Pub Date : 2018-11-01DOI: 10.22455/2619-0311-2018-3-92-103
Olga N. Smyslova
{"title":"The Image of a Tree in F.M. Dostoyevsky’s Novel “The Idiot”","authors":"Olga N. Smyslova","doi":"10.22455/2619-0311-2018-3-92-103","DOIUrl":"https://doi.org/10.22455/2619-0311-2018-3-92-103","url":null,"abstract":"","PeriodicalId":211749,"journal":{"name":"Dostoevsky and World Culture. Philological journal","volume":"43 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133810007","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 : 2018-11-01DOI: 10.22455/2619-0311-2018-3-119-142
K. Stepanyan
{"title":"The Author's Biography as the Source of Commentary to F.M. Dostoyevsky's Novel «The Brothers Karamazov”","authors":"K. Stepanyan","doi":"10.22455/2619-0311-2018-3-119-142","DOIUrl":"https://doi.org/10.22455/2619-0311-2018-3-119-142","url":null,"abstract":"","PeriodicalId":211749,"journal":{"name":"Dostoevsky and World Culture. Philological journal","volume":"119 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123184676","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 : 2011-01-01DOI: 10.22455/2541-7894-2021-1-255-262
Viktor S. Vainerman
Going “against the grain”, Carol Apollonio notices unusual and unexpected relations between characters, and by underlining the realism in Dostoevsky’s works, she relates them to real life. There is no work of Dostoevsky that could be able to stand up to criticism founded on strictly logical schemes, general rules, and writers’ “models”. Dostoevsky does everything wrong, differently from all the others. Carol Apollonio’s book marks the beginning of a new phase in research on Dostoevsky. She is like a small university whose main lesson is to teach its students systemic thinking and how to approach self-instruction systematically and without stereotypes. Carol Apollonio’s book shows once again how Dostoevsky, maybe more than any other writer in the world, does not tolerate fixed opinions nor research methods approved once and for all.
{"title":"Beyond the Words. Apollonio, Carol Dostoevsky’s Secrets. Reading Against the Grain. Review","authors":"Viktor S. Vainerman","doi":"10.22455/2541-7894-2021-1-255-262","DOIUrl":"https://doi.org/10.22455/2541-7894-2021-1-255-262","url":null,"abstract":"Going “against the grain”, Carol Apollonio notices unusual and unexpected relations between characters, and by underlining the realism in Dostoevsky’s works, she relates them to real life. There is no work of Dostoevsky that could be able to stand up to criticism founded on strictly logical schemes, general rules, and writers’ “models”. Dostoevsky does everything wrong, differently from all the others. Carol Apollonio’s book marks the beginning of a new phase in research on Dostoevsky. She is like a small university whose main lesson is to teach its students systemic thinking and how to approach self-instruction systematically and without stereotypes. Carol Apollonio’s book shows once again how Dostoevsky, maybe more than any other writer in the world, does not tolerate fixed opinions nor research methods approved once and for all.","PeriodicalId":211749,"journal":{"name":"Dostoevsky and World Culture. Philological journal","volume":"9 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2011-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128015108","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: 10.22455/2541-7894-2021-3-98-120
Tatiana A. Boborykina
The starting point of the article is a statement about “tarnished virtues” by one of the characters of Poor Folk, Fyodor Dostoevsky’s first novel. The word combination evokes various associations, allusions, and numerous variants of interpretation. A remark on virtues made in the frame of an epistolary novel immediately recalls the novels of a coryphaeus of the genre, 18th-Century English writer Samuel Richardson, especially his first one, in which the word “virtue” appears in the title – Pamela Or, Virtue Rewarded. However, Richardson’s comprehension of virtue seems to be quite narrow, a fact that had been already noticed by his contemporary writer Henry Fielding, who wrote a parody on Pamela. A brief analysis of the parody discovers a common vision on the nature of virtue by both Fielding and Dostoevsky, which becomes even clearer when one finds out their mutual reference point – Cervantes’ Don Quixote. The article explores other novels by Richardson, his influence upon European literature as well as his inner correlation with such writers as Karamzin and Pushkin. Besides, the article investigates the question – raised by its author some years ago – of a certain similarity between the plotlines of Clarissa and Poor Folk, the appearance of “Lovelace” in Dostoevsky’s first book, and the sudden turn of the plot from Richardson’s glorification of virtue to Dostoevsky’s dramatic realism. A few interpretations of Poor Folk are briefly analyzed, including that of Aubrey Beardsley, who illustrated the novel. Several explanations of the sentence on “tarnished virtues” are explored, and finally, the author offers a new one.
{"title":"Tarnished Virtues: From Richardson to Beardsley","authors":"Tatiana A. Boborykina","doi":"10.22455/2541-7894-2021-3-98-120","DOIUrl":"https://doi.org/10.22455/2541-7894-2021-3-98-120","url":null,"abstract":"The starting point of the article is a statement about “tarnished virtues” by one of the characters of Poor Folk, Fyodor Dostoevsky’s first novel. The word combination evokes various associations, allusions, and numerous variants of interpretation. A remark on virtues made in the frame of an epistolary novel immediately recalls the novels of a coryphaeus of the genre, 18th-Century English writer Samuel Richardson, especially his first one, in which the word “virtue” appears in the title – Pamela Or, Virtue Rewarded. However, Richardson’s comprehension of virtue seems to be quite narrow, a fact that had been already noticed by his contemporary writer Henry Fielding, who wrote a parody on Pamela. A brief analysis of the parody discovers a common vision on the nature of virtue by both Fielding and Dostoevsky, which becomes even clearer when one finds out their mutual reference point – Cervantes’ Don Quixote. The article explores other novels by Richardson, his influence upon European literature as well as his inner correlation with such writers as Karamzin and Pushkin. Besides, the article investigates the question – raised by its author some years ago – of a certain similarity between the plotlines of Clarissa and Poor Folk, the appearance of “Lovelace” in Dostoevsky’s first book, and the sudden turn of the plot from Richardson’s glorification of virtue to Dostoevsky’s dramatic realism. A few interpretations of Poor Folk are briefly analyzed, including that of Aubrey Beardsley, who illustrated the novel. Several explanations of the sentence on “tarnished virtues” are explored, and finally, the author offers a new one.","PeriodicalId":211749,"journal":{"name":"Dostoevsky and World Culture. Philological journal","volume":"4 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":"114965164","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: 10.22455/2619-0311-2021-4-24-41
Tatyana G. Magaril-Il'yaeva
In the article are analyzed the feuilletons written by Fyodor Dostoevsky in 1847 for the column “Peterburgskaya Letopis” in the journal “Sankt-Peterburgskie Vedomosti”, where the writer tried to present his worldview relying not on philosophical and theological concepts but on artistic images and symbols that can be found in other texts from this period. However, in the case of journal articles, these images are shown far more clearly, due to the lack of plot, and can be interpreted more easily than in those cases when they are part of the complex structure of a work of fiction. These texts can be defined as the writer’s “explanatory dictionary”, where Dostoevsky clarifies the main images and techniques of his creative work.
{"title":"1847 Feuilletons as an “Explanatory Dictionary” of the Philosophy of Dostoevsky’s Early Works","authors":"Tatyana G. Magaril-Il'yaeva","doi":"10.22455/2619-0311-2021-4-24-41","DOIUrl":"https://doi.org/10.22455/2619-0311-2021-4-24-41","url":null,"abstract":"In the article are analyzed the feuilletons written by Fyodor Dostoevsky in 1847 for the column “Peterburgskaya Letopis” in the journal “Sankt-Peterburgskie Vedomosti”, where the writer tried to present his worldview relying not on philosophical and theological concepts but on artistic images and symbols that can be found in other texts from this period. However, in the case of journal articles, these images are shown far more clearly, due to the lack of plot, and can be interpreted more easily than in those cases when they are part of the complex structure of a work of fiction. These texts can be defined as the writer’s “explanatory dictionary”, where Dostoevsky clarifies the main images and techniques of his creative work.","PeriodicalId":211749,"journal":{"name":"Dostoevsky and World Culture. Philological journal","volume":"35 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":"115276984","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: 10.22455/2619-0311-2021-1-255-262
Viktor S. Vainerman
Going “against the grain”, Carol Apollonio notices unusual and unexpected relations between characters, and by underlining the realism in Dostoevsky’s works, she relates them to real life. There is no work of Dostoevsky that could be able to stand up to criticism founded on strictly logical schemes, general rules, and writers’ “models”. Dostoevsky does everything wrong, differently from all the others. Carol Apollonio’s book marks the beginning of a new phase in research on Dostoevsky. She is like a small university whose main lesson is to teach its students systemic thinking and how to approach self-instruction systematically and without stereotypes. Carol Apollonio’s book shows once again how Dostoevsky, maybe more than any other writer in the world, does not tolerate fixed opinions nor research methods approved once and for all.
{"title":"Beyond the Words. Review of: Apollonio, C. Dostoevsky’s Secrets. Reading Against the Grain","authors":"Viktor S. Vainerman","doi":"10.22455/2619-0311-2021-1-255-262","DOIUrl":"https://doi.org/10.22455/2619-0311-2021-1-255-262","url":null,"abstract":"Going “against the grain”, Carol Apollonio notices unusual and unexpected relations between characters, and by underlining the realism in Dostoevsky’s works, she relates them to real life. There is no work of Dostoevsky that could be able to stand up to criticism founded on strictly logical schemes, general rules, and writers’ “models”. Dostoevsky does everything wrong, differently from all the others. Carol Apollonio’s book marks the beginning of a new phase in research on Dostoevsky. She is like a small university whose main lesson is to teach its students systemic thinking and how to approach self-instruction systematically and without stereotypes. Carol Apollonio’s book shows once again how Dostoevsky, maybe more than any other writer in the world, does not tolerate fixed opinions nor research methods approved once and for all.","PeriodicalId":211749,"journal":{"name":"Dostoevsky and World Culture. Philological journal","volume":"187 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":"115489812","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: 10.22455/2619-0311-2023-2-225-240
V. Evallyo
This article attempts to provide an overview of foreign monographs and collective works that have been published in the 21st century, as well as some significant translations and reprints. This review cannot claim to provide an exhaustive overview of all authors’ approaches, but some conclusions can be drawn from it anyway. Firstly, the identified problems which are in the focus of contemporary researchers differ in many respects from those which were the focus of attention of researchers in previous decades, and this seems to be due to the issues that concern different generations. The focus of scholars’ attention is still on ontological problems, eternally troubling humans – questions of spirituality, good and evil, humanism and the limits of the mankind, however, more and more space is occupied by contemporary issues: intolerance, femininity, trauma, deviancy, cruelty, nihilism. In Dostoevsky’s works, researchers are attracted by the prophetic motifs of the consequences of the loss of spirituality and ethical foundations – and possible ways of redemption.
{"title":"Fyodor Dostoevsky in 21st-Century Foreign Research","authors":"V. Evallyo","doi":"10.22455/2619-0311-2023-2-225-240","DOIUrl":"https://doi.org/10.22455/2619-0311-2023-2-225-240","url":null,"abstract":"This article attempts to provide an overview of foreign monographs and collective works that have been published in the 21st century, as well as some significant translations and reprints. This review cannot claim to provide an exhaustive overview of all authors’ approaches, but some conclusions can be drawn from it anyway. Firstly, the identified problems which are in the focus of contemporary researchers differ in many respects from those which were the focus of attention of researchers in previous decades, and this seems to be due to the issues that concern different generations. The focus of scholars’ attention is still on ontological problems, eternally troubling humans – questions of spirituality, good and evil, humanism and the limits of the mankind, however, more and more space is occupied by contemporary issues: intolerance, femininity, trauma, deviancy, cruelty, nihilism. In Dostoevsky’s works, researchers are attracted by the prophetic motifs of the consequences of the loss of spirituality and ethical foundations – and possible ways of redemption.","PeriodicalId":211749,"journal":{"name":"Dostoevsky and World Culture. Philological journal","volume":"27 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":"126864302","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: 10.22455/2619-0311-2022-2-18-39
Tatiana G. Magaril-Iliaeva
The article analyses Dostoevsky’s short story “A Little Hero”, the only literary work written during the author’s imprisonment in the Peter and Paul Fortress. The article shows how the essence of this work is to be an initiatory text, describing the hero’s step-by-step journey to gain his true spiritual nature. The main character of the story starts his path as a child for whom there is no place, with whom anyone can play as if he was a doll, and eventually becomes the one that is recognized as a knight who gained is place in the world, the one who has the power to revive the heart of the main female character, m-me M., and what is more important, the one who as a result of all his deeds has seen into his own true nature. The article demonstrates that through architectonics and carefully chosen details and images Dostoevsky relates his story to several European texts where the path to acquiring man’s spiritual nature is told symbolically, i.e. texts, that are in essence initiatory: Goethe’s novel Wilhelm Meister’s Apprenticeship and Tasso’s poem Jerusalem Delivered. The article also identifies several semantic and symbolic coincidences with Titian’s painting Sacred and Profane Love.
{"title":"Fyodor Dostoevsky’s “A Little Hero” as an Initiatory Text","authors":"Tatiana G. Magaril-Iliaeva","doi":"10.22455/2619-0311-2022-2-18-39","DOIUrl":"https://doi.org/10.22455/2619-0311-2022-2-18-39","url":null,"abstract":"The article analyses Dostoevsky’s short story “A Little Hero”, the only literary work written during the author’s imprisonment in the Peter and Paul Fortress. The article shows how the essence of this work is to be an initiatory text, describing the hero’s step-by-step journey to gain his true spiritual nature. The main character of the story starts his path as a child for whom there is no place, with whom anyone can play as if he was a doll, and eventually becomes the one that is recognized as a knight who gained is place in the world, the one who has the power to revive the heart of the main female character, m-me M., and what is more important, the one who as a result of all his deeds has seen into his own true nature. The article demonstrates that through architectonics and carefully chosen details and images Dostoevsky relates his story to several European texts where the path to acquiring man’s spiritual nature is told symbolically, i.e. texts, that are in essence initiatory: Goethe’s novel Wilhelm Meister’s Apprenticeship and Tasso’s poem Jerusalem Delivered. The article also identifies several semantic and symbolic coincidences with Titian’s painting Sacred and Profane Love.","PeriodicalId":211749,"journal":{"name":"Dostoevsky and World Culture. Philological journal","volume":"49 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":"122792262","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: 10.22455/2619-0311-2021-1-153-183
T. Kudryavtseva
The article analyzes the reception of Fyodor Dostoevsky’s The Adolescent in German-speaking countries, covering the period from the first translations of the novel into German and the first reactions by writers, critics, and researchers to the present day. The material here analyzed (reviews, essays, prefaces to publications, and numerous reprints of The Adolescent throughout the 20th century, scientific articles, monographs) indicates a quite stable interest in this novel by German intellectuals. The available material shows that the recipients were somehow interested in all aspects of the novel, from its themes and main problems to the peculiarities of its poetics. The analysis and the evaluation of the novel are usually carried out in direct connection with the writer’s life, his worldview, religious and aesthetic beliefs, and consider the cultural context of his era. The article shows how the novel was differently received at different times, as well as the connections with ideological and individual peculiarities, due to the specific task that the recipient set himself. The common denominator can be found in the recognition of The Adolescent as one of the most famous novels of Dostoevsky (as it is always considered as one of the “five great novels”, or “Pentateuch”); however, it is also true that The Adolescent presents less value and popularity than Dostoevsky’s other novels, as it is proved by the smaller quantity of research about it. Nevertheless, The Adolescent receives well-deserved recognition to this day not only as a relevant work of the famous Russian author but also for the experimental, modernist nature of its artistic structure, thereby consolidating the canonical significance of the novel in the European literary process of the 21st century.
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Pub Date : 1900-01-01DOI: 10.22455/2619-0311-2022-3-101-132
E. Uspenskaya
The article deals with the transformations of Dostoevsky’s Crime and Punishment, with an emphasis on the actualization of the epilogue of the novel in the cinema, from the beginning of the 20th to the beginning of the 21st century. The research focuses on films that are of significant importance for the ‘spirit of the time’ of their era, and, at the same time, that most actively participated in the creation of the cultural phenomenon of Raskolnikov’s transmedial metatext. The analysis reveals the dialogism of film authors in reference to the epilogue, which, in the researcher’s opinion, contains the ‘original message’ of the novel. Several variants of screen interpretations of the epilogue of Crime and Punishment are here analyzed. A first option is when the author develops Dostoevsky’s ideas, so the hero abandons the idea of ‘having right’ and ‘permissiveness’ and evolutes to a new worldview (Raskolnikov by Robert Wiene, Crime and Punishment by Joseph von Stenberg and Georges Lampen, Pickpocket by Robert Bresson). A second option is when the hero remains fixed on his idea and the correctness of his own convictions, however he goes to surrender (Crime and Punishment by Lev Kulidzhanov and Aki Kaurismyaki). A third option means that the hero insists on his ideological platform, but the authorities punish him (Alfred Hitchcock’s Rope, Jean-Luc Godard’s Breathless). A fourth option is when the hero does not surrender to the police, does not confess the crime, and continues to live in his usual way (Silent Pages by Alexander Sokurov and Match Point by Woody Allen). A fifth option means that the hero does not hide from the law and continues to be a part of the existing social system (Taxi Driver by Martin Scorsese, Nina by Heitor Dhalia).
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