky for school-age children,” published in 1897 under A. V. Kruglov’s editorship. Dostoevskaya’s collaboration with two professionals and experts in child psychology, Stoyunin and Kruglov, allowed her to overcome the failure of the 1883 volume “To Russian children” and consolidate the foundations of Dostoevsky’s “repertoire for children.” The article introduces new archival materials, which allow to reconstruct the history of the publication of these volumes, formulates the tasks Dostoevskaya assigned to them to disseminate her husband’s works, and describes their reception by pedagogical criticism and state institutions responsible for the regulation of children’s reading in Russia in the last two decades of the 19th century.

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Andrianova, Irina. "“Don’t Be Abashed Reading This”: Shadow of Barkov in the Texts of Dostoevsky". Неизвестный Достоевский 8, n.º 1 (marzo de 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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Rachman, Stephen. "Ellison and Dostoevsky: A Critical Reassessment of the Aesthetics and Politics". Literature of the Americas, n.º 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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Murzina, Svetlana V. y Elena G. Novikova. "The Image of Garibaldi in Fyodor Dostoevsky’s Works". Vestnik Tomskogo gosudarstvennogo universiteta, n.º 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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WESTERMAN, RICHARD. "FROM MYSHKIN TO MARXISM: THE ROLE OF DOSTOEVSKY RECEPTION IN LUKÁCS'S REVOLUTIONARY ETHICS". Modern Intellectual History 16, n.º 3 (5 de septiembre de 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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Akhmetshin, Ruslan. "E. N. Konshina and Her Work on the Publication of Dostoevsky’s Notebooks". Неизвестный Достоевский 9, n.º 1 (marzo de 2022): 80–98. http://dx.doi.org/10.15393/j10.art.2022.6001.

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One of the most notable literary textual critics of the XX century is Elizaveta Nikolaevna Konshina (1890-1972), who studied and published A. P. Chekhov’s, and subsequently F. M. Dostoevsky’s notebooks and books. "Notebooks of F. M. Dostoevsky" were published in 1935 under her editorship. The article presents the main facts of the professional path of E. N. Konshina, analyzes the part of her considerable archive that is associated with the preparation of Dostoevsky's notebooks for publication, and notes the unique features of the researcher’s textual work. In the 1920s and 30s, E. N. Konshina used her own method of studying autographs in an attempt to understand the workings of the writer's creative thought. Her techniques include reproducing manuscripts and simultaneously reconstructing Dostoevsky’s text editing process. In addition to deep interpretations of the works of Pushkin, Chekhov, Bryusov, and Ibsen, few of which were published in Konshina's articles, her textual experience provides modern researchers with unique opportunities to understand the work of Dostoevsky and Chekhov.

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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, n.º 1 (marzo de 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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Panyukova, T. V. "Publishing Activity of F.M. Dostoevsky: Business Books of A.G. Dostoevskaya as a Source". Язык и текст 8, n.º 3 (2021): 19–30. http://dx.doi.org/10.17759/langt.2021080303.

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The complex of materials related to the publishing activities of F.M. Dostoevsky includes several business notebooks of A.G. Dostoevskaya, preserved in her archive and dedicated to sales accounting, as well as containing records of subscribers' addresses. 7 similar documents were systematized and described, as well as 6 additional sources adjacent to them for the dissemination of "A Writer`s Diary". The work on the preparation for publication of two similar books by subscribers allowed us to identify the possibilities of their use in textual or biographical research: to disclose the names (initials) of the writer's correspondents; clarification (correction) or determination of the dating of the letter; scientific commentary of the epistolary and the compilation of biographical information about correspondents; attribution of anonymous addressees. In general, an appeal to such an optional documentary source as A.G. Dostoevsky's notebooks. Dostoevsky with the lists of subscribers of "A Writer`s Diary" and its use in combination with other materials and sources can be very fruitful and lead to interesting, reliable results in the textual study of the late journalism of F.M. Dostoevsky.

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Buchneva, Daria. "“He Massacred the Article”: How Dostoevsky Edited an Article About Tyutchev in “Grazhdanin” (“Citizen”)". Неизвестный Достоевский 8, n.º 3 (septiembre de 2021): 94–106. http://dx.doi.org/10.15393/j10.art.2021.5641.

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The problem of attribution of the article “In fresh memory of F. I. Tyutchev” ("Grazhdanin", 1873, No. 31) was posed for the first time by N. F. Belchikov in 1925. N. F. Belchikov referred to F. M. Dostoevsky's letter to A. G. Dostoevskaya dated 29 July 1873, in which the editor of "Grazhdanin" referred to a strong revision of Meshchersky's article. A. V. Arkhipova, citing counterarguments, believed that “In fresh memory of F. I. Tyutchev” cannot be attributed to Dostoevsky, since he limited himself to editorial revision. Taking into account N. F. Belchikov's attribution, the editorial board of the academic "Complete Works of F. M. Dostoevsky" agreed with A. V. Arkhipova’s point of view and did not include the article in the publication. In 2004, V. A. Viktorovich included it in the “Collective” section of the 11th volume of "The Complete Works of F. M. Dostoevsky" in 18 vols. While noting the editorial revision, the researchers did not pay attention to the linguistic features of the text. In this article, the author examines the peculiarities of the style of “In fresh memory of F. I. Tyutchev”, provides the results of examining the article using statistical methods and number of arguments in favor of strong editorial revision done by Dostoevsky, who managed to adapt to the author's style and internalize it. Dostoevsky did not claim authorship. He edited the article, stylistically improved it, but it is an example of editing that does not transform into co-authorship.

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Amusin, M. F. "Is Dostoevsky immortal?" Voprosy literatury, n.º 2 (17 de junio de 2021): 161–93. http://dx.doi.org/10.31425/0042-8795-2021-2-161-193.

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The article sets out to trace F. Dostoevsky's presence in Russian literature over a broader period: from the 1960s until the present time. According to Amusin, his article especially focuses on the more empirically evident forms of such presence, namely film adaptations of Dostoevsky's works, critical reviews devoted to the writer, and, lastly, the dialogue between Dostoevsky and Russian writers of the late 20th — early 21st cc. Amusin argues that Dostoevsky's ‘background' influence (mostly of the philosophical or religious variety) was most perceived in the Russian village prose movement, whereas the ‘urban prose' writers, notably A. Bitov, Y. Trifonov, and V. Makanin, moved beyond that ‘background' to interact with Dostoevsky on the level of specific matches and parallels in the text. In the end, the critic finds that Dostoevsky is a constant presence in literature: the idiosyncratic aesthetic ideas and a high degree of spirituality that define his oeuvre give it enough power to penetrate time, stimulate our sensibility and occasionally administer a curative ‘acupuncture' treatment.

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Ulbrecht, Siegfried. "Ernst Jünger and his Reception of Fyodor Dostoevsky". Dostoevsky Journal 22, n.º 1 (30 de julio de 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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Darensky, V. Yu. "Dostoevsky as an Artist of the Godless World". Orthodoxia, n.º 3 (18 de septiembre de 2022): 269–90. http://dx.doi.org/10.53822/2712-9276-2021-3-269-290.

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Article off ers an unconventional view of Dostoevsky as an artist of the godless world. The author separates Dostoevsky’s Christian worldview from the artistic image of the world he created in his works. In Dostoevsky’s imaginative world, Christianity is only a dream and hope, which is not manifested in real life. While only a few of his characters are focused on it, the absolute majority live their lives as if Christ never existed. The Christian dimension transcends the godless world created by Dostoevsky, only occasionally touching it from the outside as a kind of revelation. The external in this world must be overcome by the internal, which is only possible if one experiences this “external” within themselves, with all its sins and temptations. Dostoevsky’s world is therefore even more godless and frightening than the world in which he had actually lived. Which is also in the nature of things, because the only way to defeat it is by reaching the last satanic depths. Dostoevsky’s texts were originally addressed to secular people, to the religiously ignorant intelligentsia, as opposed to devout Christians. This fact also determines the perception of Dostoevsky’s works by diff erent types of readers. The author proposes a new classifi cation of types Dostoevsky’s readers belong to. The article introduces the concept of a “gnostic myth” about Dostoevsky, the emergence of which is characteristic of modern intellectuals. The historical context of the appearance of the Dostoevsky phenomenon is that Dostoevsky himself was a phenomenon of a traditional person living in conditions of a secular civilization of the modern era. Formed by a millennium of Russian Christian culture, Dostoevsky had been thrown into the godless intellectual world of the 19th century. This godless world, prophetically shown by Dostoevsky, is the world of the 21st century, which he had already envisioned in the 19th century, and this insight into the “new” world ruled by “demons” anticipated the genre of “dystopia” and is in fact his main artistic achievement.

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Sosnovskaya, Oksana A. y Irina S. Andrianova. "“...After Waiting 23 Years, It Is Unthinkable to Wait Again for 20 Years”: An Unknown Transcript on the Fate of the Dostoevsky Family’s Ryazan Estate". Неизвестный Достоевский 7, n.º 1 (marzo de 2020): 168–83. http://dx.doi.org/10.15393/j10.art.2020.4461.

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This publication introduces into scientific circulation one of the previously untranscribed shorthand documents of the wife of F. M. Dostoevsky. According to our transcript, the contents of this draft of her letter is related to the inheritance that the writer's family received after the death of a rich Moscow relative, A. F. Kumanina. Dostoevsky did not have the time to use the inherited estate in the village of Spas-Klepiki of the Ryazan province, and the writer’s widow and children became the owners of the Ryazan estate. On these three pages, A. G. Dostoevskaya encrypted a message to an unknown person about the upcoming sale of her family's share of the estate in Spas-Klepiki and a request for advice on drawing up a forestry plan. In addition to the fact that this document is written in shorthand, the work with it was complicated by several circumstances: it was randomly enclosed in a folder with letters from N. A. Disterlo to A. G. Dostoevskaya; there is no evocation of the addressee or date. After studying the letters of F. F. Dostoevsky to his mother, the authors of the article concluded that the draft letter was dated 1895. An attempt is made to attribute it: it is demonstrated that the likely addressee is A. D. Povalishin, the manager of the Ryazan branches of the Noble and Peasant Banks. The transcript helped determine that count A. A. Golenishchev-Kutuzov provided assistance in the sale of the estate. It was established that a certain Monsherov, mentioned in the verbatim draft, is not a joint heir of Dostoevsky, as he is listed in the nominal index of the Complete Academic Works of the writer, but the Ryazan surveyor I. P. Monsherov. The study analyzes unpublished letters from 1896 by this acquaintance of Dostoevsky's widow, as well as epistolary documents from the archive of Andrei and Anna Dostoevsky, which are related to the Ryazan estate. Examination reveals that one parcel of the land inherited by the writer's family was sold, and the first income from the Ryazan estate was received in 1895-1896. The fair copy of the letter written by Dostoevsky's widow has not been recovered; the task of locating it (likely in the Ryazan archives) remains relevant. The transcribed, attributed and dated draft of this letter and the surviving letters of I. P. Monsherov to A. G. Dostoevsky are the documents that establish new facts about the fate of Kumanina’s inheritance after the writer’s death.

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Zakharov, Vladimir. "The Relevance of Dostoevsky". Неизвестный Достоевский 8, n.º 1 (marzo de 2021): 5–20. http://dx.doi.org/10.15393/j10.art.2021.5321.

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The year 2021 marks the 200th anniversary of Dostoevsky’s birth and the 140th anniversary of his immortality. Literary anniversaries became a part of the Russian culture relatively recently. The celebration is usually held in memory of those who had already found eternity. The attempt to celebrate the tercentenary of Shakespeare (1864) and the centenary of Pushkin’s birth in 1899 marked the beginning of a new cultural tradition. The dates of literary anniversaries in the 20th century reflect the struggle between these trends: birthdays are gradually replacing memorial days. Anniversaries tend to be an occasion not only for understanding a writer’s significance in the modern world, but also for analyzing the trends and prospects of studying their legacy. The article provides an overview of the past anniversaries of Dostoevsky in Russia and an analysis of several articles from the first issue of The Unknown Dostoevsky journal for 2021. The special feature of Dostoevsky’s bicentennial anniversary is the competition held by the Russian Foundation for Basic Research (RFBR) “Sources and methods in the study of the legacy of F. M. Dostoevsky in Russian and world culture” (2018–2021), which resulted in the support of 28 projects by leading Russian scientists. They will result in the publication of an unprecedented corpus of studies on Dostoevsky’s biography, philosophy, creativity, textual criticism and poetics. In post-Soviet Russia, the gap between Dostoevsky studies and mass consciousness, science and education is apparent. Moreover, technologies to counteract Dostoevsky’s influence on the modern Russian person are still operating. Reading and studying Dostoevsky remains the privilege of philologists, whose number in Russian universities has been drastically reduced with no prospects of the development of continuous humanitarian education. Nevertheless, despite influential opponents, Dostoevsky represents Russia, the Karamazovs are the most famous Russian surname, and today, just like 150 years ago, the prophet and apostle Dostoevsky conveys the word of truth and veracity to the world.

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Myakinchenko, Mariya A. "Varvara Karepina, née Dostoevskaya – sister and heroine of Fyodor Dostoevsky". Vestnik of Kostroma State University 26, n.º 4 (28 de enero de 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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Gevorkyan, Tatiana M. "‘I live as long as I work…’". Voprosy literatury, n.º 6 (20 de diciembre de 2019): 133–50. http://dx.doi.org/10.31425/0042-8795-2019-6-133-150.

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The essay is devoted to the memory of the critic, philologist and Dostoevsky scholar Karen Stepanyan. His long-time friend T. Gevorkyan carefully reconstructs their encounters as well as episodes of Stepanyan’s personal and scholarly biography: from their first meeting as first-year philology students of Yerevan university to their city walks in Moscow in the 2000s; from Stepanyan’s early student papers and essays on theatre to his later books – To Realize and to Say: ‘Realism in the Highest Sense’ as Dostoevsky’s Creative Method [ Soznat i skazat: ‘Realizm v vysshem smysle’ kak tvorcheskiy metod F. M. Dostoevskogo ] (2005), The Visitation and Dialogue in Dostoevsky’s Novels [ Yavlenie i dialog v romanakh F. M. Dostoevskogo ] (2010), and Dostoevsky and Cervantes [ Dostoevsky i Servantes ] (2013), and to the publication of the almanac Dostoevsky and World Culture [ Dostoevsky i mirovaya kultura ]. While Gevorkyan devotes plenty of attention to Stepanyan’s scholarly legacy and carefully maps its milestones, her essay primarily serves to portray his persona, that of a close and untimely departed friend.

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Ekshibarova, Olga V. "The Philosophy of “a New Christianity” by F. M. Dostoevsky". Izvestiya of Saratov University. New Series. Series: Philosophy. Psychology. Pedagogy 20, n.º 4 (23 de noviembre de 2020): 354–58. http://dx.doi.org/10.18500/1819-7671-2020-20-4-354-358.

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The article is devoted to the philosophical views and world outlook of F. M. Dostoevsky. The author analyzes the validity of accusation of Dostoevsky in “a new Christianity”. Based on the comparison of the writer’s own thoughts and polemical statements about his work by such philosophers as V. S. Solovyov, V. V. Rozanov, D. S. Merezhkovsky, and M. I. Tugan-Baranovsky, the author provides the description of Dostoevsky’s “new Christianity”. The hermeneutical method allows the author to analyze both the primary sources of Christian thought (the New and the Old Testaments), as well as the works by Dostoevsky and the articles of his contemporaries, who discuss the writer’s philosophical views. The purpose of this work is to compare the concept of “the new Christianity of Dostoevsky” with the understanding of “Christianity” as such. This comparison, not previously considered, is a new perspective on the writer’s philosophical worldview. The article compares the main aspects of Christianity (freedom of choice, spiritual revival, the gospel as a source of enlightenment) in the first Apostolic understanding and in the works by Dostoevsky. Based on the analysis of the comparison, it is concluded that Dostoevsky’s “new Christianity” supports the principles of the first Apostolic Christianity. However, at the same time, Dostoevsky’s “new Christianity” sees the way of development of modern Christianity in a spiritual and moral, “educational” aspect. Thus the problem of whether Dostoevsky’s “new Christianity” is the author’s interpretation of Christianity by the writer is considered and solved.

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Klyushina, A. M. "CHARACTERISTICS OF THE PERSONOSPHERE SPECIFICS OF F.M. DOSTOEVSKY". Bulletin of Udmurt University. Series History and Philology 32, n.º 3 (8 de julio de 2022): 580–93. http://dx.doi.org/10.35634/2412-9534-2022-32-3-580-593.

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This article presents an overview of the works of scientists and critics about the life and work of F.M. Dostoevsky. Fyodor Dostoevsky's personosphere occupies a special place in the Russian national-cultural space; his novels reflect the national reality and convey the national values of Russian people; his characters symbolize the national Russian character. The high frequency of the manifestation of the conceptual category of extremes in various spheres of the individual personosphere of F.M. Dostoevsky is revealed: in the facts of Dostoevsky's biography and their reflection in the writer's works; Russian language culture is reflected in the creative method of F.M. Dostoevsky; in the character and actions of F.M. Dostoevsky's characters as frequent images of the writer's personal personosphere; when describing extreme situations in the life of characters in works of fiction; when reflecting the Russian character, Russian linguistic culture through Dostoevsky's characters (which also confirms that the manifestation of extremes is characteristic of Russian linguistic culture).

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Ruzhitsky, Igor V. "‘Fear’ and ‘laughter’ of F.M. Dostoevsky". Neophilology, n.º 27 (2021): 483–94. http://dx.doi.org/10.20310/2587-6953-2021-7-27-483-494.

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The work uses the materials of the Dostoevsky’s Language Dictionary argues the key function of idioglossas fear and laughter in F.M. Dostoevsky thesaurus. Thus, the main method of the research is the lexicographic parametrization of the author’s lingual identity. The relevance of the topic being developed is the need for further search of the methods for reconstructing the lingual identity, specifically – the lingual identity of Dostoevsky. These idioglossas are the centers of the corresponding textual semantic fields, which are undoubtedly interconnected with each other in the writer’s worldview. The work presents statistical data on the use of the words fear and laughter in the texts of Dostoevsky and other writers, his contemporaries. The list of laugh situa-tions in the texts of Dostoevsky, proposed by Y.N. Karaulov and Y.L. Ginzburg, is broaden, for example, the laugh intention can be the desire to hide by the character some moral standards denial, the compensatory function of laugh, etc. We analyze the attributive relationships of the words laughter and fear emphasizing the idioglossary status of these words. It is concluded that the basis of Dostoevsky lingual identity is first of all Homo Ridens – “man laughing”. In addition, the analysis of dictionary entries fear, scary, fearfully, etc. of Dostoevsky’s Language Dictionary allows us to fix the reasons for the appearance of fear in Dostoevsky’s characters and of the author himself, the most important of which are uncertainty and randomness. This conclusion seems quite reasonable and does not contradict the results of the most studies of Dostoevsky’s language and creativity.

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Fedorova, Elena A. "Pushkin texts in the description of characters by Dostoevsky and Nabokov". Slovo.ru: Baltic accent 11, n.º 2 (2020): 47–57. http://dx.doi.org/10.5922/2225-5346-2020-2-4.

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In his novels, Dostoevsky refers to the Pushkin text to describe characters. For Dostoevsky, Pushkin is an ethical and aesthetic touchstone; the writer’s voice is consonant with that of the poet’s persona. In some cases, the Pushkin text is embedded in religious discourse (the parable of the prodigal son). In interpreting the Pushkin text, Dostoevsky’s characters present and disclose themselves. The ‘dreamer’ from ‘White Nights’ invokes the Pushkin text to convey the values of his own. In her peculiar account of the ‘poor knight’ ballad, Aglaya is transforming religious discourse into aesthetic and mundane. Pushkin’s St Petersburg text, whose sign is wet snow, creates the space in which contradiction-ridden Hermann (The Queen of Spades) and Dostoevsky’s paradoxalists develop. The Pushkin code in Dostoevsky’s texts is what the images of characters are built on. It is a text-producing and plot-building technique and an element of literary discourse, of author-reader interactions. These techniques are used by Vladimir Nabokov in Despair and “The Visit to the Museum”.

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Boulogne, Pieter. "The psychologization of the Underground Man". Translation and Interpreting Studies 14, n.º 1 (5 de abril de 2019): 21–38. http://dx.doi.org/10.1075/tis.00028.bou.

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Abstract After reading L’esprit souterrain, the first French translation of Dostoevsky’s Notes from the Underground, Nietzsche embraced Dostoevsky as a master psychologist, notwithstanding their ideological differences. This article argues that the much-discussed influence of Dostoevsky on Nietzsche can be better understood by unraveling the specific nature of the translation L’esprit souterrain. An analysis shows that as a consequence of the adopted translation strategy, the character of the Underground Man, who in the Russian context functions as a philosophical-ideological type, becomes a purely psychological type. This is all the more important, since Nietzsche’s enthusiasm for Dostoevsky led to rereadings of Dostoevsky through a Nietzschean lens.

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Rzhevsky, Nicholas. "Dostoevsky, Filaret, and The Principles of Christian Teaching". Dostoevsky Journal 18, n.º 1 (3 de enero de 2017): 1–18. http://dx.doi.org/10.1163/23752122-01801001.

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The influence of a fundamental text and its author on Dostoevsky has been neglected in Dostoevsky scholarship. The text in question is Metropolitan Filaret’s (secular name Vasily Drozdov) catechism, Haчaтки xpиcтиaнcкoгo учeния [Principles of Christian Teaching]. Filaret was a leading religious presence on Dostoevsky’s cultural horizon throughout his life and the catechism, along with the Russian version of the New Testament Filaret helped translate, goes to the heart of the central religious issues Dostoevsky integrated into his fiction. Dostoevsky’s remark about the stench of Filaret’s corpse included in the notes to the Brothers Karamazov suggests the writer’s crucial themes of faith and disbelief played out in Zossima’s death as well as the issues of miracles, mystery, and authority to which he invites his readers.

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Gubanova, L. V., M. O. Petrova y E. N. Vejber. "Dostoevsky, Western Writers and Schola". Язык и текст 7, n.º 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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LeBlanc, Ronald D. "Dostoevsky Studies/Dostoevskii: stat'i i materialy". Slavic and East European Journal 40, n.º 3 (1996): 557. http://dx.doi.org/10.2307/310151.

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Fung, Paul. "Dostoevsky, Consciousness and Romantic Irony". Dostoevsky Journal 18, n.º 1 (3 de enero de 2017): 73–94. http://dx.doi.org/10.1163/23752122-01801005.

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This article reconsiders Dostoevsky in relation to Schlegel’s idea of irony, which is based on the premise that the human subject is self-dividing. The romantic imagines to achieve a stable and united self, but that wish is continually shown futile in an infinite process of self-reflection. Romantic irony therefore is a mode of existence marked by a desire for an organic whole and the realization that such desire is impossible. The Dostoevsky’s hero is thrown to such ironic situation, where human subjectivity is continually confirmed and disconfirmed. The article first discusses references to Russian romanticism in Dostoevsky’s writings. It then moves on to a rereading of Notes from Underground and The Brothers Karamazov. Schlegel’s critical fragments are used throughout to illuminates the ironic quality of Dostoevsky’s writings. The article ends with a comparison between Dostoevsky and Schlegel’s views on irony.

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Dimkov, Petar Radoev. "Ecstatic Aura as Mystical Experience in Dostoevsky’s Epilepsy". Balkan Journal of Philosophy 11, n.º 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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Stepanyan, K. "DOSTOEVSKY AS BALZAC’S TRANSLATOR THE BEGINNING OF ‘REALISM IN THE HIGHEST SENSE’". Voprosy literatury, n.º 3 (1 de octubre de 2018): 317–45. http://dx.doi.org/10.31425/0042-8795-2018-3-317-345.

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The article treats the translation of Balzac’s Eugеnie Grandet Dostoevsky did and published in 1844 in the St. Petersburg magazine Repertuar i Panteon. With this first publication, the Russian writer embarked on his literary career. This translation might be to a significant extent considered Dostoevsky’s original work since he largely reinterpreted Balzac’s creative method, his main characters, and his literary anthropology. Dostoevsky strove to emphasize human greatness which stems, among other things, from humans’ existence between the unthinkably far-flung poles of good and evil and from humans’ free choice between them. Balzac’s characters struggle against the evil that dominates society (or submit to that evil), while Dostoevsky’s characters struggle primarily against the evil within. In Dostoevsky’s translation, Balzac’s novel is transformed from Eugеnie Grandet’s tragedy into a story of the salvation of her soul. In contrast with Balzac’s social and psychological realism, Dostoevsky in his translation begins to develop the feel for ‘realism in the highest sense’, his future creative method.

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Yao, Lu. "F. M. Dostoevsky and the Aksakov Brothers in the Context of Social and Literary Struggle and Cooperation". Two centuries of Russian classics 4, n.º 4 (2022): 54–71. http://dx.doi.org/10.22455/2686-7494-2022-4-4-54-71.

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In the 1840s F. M. Dostoevsky became famous in literary circles thanks to his story Poor Folk, but was widely criticized by the Slavophiles, namely by the Aksakov brothers for his creative approach and political ideology. In the 1860s heated disputes between Vremenya and Den’ confirmed Dostoevsky’s ideological disagreements with the Slavophiles. In the 1880s, as the author of the article shows, begins a convergence of Dostoevsky’s position, his artistic ideas and the views of the Aksakov brothers, which is especially noticeable in Dostoevsky’s speech at the Pushkin holiday. The article comprehends the main ideological differences and points of contact between pochvennichestvo and Slavophilism, traces the difficult relationship between Dostoevsky and the Aksakov brothers, which lasted more than 40 years. Numerous disagreements in the beliefs of these contemporaries concerned the issue of creative style, the purpose of literature and ideological currents. Dostoevsky believed in Slavophile thought, but was more progressive; he developed and deepened the ideals of fundamentalism in the second half of the 19th century.

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Shcherbina, Yu I. "Appeal to the Work of F. M. Dostoevsky by Russian Emigration in Chekhia: A. L. Bem and the Psychoanalytic Method of Interpreting a Work of Art". Philosophical Letters. Russian and European Dialogue 3, n.º 4 (diciembre de 2020): 146–57. http://dx.doi.org/10.17323/2658-5413-2020-3-4-146-157.

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The article is devoted to the conversion around works of F. M. Dostoevsky which took place among Czech intellectuals, among whom there were a lot of immigrants from Russia. In this context, the example of Alfred Ludwigovich Bem is indicative. The article reveals main reasons for the interest in Dostoevsky in Czechoslovakia. An important role in the study of Dostoevsky was played by the so-called ‘Russian action of aid’ and ‘Russian trace’ left by the exiles in Prague. In this regard, A. L. Bem is interesting not only as a researcher who devoted many works to Dostoevsky’s work but also as one of the founders of Dostoevsky’s first international society. Bem was also one of the first researchers who applied psychoanalysis to the interpretation of Dostoevsky’s literary works. He was also one of those who also analyzed the specifics of using psychoanalytic methods in literary criticism. The article reveals the methodological basis of Bem’s interpretation: attention is drawn not only to the connection between the theme “Dostoevsky and his Reader” and psychoanalysis (Bem’s ‘method of small observations’), but also to the origins of Bem’s interpretation of psychoanalysis associated with the formal school in literary criticism; the disadvantages of psychoanalysis as a way of interpreting a work of art are emphasized.

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Takho-Godi, Elena A. "Russia and Europe: Yuly Aykhenvald on Fyodor Dostoevsky’s historiosophy". Philosophy Journal 15, n.º 4 (29 de noviembre de 2022): 123–35. http://dx.doi.org/10.21146/2072-0726-2022-15-4-123-135.

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The paper discusses the perception of Fyodor Dostoevsky’s work by Yuly Aykhenvald (1872–1928), a famous literary critic of the first quarter of the twentieth century. It shows that Aykhenvald’s attitude toward Dostoevsky had undergone a certain evolution from a rejection via demands to “overcome” him to his recognition as one of the “spiritual leaders” of the thinking Russia alongside Pushkin and Leo Tolstoy. Yet Aykhenvald still had some controversy with Dostoevsky, above all over philosophy of history. The question of Russia’s destiny and its relation to the West is addressed by Aykhenvald following the same algorithm that is used in the article by Thomas G. Masaryk (to which Aykhenvald was reacting), namely through the prism of and in dispute with Dostoevsky. The paper proves that Aykhenvald focuses not on interpreting or analyzing Masaryk’s ideas, but on refuting the views of the Eurasianists and that Eurasian ideas are the very philosophical context that serves as a background for his argument with Dostoevsky. In refuting Dostoevsky’s views on Europe and justifying his own historiosophic view of the entire world as a unified Europe, Aykhenvald eventually comes to the paradox that Dostoevsky, being the “denier of Europe”, is the “intercultural cross-link” that ties Europe and Russia even more closely together. In this way, Dostoevsky’s work turns out to be a starting point for Aykhenvald’s own historiosophic framework, which brings him closer to both Russian interpreters of the Silver Age (Vikentii V. Veresaev) and the European philosophical and political tradition (Thomas G. Masaryk).

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Ulitin, A. Yu, G. V. Odintsova, V. G. Nezdorovina y S. M. Malyshev. "Dostoevsky’s epilepsy". Russian journal of neurosurgery 23, n.º 3 (26 de octubre de 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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Makovtsev, Vladimir S. "Fyodor Dostoevsky in the late works of Mikhail Bakhtin". Vestnik Tomskogo gosudarstvennogo universiteta, n.º 478 (2022): 44–49. http://dx.doi.org/10.17223/15617793/478/5.

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The author aims to outline the conceptualization of Mikhail Bakhtin's late works. Their essential moment is Bakhtin's specific attitude to works by Fyodor Dostoevsky and to literature as a special part of culture. In this connection, the author understands Bakhtin's philosophy as a philosophy of literature bordering on philosophical anthropology. In the article, using Bakhtin's writings, as well as a number of studies on his works, as material, the author intends to reconstruct the ontological basis of fiction, in the center of which lies the concept of grotesque Bakhtin developed in his book dedicated to Francois Rabelais. Despite the huge amount of literature on Bakhtin's oeuvre, there are no studies on his later works as a separate research space. This applies both to the corpus of texts, since part of the Bakhtin archive has not yet been published and lies in the manuscripts department of the Russian State Library, and to attempts to show the philosophical significance of Bakhtin's late writings by conceptualizing them and bringing them together into a separate intellectual phenomenon. The article attempts to analyze Bakhtin's later works through the prism of his attitude to Dostoevsky's works. The name of Bakhtin is not just associated with the name of Dostoevsky. The Russian philosopher revealed the ontology of Dostoevsky's works, and, since for Bakhtin Dostoevsky's works are the pinnacle of the development of literature, through Dostoevsky's works Bakhtin unfolds literature in its highest manifestation for us. The author substantiates the thesis that the understanding of Bakhtin's late works is based on the ontologization of grotesque, which Bakhtin himself indicates indirectly, not explicitly. The author also shows that Bakhtin sees literature, the subject matter of his research, as a purpose, as a special part of culture that reflects the ultimate embodiment of the human principle, and not an example in his theoretical constructions. Bakhtin's attitude to Dostoevsky is primarily reflected in his book about Dostoevsky in two editions. However, it would be wrong to reduce this attitude only to this book. In a broad sense, all of Bakhtin's philosophical works can be reduced to a certain hermeneutics of Dostoevsky due to the presence of a close and organic connection between concepts and ideas in Bakhtin's works, as well as the fact that Dostoevsky for Bakhtin is a key figure in his philosophical legacy. However, in the present article, based on a late interview, the author of the article reconstructs Bakhtin's thoughts about Dostoevsky that outline, among other things, an important topic in the field of Bakhtin's hermeneutics - the role of Dostoevsky's reader.

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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, n.º 3 (15 de diciembre de 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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