Ever since Hans Holbein the Younger completed his painting, The Dead Christ in the Tomb, in 1522, a question has been looming over it, namely, what message does this dead body convey? Having seen the painting in 1847, the Russian classic writer Fyodor Dostoevsky was also intrigued by this question. In his novel, The Idiot, Ippolit Terentyev seeks to give a systematic and direct answer. The article presents a hermeneutic analysis of his position, and classifies it as nihilistic. Nihilism affects all three levels of Ippolit's discourse - the ontic, eschatological and ontological. Nevertheless, the question remains: can such nihilism be justified from the perspective of the painting itself? Posing this question in the context of Alois Riegl’s periodization of European culture has proven to be interesting. He is of the opinion that, following the era of Christian monotheism, the third and the last period of the development of European culture is the natural-scientific period. This particular period, Riegl believes, began in 1520. If we choose to accept this periodization model, The Dead Christ may be seen as one of the first paintings of the modern era, keeping in mind that Holbein painted it in 1521 and 1522. As regards the issue of the body of The Dead Christ being immersed in physical suffering to the extent that the possibility of resurrection is excluded - as Ippolit presumes - this article offers certain reasons of an anatomical nature which may be interpreted theologically and which deny the validity of Ippolit’s modern, nihilistic hypothesis in regard to the meaning of Holbein's Dead Christ.
{"title":"F. M. DOSTOEVSKY AND NIHILISTIC INTERPRETATION OF HOLBEIN'S PAINTING „DEAD CHRIST IN THE TOMB”","authors":"Dabiel Miščin","doi":"10.31902/fll.38.2021.3","DOIUrl":"https://doi.org/10.31902/fll.38.2021.3","url":null,"abstract":"Ever since Hans Holbein the Younger completed his painting, The Dead Christ in the Tomb, in 1522, a question has been looming over it, namely, what message does this dead body convey? Having seen the painting in 1847, the Russian classic writer Fyodor Dostoevsky was also intrigued by this question. In his novel, The Idiot, Ippolit Terentyev seeks to give a systematic and direct answer. The article presents a hermeneutic analysis of his position, and classifies it as nihilistic. Nihilism affects all three levels of Ippolit's discourse - the ontic, eschatological and ontological. Nevertheless, the question remains: can such nihilism be justified from the perspective of the painting itself? Posing this question in the context of Alois Riegl’s periodization of European culture has proven to be interesting. He is of the opinion that, following the era of Christian monotheism, the third and the last period of the development of European culture is the natural-scientific period. This particular period, Riegl believes, began in 1520. If we choose to accept this periodization model, The Dead Christ may be seen as one of the first paintings of the modern era, keeping in mind that Holbein painted it in 1521 and 1522. As regards the issue of the body of The Dead Christ being immersed in physical suffering to the extent that the possibility of resurrection is excluded - as Ippolit presumes - this article offers certain reasons of an anatomical nature which may be interpreted theologically and which deny the validity of Ippolit’s modern, nihilistic hypothesis in regard to the meaning of Holbein's Dead Christ.","PeriodicalId":40358,"journal":{"name":"Folia Linguistica et Litteraria","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-11-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48691598","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}
F. M. Dostoevsky is one of the world's great writers who, while preserving the autonomy of a literary work, incorporated into his works issues of an ethical-philosophical and religious character. He permeated his works with echoes of these topics, but, in addition to the literary stamp, in some chapters he concretized ethical-philosophical and religious issues, for example, in the novel "The Brothers Karamazov", in the chapters "Rebellion" and "The Grand Inquisitor”. Concerning his spirituality and his perspective on life and society, Dostoevsky belongs to writers whose moral norms are the foundation and imperative of their poetics. He paid special attention to those who were "insulted and humiliated, ", the so-called "little people", especially children who suffer in the world of adults. In this light, we can also say that the title of the chapter "Rebellion" is a seal of Dostoevsky's work, and our work focuses on the central theme of "Rebellion" - the relationship of adult characters to the suffering of children in the world, and the very purpose of punishment for crimes which cannot adequately be redeemed. By analyzing this key chapter of the novel, through concrete images of the suffering of children and the attitudes of Ivan Karamazov, we emphasize the motif of crime and punishment in "The Brothers Karamazov": the question of freedom, that is, free will, but also love towards people who are close, which Dostoevsky problematizes, especially in the parent-child relationship. We also point out the creative task of this Russian writer; his effort to solve the eternal enigma of man as a being, through which the writer wants to solve the riddle of God. Ivan's rebellion against such an arrangement of God is also shown, in which the suffering of the innocent is allowed, with the hero's rejections of future harmony at the expense of the suffering of the innocent and powerless. In this chapter, which has so far received little attention in literary criticism, Dostoevsky also questioned the eternal questions of man through the experience of lived truth, with the view that there is no goal worthy of a single human life or a child's tears. In his complex task, synthesizing in the sphere of literature, ethical-philosophical and religious attitudes, Dostoevsky determines the essence of man and his moral values, opposing the postulates of the notion of unconditional love to rational will, determined by social, generally accepted factors. Based on a wider range of contrasts and contradictory attitudes of Dostoevsky's heroes, especially Ivan Karamazov in "Rebellion", from atheism, faith and agnosticism, to rebellion and preaching, we conclude that these categories are strongly intertwined in the rich literary amplitude of Dostoevsky - writer and ethicist, philosopher, and preacher in literature - and not only permeate, but always end with the apotheosis of a love for man, especially for the so-called "little man", and for unprotected children, indicating the
{"title":"CRIME AND PUNISHMENT IN THE CHAPTER “REBELLION”, IN THE NOVEL “THE BROTHERS KARAMAZOV” OF F. M. DOSTOEVSKY (Problems of the suffering of the innocent)","authors":"Marina Koprivica","doi":"10.31902/fll.38.2021.8","DOIUrl":"https://doi.org/10.31902/fll.38.2021.8","url":null,"abstract":"F. M. Dostoevsky is one of the world's great writers who, while preserving the autonomy of a literary work, incorporated into his works issues of an ethical-philosophical and religious character. He permeated his works with echoes of these topics, but, in addition to the literary stamp, in some chapters he concretized ethical-philosophical and religious issues, for example, in the novel \"The Brothers Karamazov\", in the chapters \"Rebellion\" and \"The Grand Inquisitor”. Concerning his spirituality and his perspective on life and society, Dostoevsky belongs to writers whose moral norms are the foundation and imperative of their poetics. He paid special attention to those who were \"insulted and humiliated, \", the so-called \"little people\", especially children who suffer in the world of adults. In this light, we can also say that the title of the chapter \"Rebellion\" is a seal of Dostoevsky's work, and our work focuses on the central theme of \"Rebellion\" - the relationship of adult characters to the suffering of children in the world, and the very purpose of punishment for crimes which cannot adequately be redeemed. By analyzing this key chapter of the novel, through concrete images of the suffering of children and the attitudes of Ivan Karamazov, we emphasize the motif of crime and punishment in \"The Brothers Karamazov\": the question of freedom, that is, free will, but also love towards people who are close, which Dostoevsky problematizes, especially in the parent-child relationship. We also point out the creative task of this Russian writer; his effort to solve the eternal enigma of man as a being, through which the writer wants to solve the riddle of God. Ivan's rebellion against such an arrangement of God is also shown, in which the suffering of the innocent is allowed, with the hero's rejections of future harmony at the expense of the suffering of the innocent and powerless. In this chapter, which has so far received little attention in literary criticism, Dostoevsky also questioned the eternal questions of man through the experience of lived truth, with the view that there is no goal worthy of a single human life or a child's tears. In his complex task, synthesizing in the sphere of literature, ethical-philosophical and religious attitudes, Dostoevsky determines the essence of man and his moral values, opposing the postulates of the notion of unconditional love to rational will, determined by social, generally accepted factors. Based on a wider range of contrasts and contradictory attitudes of Dostoevsky's heroes, especially Ivan Karamazov in \"Rebellion\", from atheism, faith and agnosticism, to rebellion and preaching, we conclude that these categories are strongly intertwined in the rich literary amplitude of Dostoevsky - writer and ethicist, philosopher, and preacher in literature - and not only permeate, but always end with the apotheosis of a love for man, especially for the so-called \"little man\", and for unprotected children, indicating the ","PeriodicalId":40358,"journal":{"name":"Folia Linguistica et Litteraria","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-11-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49368927","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}
The article deals with the theme of a "lay monastery" (“монастырь в миру“), which became one of the important milestones of spiritual life and the life of the Сhurch in the late 19th and 20th centuries and which was reflected in the later works of Dostoevsky. According to Russian thinkers, there was an obvious need to overcome the spiritual isolation of the Church, which should show a desire to merge with the world and manifest heartfelt and vital work on this path. However, the new form and way of salvation are seen as an impulse of humanity to overcome the gap and strengthen connections with the Church. Dostoevsky thought that in the fluid and already different spiritual and historical reality, it was of the utmost importance to find or create new ways of salvation and unification. The Brothers Karamazov tells of the increasing social influence of hermits’ (подвижник). Dostoevsky suggested that their influence was utilitarian in nature and could be associated with the upper limit of Russian medieval culture in the 17th century, when the cult of saints was significantly strengthened as they were revered primarily as real helpers in secular affairs. Sanctity in Russia was often achieved by following the paths of martyrdom, passion-bearing, asceticism in its extreme forms, hermitry, mysticism and foolishness (юродство) rather than through constant, consistent, and purposeful self-discipline and abstention. However, the unifying factor is "Labor with Christ", where both joy about the world and spiritual ennobling are revealed, as Dostoevsky illustrates a path on which there is the possibility of expedient union between the laity and the Church. In the last chapter, in which Alyosha gathers the children and makes a speech, the mission of the "lay monastery" is carried out, because he manages to unite people in the name of Ilyushechka and his expected resurrection, thus, in the name of Christ. Each thing, having an absolute meaning, exists not only in a passive correlation to the other, but also takes action, fills it up and is being filled up. Only in a universal synthesis of this type, does the true miracle of universal interconnection live. Here, we are witnessing the mysterious communion of the boys and their entry into the mystical Church. One can use Lurie's successful comparison of two ways of life, secular and monastic, with Law and Grace (159). The lay monastery corresponds to the meeting of the Old Testament law and evangelical freedom, as two Christian paths that should exist in constant conjunction. Dostoevsky's thesis once again confirms the idea of Solovyov: "The Church is there where the people are, united by mutual brotherly love and free unanimity, who become a receptacle of God's grace, which is the true essence and vital principle of the Church, that forms one spiritual organism" (1914, 4: 658).
{"title":"«МОНАСТЫРЬ В МИРУ» КАК ОБРАЗ ВСЕОБЩЕГО ОБЪЕДИНЕНИЯ В РОМАНЕ БРАТЬЯ КАРАМАЗОВЫ\u0000THE LAY MONASTERY AS AN IMAGE OF UNIVERSAL UNIFICATION IN THE NOVEL THE BROTHERS KARAMAZOV","authors":"L. Milentijević","doi":"10.31902/fll.38.2021.5","DOIUrl":"https://doi.org/10.31902/fll.38.2021.5","url":null,"abstract":"The article deals with the theme of a \"lay monastery\" (“монастырь в миру“), which became one of the important milestones of spiritual life and the life of the Сhurch in the late 19th and 20th centuries and which was reflected in the later works of Dostoevsky. According to Russian thinkers, there was an obvious need to overcome the spiritual isolation of the Church, which should show a desire to merge with the world and manifest heartfelt and vital work on this path. However, the new form and way of salvation are seen as an impulse of humanity to overcome the gap and strengthen connections with the Church. Dostoevsky thought that in the fluid and already different spiritual and historical reality, it was of the utmost importance to find or create new ways of salvation and unification. The Brothers Karamazov tells of the increasing social influence of hermits’ (подвижник). Dostoevsky suggested that their influence was utilitarian in nature and could be associated with the upper limit of Russian medieval culture in the 17th century, when the cult of saints was significantly strengthened as they were revered primarily as real helpers in secular affairs. Sanctity in Russia was often achieved by following the paths of martyrdom, passion-bearing, asceticism in its extreme forms, hermitry, mysticism and foolishness (юродство) rather than through constant, consistent, and purposeful self-discipline and abstention. However, the unifying factor is \"Labor with Christ\", where both joy about the world and spiritual ennobling are revealed, as Dostoevsky illustrates a path on which there is the possibility of expedient union between the laity and the Church. In the last chapter, in which Alyosha gathers the children and makes a speech, the mission of the \"lay monastery\" is carried out, because he manages to unite people in the name of Ilyushechka and his expected resurrection, thus, in the name of Christ. Each thing, having an absolute meaning, exists not only in a passive correlation to the other, but also takes action, fills it up and is being filled up. Only in a universal synthesis of this type, does the true miracle of universal interconnection live. Here, we are witnessing the mysterious communion of the boys and their entry into the mystical Church. One can use Lurie's successful comparison of two ways of life, secular and monastic, with Law and Grace (159). The lay monastery corresponds to the meeting of the Old Testament law and evangelical freedom, as two Christian paths that should exist in constant conjunction. Dostoevsky's thesis once again confirms the idea of Solovyov: \"The Church is there where the people are, united by mutual brotherly love and free unanimity, who become a receptacle of God's grace, which is the true essence and vital principle of the Church, that forms one spiritual organism\" (1914, 4: 658).","PeriodicalId":40358,"journal":{"name":"Folia Linguistica et Litteraria","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-11-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41832761","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}
The realistic novel "The Brothers Karamazov” raises critical questions about modernist poetics, which refer to questions of religion, justice, law, and order within the narrative. They are interpreted both on the universal and the individual conceptual level, making the novel a complex system of narrative sequences. In the sequence related to the character of Ivan Karamazov, questions of fiction within fiction, writing and creation, repetition of the roles of the author and spectral characters in the story and the character of Ivan Karamazov are raised. These questions are modernist-critical and it is the intensity of their appearance that is referred to here. Modernism establishes the problematic situation of art itself, placing in the form of a meta quality, not only the question of artistic quality but also the field it belongs to in the foundations of the works of art themselves. The question raised is rooted in the basic meaning of literature. Literary forms bend self-referentially towards themselves, in order to twist anew and express reality. Modernist works ask readers whether all literary themes are legitimately literary or whether literature can deal with "any" topic. These questions have arisen since art has self-referentially bent towards the entirety of culture and art, and all the various questions raised in specific scientific fields. Therefore, it is sometimes said that literary works are, for example, philosophical, psychological. However, that refers to the entire literary order, whereas in the stated narrative the questions are so complex and the question of the literary status itself is entwined with their complexity
{"title":"IN THE BEGINNING THERE WILL HAVE BEEN VIOLENCE: JUSTICE AND LAW. THE BROTHERS KARAMAZOV BY FYODOR DOSTOEVSKY","authors":"Milena Vladić Jovanov","doi":"10.31902/fll.38.2021.7","DOIUrl":"https://doi.org/10.31902/fll.38.2021.7","url":null,"abstract":"The realistic novel \"The Brothers Karamazov” raises critical questions about modernist poetics, which refer to questions of religion, justice, law, and order within the narrative. They are interpreted both on the universal and the individual conceptual level, making the novel a complex system of narrative sequences. In the sequence related to the character of Ivan Karamazov, questions of fiction within fiction, writing and creation, repetition of the roles of the author and spectral characters in the story and the character of Ivan Karamazov are raised. These questions are modernist-critical and it is the intensity of their appearance that is referred to here. Modernism establishes the problematic situation of art itself, placing in the form of a meta quality, not only the question of artistic quality but also the field it belongs to in the foundations of the works of art themselves. The question raised is rooted in the basic meaning of literature. Literary forms bend self-referentially towards themselves, in order to twist anew and express reality. Modernist works ask readers whether all literary themes are legitimately literary or whether literature can deal with \"any\" topic. These questions have arisen since art has self-referentially bent towards the entirety of culture and art, and all the various questions raised in specific scientific fields. Therefore, it is sometimes said that literary works are, for example, philosophical, psychological. However, that refers to the entire literary order, whereas in the stated narrative the questions are so complex and the question of the literary status itself is entwined with their complexity","PeriodicalId":40358,"journal":{"name":"Folia Linguistica et Litteraria","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-11-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48513917","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}
This paper analyzes the antitheistic argument of Ivan Karamazov in the context of theodicy. We focus on the chapter The Grand Inquisitor, which, as we demonstrate, represents the ultimate argumentative point of Ivan’s "rebellion" against God. Logical impossibility of justifying evil in the world leads Ivan not only to the conclusion that evil is an unerasable mark of God’s mistake appearing while making his creation (man and the world), but also that the basis of that evil is one of the most appreciated human virtues: freedom. After Alyosha introduces Christ (thesis) into an argument on theodicy, as an instance that can and has the right to forgive evil and thus cancel its effects, Ivan responds with his dialectical counterpart (antithesis): The Grand inquisitor. Synthesis in this dialectical struggle, as we demonstrate, does not lead to any logically acceptable solution. On the contrary. We are left with the paradox: freedom has, at the same time, led to theodicy and to an accusation against Christ.
{"title":"THE GRAND INQUISITOR: THE PATHS OF FREEDOM","authors":"N. Malešević","doi":"10.31902/fll.38.2021.6","DOIUrl":"https://doi.org/10.31902/fll.38.2021.6","url":null,"abstract":"This paper analyzes the antitheistic argument of Ivan Karamazov in the context of theodicy. We focus on the chapter The Grand Inquisitor, which, as we demonstrate, represents the ultimate argumentative point of Ivan’s \"rebellion\" against God. Logical impossibility of justifying evil in the world leads Ivan not only to the conclusion that evil is an unerasable mark of God’s mistake appearing while making his creation (man and the world), but also that the basis of that evil is one of the most appreciated human virtues: freedom. After Alyosha introduces Christ (thesis) into an argument on theodicy, as an instance that can and has the right to forgive evil and thus cancel its effects, Ivan responds with his dialectical counterpart (antithesis): The Grand inquisitor. Synthesis in this dialectical struggle, as we demonstrate, does not lead to any logically acceptable solution. On the contrary. We are left with the paradox: freedom has, at the same time, led to theodicy and to an accusation against Christ.","PeriodicalId":40358,"journal":{"name":"Folia Linguistica et Litteraria","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-11-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41992606","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}
Let's look into our time. Dostoevsky’s works, which have to be rediscovered by every generation, appear not only in a new way through colorful front pages (this is now part of the visual presentation), but also through new translations. For the past 30 years, Swetlana Geier has been responsible for the translation of the Russian poet's novels and stories into German. Now, in small individual publications, the names of new translators appear in all European languages.
{"title":"AT 200 YEARS OLD, DOSTOEVSKIJ HAS ARRIVED IN THE 21st CENTURY","authors":"Gudrun Goes","doi":"10.31902/fll.38.2021.0","DOIUrl":"https://doi.org/10.31902/fll.38.2021.0","url":null,"abstract":"Let's look into our time. Dostoevsky’s works, which have to be rediscovered by every generation, appear not only in a new way through colorful front pages (this is now part of the visual presentation), but also through new translations. For the past 30 years, Swetlana Geier has been responsible for the translation of the Russian poet's novels and stories into German. Now, in small individual publications, the names of new translators appear in all European languages.","PeriodicalId":40358,"journal":{"name":"Folia Linguistica et Litteraria","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-11-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41718895","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}
The term amnesty means the waiving of punishment (to a group of people) without, however, erasing the guilt. Amnesties are usually granted in connection with political events such as national or international peace amnesties in times of political change or wars. However, there are also waivers of criminal prosecutions, popularly known as "mercy before justice". Amnesties can therefore be seen, on the one hand, as a humane act of mercy, but on the other hand they can also cause problems in the population's sense of justice, since punishments are treated differently, and the principle of equality is shaken. The concepts of punishment, guilt and innocence, as well as their representation, offer a basis for the question of how amnesties are formed in Dostoevsky's texts. Dostoevsky's characters are usually ambivalent and challenge a reflective reading as well as an ethical judgement. By making social injustice an important theme in his texts, the author focuses on the restoration of justice through amnesty. A co-responsibility in society as well as a co-guilt in a higher sense form the core of his argumentation, both as a contrast to justice, which considers the guilt of the individual, and as a consideration of man's hereditary guilt and his responsibility to the community. A comparison with ancient Greek jurisprudence also shows that amnesties were closely connected with the collective, with emotion and ritual. This results in new ways of looking at prominent texts by Dostoevsky, as will be shown with the example of The Brothers Karamazov and other works. This will provide a brief overview of how Dostoevsky understands guilt and innocence, what function punishment has in his texts and how amnesty emerges as a result
{"title":"AMNESTIE BEI DOSTOEVSKIJ","authors":"Sebastian Kornmesser","doi":"10.31902/fll.38.2021.10","DOIUrl":"https://doi.org/10.31902/fll.38.2021.10","url":null,"abstract":"The term amnesty means the waiving of punishment (to a group of people) without, however, erasing the guilt. Amnesties are usually granted in connection with political events such as national or international peace amnesties in times of political change or wars. However, there are also waivers of criminal prosecutions, popularly known as \"mercy before justice\". Amnesties can therefore be seen, on the one hand, as a humane act of mercy, but on the other hand they can also cause problems in the population's sense of justice, since punishments are treated differently, and the principle of equality is shaken. The concepts of punishment, guilt and innocence, as well as their representation, offer a basis for the question of how amnesties are formed in Dostoevsky's texts. Dostoevsky's characters are usually ambivalent and challenge a reflective reading as well as an ethical judgement. By making social injustice an important theme in his texts, the author focuses on the restoration of justice through amnesty. A co-responsibility in society as well as a co-guilt in a higher sense form the core of his argumentation, both as a contrast to justice, which considers the guilt of the individual, and as a consideration of man's hereditary guilt and his responsibility to the community. A comparison with ancient Greek jurisprudence also shows that amnesties were closely connected with the collective, with emotion and ritual. This results in new ways of looking at prominent texts by Dostoevsky, as will be shown with the example of The Brothers Karamazov and other works. This will provide a brief overview of how Dostoevsky understands guilt and innocence, what function punishment has in his texts and how amnesty emerges as a result","PeriodicalId":40358,"journal":{"name":"Folia Linguistica et Litteraria","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-11-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47565168","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}
This paper shows that the text of the novel Crime and Punishment places plot and characters in the context of a specific historical epoch. The epoch implies a specific psychological structure of the characters. One aspect of this psychological structure is singled out and demonstrated on the basis of its intra-fictional as well as its extra-fictional motivating effect. In this way, the old riddle of why Raskolnikov actually became a murderer is solved.
{"title":"WARUM TÖTETE RASKOL’NIKOV EIGENTLICH? MOTIVIERUNG IM LICHTE EINER PSYCHOHISTORISCHEN MOTIVATION","authors":"N. Meier","doi":"10.31902/fll.39.2021.9","DOIUrl":"https://doi.org/10.31902/fll.39.2021.9","url":null,"abstract":"This paper shows that the text of the novel Crime and Punishment places plot and characters in the context of a specific historical epoch. The epoch implies a specific psychological structure of the characters. One aspect of this psychological structure is singled out and demonstrated on the basis of its intra-fictional as well as its extra-fictional motivating effect. In this way, the old riddle of why Raskolnikov actually became a murderer is solved.","PeriodicalId":40358,"journal":{"name":"Folia Linguistica et Litteraria","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-11-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49292384","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}
In this paper, through a review of the most important ideas of the philosophy of Eurasianism related to concepts of nationality, personality and Orthodoxy, we point out their connection with the world of ideas of F. M. Dostoevsky. The main part of the paper is dedicated to an analysis and observation of the connections between the idea of national culture, nationality, and the idea of Dostoevsky’s "Russian God", as well as Nikolai Trubetzkoy's key ideas about national culture as the only possible one, based on Orthodoxy as the only form of Christianity that preserves the original teaching and tradition. The notion of the "Russian Christ", recognized by Oscar von Schultz in the works of Pushkin, Lermontov, Turgenev, Chekhov and Dostoevsky, is especially present in the novel “The Possessed” through the character of Shatov. The character’s micro-monologue about the "Russian God" is a special focus of our analysis in the light of the phrase “Russian Christ”. This phrase expresses a specific understanding of Christianity that Russia received from Byzantium. Moreover, this specificity has been characteristically reflected, both in the literature and in the character and features of the Russian people, through the dominant kenotic principle.
{"title":"ИДЕЈЕ ЕВРОАЗИЈСТВА И „РУСКИ ХРИСТОС“ ДОСТОЈЕВСКОГ\u0000IDEAS OF EURASIANISM AND DOSTOEVSKY'S \"RUSSIAN CHRIST\"","authors":"Neda Andrić, Jovan Radojević","doi":"10.31902/fll.38.2021.4","DOIUrl":"https://doi.org/10.31902/fll.38.2021.4","url":null,"abstract":"In this paper, through a review of the most important ideas of the philosophy of Eurasianism related to concepts of nationality, personality and Orthodoxy, we point out their connection with the world of ideas of F. M. Dostoevsky. The main part of the paper is dedicated to an analysis and observation of the connections between the idea of national culture, nationality, and the idea of Dostoevsky’s \"Russian God\", as well as Nikolai Trubetzkoy's key ideas about national culture as the only possible one, based on Orthodoxy as the only form of Christianity that preserves the original teaching and tradition. The notion of the \"Russian Christ\", recognized by Oscar von Schultz in the works of Pushkin, Lermontov, Turgenev, Chekhov and Dostoevsky, is especially present in the novel “The Possessed” through the character of Shatov. The character’s micro-monologue about the \"Russian God\" is a special focus of our analysis in the light of the phrase “Russian Christ”. This phrase expresses a specific understanding of Christianity that Russia received from Byzantium. Moreover, this specificity has been characteristically reflected, both in the literature and in the character and features of the Russian people, through the dominant kenotic principle.","PeriodicalId":40358,"journal":{"name":"Folia Linguistica et Litteraria","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-11-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42471369","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}
THE FEMALE CORPSE IN DOSTOEVSKY The concept of the “beautiful female corpse” of E. Bronfen is used to analyse the narrative functions of the dead woman in Dostoevsky’s “Idiot” (“The Idiot”, 1868) and “Krotkaja“ (“A Gentle Creature“, 1876).
{"title":"DIE WEIBLICHE LEICHE BEI DOSTOEVSKIJ","authors":"Slata Kozakova","doi":"10.31902/fll.38.2021.11","DOIUrl":"https://doi.org/10.31902/fll.38.2021.11","url":null,"abstract":"THE FEMALE CORPSE IN DOSTOEVSKY \u0000The concept of the “beautiful female corpse” of E. Bronfen is used to analyse the narrative functions of the dead woman in Dostoevsky’s “Idiot” (“The Idiot”, 1868) and “Krotkaja“ (“A Gentle Creature“, 1876).","PeriodicalId":40358,"journal":{"name":"Folia Linguistica et Litteraria","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-11-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42499523","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}
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