Pub Date : 1900-01-01DOI: 10.22455/2619-0311-2022-3-170-179
Nikolay N. Podosokorsky
The review is devoted to the new monograph by DSc in Philology and one of Dostoevsky’s leading Russian scholars Boris Tikhomirov, Dostoevsky. Literary walks along Nevsky Prospekt. From the Winter Palace to Znamenskaya Square (2022). The book is written following the tradition of St. Petersburg local history studies started a century ago by N.P. Antsiferov (1889–1958). Tikhomirov fascinatingly and deeply, always relying on sources, talks about how different places on the main street of St. Petersburg are connected with Dostoevsky’s life and work and clarifies many information about the writer’s work and his social circle, introducing new facts into Dostoevsky studies.
{"title":"Fyodor M. Dostoevsky and the Nevsky Prospect (About Boris N. Tikhomirov's Book)","authors":"Nikolay N. Podosokorsky","doi":"10.22455/2619-0311-2022-3-170-179","DOIUrl":"https://doi.org/10.22455/2619-0311-2022-3-170-179","url":null,"abstract":"The review is devoted to the new monograph by DSc in Philology and one of Dostoevsky’s leading Russian scholars Boris Tikhomirov, Dostoevsky. Literary walks along Nevsky Prospekt. From the Winter Palace to Znamenskaya Square (2022). The book is written following the tradition of St. Petersburg local history studies started a century ago by N.P. Antsiferov (1889–1958). Tikhomirov fascinatingly and deeply, always relying on sources, talks about how different places on the main street of St. Petersburg are connected with Dostoevsky’s life and work and clarifies many information about the writer’s work and his social circle, introducing new facts into Dostoevsky studies.","PeriodicalId":211749,"journal":{"name":"Dostoevsky and World Culture. Philological journal","volume":"30 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121677165","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1900-01-01DOI: 10.22455/2541-7894-2021-2-180-191
Ksenia G. Shervarly
Ivan Petrovich, the author of the notes, stands out among the other characters of the novel by F. M. Dostoevsky The Humiliated and the Insulted. He is an unremarkable and modest person, who has devoted all his time and energy to others. Everyone likes him, trusts him and feels brotherly love for him. The attitude to Vanya is inseparably linked with the attitude to his novel – “the firstborn”. Firstly each character reads the novel and then hurries to say to Vanya that he or she loved him and reveals his or her mind to him. The most important characteristics of Vanya’s character and of Vanya’s creative writing are honesty and frankness. These characteristics define the main function of the writer which is to console and transform the other characters. In the article, Ivan Petrovich, who is honest and clever, is also compared with honest and frank but stupid Alyosha, and with the observant and smart but heartless Prince. The latter even acts as a rival of Vanya and firstly defeats him with the help of cunning and deception. The article also focuses on Nelly, the Prince’s daughter, who inherited from her father not only her intelligence, but also the bitterness of her heart. She fights it throughout the novel. Attention is also drawn to the fact that Ivan Petrovich was going to write a new novel but was constantly busy in consoling other characters and answering their requests. The article suggests a possible resolution of the main conflict with the help of this new novel which, however, was never written. That may explain Ivan Petrovich’s helplessness during the final scene, when he was forced to beg Nelly to console everyone instead of doing it himself. Maybe Ivan Petrovich calls himself a “failed” writer and feels guilty because of using Nelly’s story instead of his unwritten novel.
{"title":"The Function of the Writer in Dostoevsky’s Novel The Humiliated and the Insulted","authors":"Ksenia G. Shervarly","doi":"10.22455/2541-7894-2021-2-180-191","DOIUrl":"https://doi.org/10.22455/2541-7894-2021-2-180-191","url":null,"abstract":"Ivan Petrovich, the author of the notes, stands out among the other characters of the novel by F. M. Dostoevsky The Humiliated and the Insulted. He is an unremarkable and modest person, who has devoted all his time and energy to others. Everyone likes him, trusts him and feels brotherly love for him. The attitude to Vanya is inseparably linked with the attitude to his novel – “the firstborn”. Firstly each character reads the novel and then hurries to say to Vanya that he or she loved him and reveals his or her mind to him. The most important characteristics of Vanya’s character and of Vanya’s creative writing are honesty and frankness. These characteristics define the main function of the writer which is to console and transform the other characters. In the article, Ivan Petrovich, who is honest and clever, is also compared with honest and frank but stupid Alyosha, and with the observant and smart but heartless Prince. The latter even acts as a rival of Vanya and firstly defeats him with the help of cunning and deception. The article also focuses on Nelly, the Prince’s daughter, who inherited from her father not only her intelligence, but also the bitterness of her heart. She fights it throughout the novel. Attention is also drawn to the fact that Ivan Petrovich was going to write a new novel but was constantly busy in consoling other characters and answering their requests. The article suggests a possible resolution of the main conflict with the help of this new novel which, however, was never written. That may explain Ivan Petrovich’s helplessness during the final scene, when he was forced to beg Nelly to console everyone instead of doing it himself. Maybe Ivan Petrovich calls himself a “failed” writer and feels guilty because of using Nelly’s story instead of his unwritten novel.","PeriodicalId":211749,"journal":{"name":"Dostoevsky and World Culture. Philological journal","volume":"7 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121735737","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1900-01-01DOI: 10.22455/2619-0311-2022-3-48-77
Tatiana A. Boborykina
Here is analyzed Dostoevsky’s Crime and Punishment not as being translated into choreography, but from the point of view of Dostoevsky’s own “choreography” of visualized metaphors of movements, constituting the encoded text of the novel. In the article “choreography of text” means verbal description of various motions, gestures, and positions, whereas “text of choreography” means the way one could interpret their message. In other words, it means the reading of presented visible actions as another unwritten though indirectly expressed text. Dostoevsky often refers to visuality and instead of words he describes silent movements. These movements are symbolic, and they silently speak of inner experiences, emotions, and thoughts, presented in a form of clearly visible events of the external world. A “sketch” to Crime and Punishment from the point of the “choreography of text” in the context of Raskolnikov’s doubleness is The Double, in which the whole fifth chapter is a recording of a complex, dynamic “dance” of bifurcation. Like the story, the novel concerns the inner life of the main character, the difficult path of one Raskolnikov to the other. This metaphysical path is shown as physically existing, and contradictory movements of the hero’s soul gain visibility while going through it. It seems the writer truly possesses not only the art of the words but also the one of choreography and can speak about the most essential things using body language. Sometimes the culmination points of the leading message of the novel are expressed in short but deeply symbolic words, and at times they are rather shown than spoken. Considering that the actual meanings of the text are not lying on the surface, but are concealed behind symbolic words and movements, these details require close attention and a thorough analyses which the essay is dedicated to.
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Pub Date : 1900-01-01DOI: 10.22455/2619-0311-2021-4-130-175
O. Bogdanova
In the 1920s–1940s poetics became the main aspect of the study of The Adolescent both in the USSR and in Russian emigration. Of particular importance is the work on the handwritten corpus of the novel. The review examines the publications of the surviving manuscripts and the main studies devoted to their analysis. The stages of poetics studies and textual criticism on The Adolescent are traced in chronological order. The review consists of three sections: studies on the poetics and textual studies of The Adolescent in 1920s USSR (L.P. Grossman, N.P. Antsiferov, R.V. Ivanov-Razumnik, V.L. Komarovich, M.G. Davidovich, B.M. Engelgardt, S.A. Askoldov, S.N. Durylin, M.M. Bakhtin); Russian emigration about the poetics of The Adolescent in 1920s-1940s (I.I. Lapshin, R.V. Pletnev, A.L. Bem, P.M. Bicilli, K.V. Mochulsky); studies on the poetics of The Adolescent in 1930s-1940s USSR (G.I. Chulkov, A.S. Dolinin). The main issues that occupied Soviet and emigrant scholars of the 1920s and 1940s are highlighted: the ideological and artistic continuity of the novels The Devils, The Adolescent, and The Brothers Karamazov as the development of the idea of the plan for The Life of a Great Sinner; Dostoevsky’s creative method in the novel The Adolescent; the creative history and type of the novel; plot-compositional features and narrative strategies; motives and symbols; typology and characterology of heroes, including reminiscences from Griboedov and Pushkin, artistic polemics with L.N. Tolstoy and “duality”; prototypes of characters; speech style. The chapter on the novel in the book Dostoevsky. Life and Works by the emigrant scholar K.V. Mochulsky (1947) is recognized as the pinnacle of the study of The Adolescent in the first half of the 20th century, as it absorbed practically the entire research discourse on both sides of the USSR border and gave a complete picture of its problems and poetics. At the same time, the book is free from the traces of ideological coercion that Soviet scholars experienced in the 1930s and 1940s.
{"title":"Poetics and Textual Analysis of Dostoevsky’s Novel The Adolescent in the Studies of Russian Authors of the 1920s-1940s","authors":"O. Bogdanova","doi":"10.22455/2619-0311-2021-4-130-175","DOIUrl":"https://doi.org/10.22455/2619-0311-2021-4-130-175","url":null,"abstract":"In the 1920s–1940s poetics became the main aspect of the study of The Adolescent both in the USSR and in Russian emigration. Of particular importance is the work on the handwritten corpus of the novel. The review examines the publications of the surviving manuscripts and the main studies devoted to their analysis. The stages of poetics studies and textual criticism on The Adolescent are traced in chronological order. The review consists of three sections: studies on the poetics and textual studies of The Adolescent in 1920s USSR (L.P. Grossman, N.P. Antsiferov, R.V. Ivanov-Razumnik, V.L. Komarovich, M.G. Davidovich, B.M. Engelgardt, S.A. Askoldov, S.N. Durylin, M.M. Bakhtin); Russian emigration about the poetics of The Adolescent in 1920s-1940s (I.I. Lapshin, R.V. Pletnev, A.L. Bem, P.M. Bicilli, K.V. Mochulsky); studies on the poetics of The Adolescent in 1930s-1940s USSR (G.I. Chulkov, A.S. Dolinin). The main issues that occupied Soviet and emigrant scholars of the 1920s and 1940s are highlighted: the ideological and artistic continuity of the novels The Devils, The Adolescent, and The Brothers Karamazov as the development of the idea of the plan for The Life of a Great Sinner; Dostoevsky’s creative method in the novel The Adolescent; the creative history and type of the novel; plot-compositional features and narrative strategies; motives and symbols; typology and characterology of heroes, including reminiscences from Griboedov and Pushkin, artistic polemics with L.N. Tolstoy and “duality”; prototypes of characters; speech style. The chapter on the novel in the book Dostoevsky. Life and Works by the emigrant scholar K.V. Mochulsky (1947) is recognized as the pinnacle of the study of The Adolescent in the first half of the 20th century, as it absorbed practically the entire research discourse on both sides of the USSR border and gave a complete picture of its problems and poetics. At the same time, the book is free from the traces of ideological coercion that Soviet scholars experienced in the 1930s and 1940s.","PeriodicalId":211749,"journal":{"name":"Dostoevsky and World Culture. Philological journal","volume":"71 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122825639","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1900-01-01DOI: 10.22455/2619-0311-2022-2-54-88
Nadezhda M. Vlasenko
The article analyses the novel The Humiliated and the Insulted through the motif of the parable of the prodigal son, thanks to which the concept of the entire novel becomes more clear. This short biblical story is laid down by Dostoevsky at the basis of the plot of The Humiliated and the Insulted. All the main characters of the novel are organically represented as “heroes” of the parable, more precisely, as characters that carry the concepts “prodigal son”, “father”, “Father” (“God”). At the same time, the traditional reading of the parable as a story about a careless, vicious, little-respected man who left his parents’ home is reinterpreted by Dostoevsky and the importance of the father’s grace as well as the necessity of the father’s mercy at all costs are emphasized. The ability to forgive unconditionally is perceived by Dostoevsky as a gift that allows to overcome personal pride and, in general, the vicious circle in which the family is enclosed.
{"title":"The Parable of the Prodigal Son as a Story about the Father’s Mercy in Dostoevsky’s Novel The Humiliated and the Insulted","authors":"Nadezhda M. Vlasenko","doi":"10.22455/2619-0311-2022-2-54-88","DOIUrl":"https://doi.org/10.22455/2619-0311-2022-2-54-88","url":null,"abstract":"The article analyses the novel The Humiliated and the Insulted through the motif of the parable of the prodigal son, thanks to which the concept of the entire novel becomes more clear. This short biblical story is laid down by Dostoevsky at the basis of the plot of The Humiliated and the Insulted. All the main characters of the novel are organically represented as “heroes” of the parable, more precisely, as characters that carry the concepts “prodigal son”, “father”, “Father” (“God”). At the same time, the traditional reading of the parable as a story about a careless, vicious, little-respected man who left his parents’ home is reinterpreted by Dostoevsky and the importance of the father’s grace as well as the necessity of the father’s mercy at all costs are emphasized. The ability to forgive unconditionally is perceived by Dostoevsky as a gift that allows to overcome personal pride and, in general, the vicious circle in which the family is enclosed.","PeriodicalId":211749,"journal":{"name":"Dostoevsky and World Culture. Philological journal","volume":"2 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131129341","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1900-01-01DOI: 10.22455/2619-0311-2021-4-18-23
T. Kasatkina
In his very first youth Dostoevsky defined his life program, set for himself an aim for which it would be worth living life. His program was to unravel the mystery of man, and it was consistently pursued by the writer through all his life and works. Was it a process of constant search, or did the writer find out the answer to the mystery? This is the topic of the article.
{"title":"Did Dostoevsky Unravel the Mystery of Man?","authors":"T. Kasatkina","doi":"10.22455/2619-0311-2021-4-18-23","DOIUrl":"https://doi.org/10.22455/2619-0311-2021-4-18-23","url":null,"abstract":"In his very first youth Dostoevsky defined his life program, set for himself an aim for which it would be worth living life. His program was to unravel the mystery of man, and it was consistently pursued by the writer through all his life and works. Was it a process of constant search, or did the writer find out the answer to the mystery? This is the topic of the article.","PeriodicalId":211749,"journal":{"name":"Dostoevsky and World Culture. Philological journal","volume":"44 10","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131436171","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1900-01-01DOI: 10.22455/2541-7894-2021-3-16-38
Tatiana G. Magaril-Il’iaeva
Through the example of Voltaire’s comedy The Prodigal Son, the article shows how Dostoevsky actualizes the worldview and life strategies behind the imagery of other authors, when using their texts in his novel The Adolescent. Nonetheless, Dostoevsky, not only reproposes several different perspectives, but also engages in a dialogue with them and transforms them according to his aim as. Dostoevsky thoroughly weaves the slightly mentioned comedy by the French philosopher into the fabric of the text, and the writer works with it in several mutually dependent directions at once. The quote (taken from the preface, not from the play) stresses the matters that are raised in the preface and the preface itself as a significant element of the composition. The French sentence borrowed by Versilov relates his image with Voltaire’s, as it was perceived by Dostoevsky. In the novel Dostoevsky reflects on the motif of the prodigal son as it is presented in the Bible and also in its transformed version by Voltaire.
{"title":"Voltaire’s Comedy The Prodigal Son in Dostoevsky’s Novel The Adolescent","authors":"Tatiana G. Magaril-Il’iaeva","doi":"10.22455/2541-7894-2021-3-16-38","DOIUrl":"https://doi.org/10.22455/2541-7894-2021-3-16-38","url":null,"abstract":"Through the example of Voltaire’s comedy The Prodigal Son, the article shows how Dostoevsky actualizes the worldview and life strategies behind the imagery of other authors, when using their texts in his novel The Adolescent. Nonetheless, Dostoevsky, not only reproposes several different perspectives, but also engages in a dialogue with them and transforms them according to his aim as. Dostoevsky thoroughly weaves the slightly mentioned comedy by the French philosopher into the fabric of the text, and the writer works with it in several mutually dependent directions at once. The quote (taken from the preface, not from the play) stresses the matters that are raised in the preface and the preface itself as a significant element of the composition. The French sentence borrowed by Versilov relates his image with Voltaire’s, as it was perceived by Dostoevsky. In the novel Dostoevsky reflects on the motif of the prodigal son as it is presented in the Bible and also in its transformed version by Voltaire.","PeriodicalId":211749,"journal":{"name":"Dostoevsky and World Culture. Philological journal","volume":"17 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131630696","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1900-01-01DOI: 10.22455/2619-0311-2023-2-45-56
Nina S. Ishchenko
The important role of dialogism in Dostoevsky’s work makes it possible to turn to the philosophy of Plato, another recognized master of philosophical dialogue, for the analysis of his characters. In the twentieth century, the dramatic paradigm of the study of Platonic philosophy is actively developing, and special attention is paid to the characters involved, time, place, and circumstances of the dialogues, as a possibility to better understand the depth of Plato’s thought. The same approach is used in the article to read the behavior of the characters in Crime and Punishment. In this piece of research, two characters of the novel are analyzed within the framework of the dramatic paradigm: Raskolnikov and Porfiry Petrovich. It is shown that their images and interaction are built according to the main Platonic plot, that is, the conversation between the sage Socrates and a young ambitious man that is forced by him to abandon his plans. A similar plot is developed in several dialogues of Plato and is especially pronounced in the fate of Alcibiades, the famous disciple of Socrates. Alcibiades is a well-known “Napoleonic” hero in ancient history, easily stepping over blood for the sake of his goals. Raskolnikov writes about such people in the article that attracted the attention of Porfiry Petrovich. Raskolnikov also notes that such people often die in collision with society, which happened to Alcibiades. These elements allow us to consider Raskolnikov himself as Alcibiades in the plot of the novel. During three dialogues with Porfiry Petrovich, Raskolnikov changes his views, renounces his claims, and obeys the law. Alcibiades behaved in the same way after his conversations with Socrates. In addition to this main dramatic moment, Porfiry Petrovich has several common features with Socrates, such as his appearance, metamorphism, and the desire to know the human soul. Thus, in terms of image, ideas, and functions, Porfiry Petrovich acts as the Socrates of the plot, seeking the rebirth of a young ambitious man with greater success than his ancient counterpart.
{"title":"Porfiry Petrovich as Socrates in the Plot of Crime and Punishment","authors":"Nina S. Ishchenko","doi":"10.22455/2619-0311-2023-2-45-56","DOIUrl":"https://doi.org/10.22455/2619-0311-2023-2-45-56","url":null,"abstract":"The important role of dialogism in Dostoevsky’s work makes it possible to turn to the philosophy of Plato, another recognized master of philosophical dialogue, for the analysis of his characters. In the twentieth century, the dramatic paradigm of the study of Platonic philosophy is actively developing, and special attention is paid to the characters involved, time, place, and circumstances of the dialogues, as a possibility to better understand the depth of Plato’s thought. The same approach is used in the article to read the behavior of the characters in Crime and Punishment. In this piece of research, two characters of the novel are analyzed within the framework of the dramatic paradigm: Raskolnikov and Porfiry Petrovich. It is shown that their images and interaction are built according to the main Platonic plot, that is, the conversation between the sage Socrates and a young ambitious man that is forced by him to abandon his plans. A similar plot is developed in several dialogues of Plato and is especially pronounced in the fate of Alcibiades, the famous disciple of Socrates. Alcibiades is a well-known “Napoleonic” hero in ancient history, easily stepping over blood for the sake of his goals. Raskolnikov writes about such people in the article that attracted the attention of Porfiry Petrovich. Raskolnikov also notes that such people often die in collision with society, which happened to Alcibiades. These elements allow us to consider Raskolnikov himself as Alcibiades in the plot of the novel. During three dialogues with Porfiry Petrovich, Raskolnikov changes his views, renounces his claims, and obeys the law. Alcibiades behaved in the same way after his conversations with Socrates. In addition to this main dramatic moment, Porfiry Petrovich has several common features with Socrates, such as his appearance, metamorphism, and the desire to know the human soul. Thus, in terms of image, ideas, and functions, Porfiry Petrovich acts as the Socrates of the plot, seeking the rebirth of a young ambitious man with greater success than his ancient counterpart.","PeriodicalId":211749,"journal":{"name":"Dostoevsky and World Culture. Philological journal","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126995693","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1900-01-01DOI: 10.22455/2541-7894-2021-2-18-36
Olga А. Meerson
This article dwells on my earlier method, of mining discursive taboos, specific for each novel by Dostoevsky, for the key values made prominent in these novels. More than the original chapter in my 1998 book, Dostoevsky’s Taboos, the article applies this method to the specific poetics of The Adolescent as Bildungsroman. As Arkady, the character, and then, eventually, the narrator, learns about his own faux pas about violating others’ taboos, he also learns about values entailed by these taboos. He becomes less selfish and more sensitive to the reality of other people and their pain and sore spots. As readers, we learn about compassion and a certain imperative system of values, together with this character, just as these newly unmentionable values emerge or transpire for him. Rather than being told about the “before and after” of the character, we are implicated in his transformation, learning his lessons together with him and never having any moral immunity from his faults or any opportunity to judge him from above.
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Pub Date : 1900-01-01DOI: 10.22455/2541-7894-2021-2-65-88
Katya Jordan
The opposition between Europe and Russia runs through Dostoevsky’s novel The Idiot, culminating in Mme Epanchina’s declaration that both Europe and the Russians who travel to Europe are “one big fantasy” [Dostoevsky, 2002, p. 615]. In the novel, Dostoevsky uses the exile trope as a literary tool for expressing his Russian idea. Although the spiritual underpinnings of Dostoevsky’s nationalism have been well studied, the secular side of this concept bears further exploration. Peter Wagner argues that nationalism constitutes a response to the nostalgia that is developed in exile following one’s breaking away from tradition. Nineteenth-century nationalism specifically “was an attempt to recreate a sense of origins in the face of the disembedding effects of early modernity and capitalism” [Wagner, 2001, p. 103]. By applying Wagner’s theoretical framework to Dostoevsky’s narrative, the author demonstrates that in its secular essence, Dostoevsky’s nationalism is not a merely localized manifestation of a uniquely Russian sentiment, but a symptom of a larger phenomenon that was taking place in late nineteenth-century Europe. Because Mme Epanchina gets to say the final word in Dostoevsky’s novel, her role and the subtleties of her message will be the primary focus of the present analysis.
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