The Dostoevsky Journal最新文献

{"title":"Further New Perspectives on Dostoevsky: ‘Winter Notes on Summer Impressions’. An Intermedial Approach to Dostoevsky’s London Visit","authors":"Irene Zohrab","doi":"10.1163/23752122-24010003","DOIUrl":"https://doi.org/10.1163/23752122-24010003","url":null,"abstract":"The article examines F. M. Dostoevsky’s visit to London in the summer of 1862, in the course of his first trip abroad, which resulted in the writing of Winter Notes on Summer Impressions. A Summer-Long Feuilleton. The task to untangle the impact of numerous impressions on Dostoevsky’s creative process is initiated and the newly arisen circumstances that he encountered on his return to St. Petersburg highlighted. Winter Notes is viewed as a groundbreaking work in Dostoevsky’s canon that contains the seeds of future great works, though not primarily in accordance with the multiple ideologically based readings that have sought to define it. Instead Winter Notes is recognised for its author’s aesthetic explorations into poetics within the confines of Tsarist censorship which required that ‘Official Nationality’, the imperial ideological doctrine be upheld. Dostoevsky’s visit to the 1862 International Exhibition and its art galleries is addressed for the first time on the basis of his brother Mikhail’s letters and other evidence. The exhibition building and the works of William Hogarth, John Martin and J.M.W.Turner are singled out. Their imprint on Dostoevsky’s feuilleton is observed through the stages of impressions gained via intermedial interplay. It affirms that pre-existing notions in the ‘discourse of Englishness’ were absorbed and reinvented by Dostoevsky with the use of figurative language, clarifying the origin of metaphors used in the text, together with literary and biblical allusions. A list of Russian and British artists exhibiting in the International Exhibition of 1862 is included.","PeriodicalId":125221,"journal":{"name":"The Dostoevsky Journal","volume":"5 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-11-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139282851","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}

{"title":"Sociology of the Present: Reading Dostoevsky’s The Idiot Through a Hegelian Lens","authors":"Nicholas Ulbrick","doi":"10.1163/23752122-24010001","DOIUrl":"https://doi.org/10.1163/23752122-24010001","url":null,"abstract":"\u0000This article takes Hegel’s Lectures on the Philosophy of History as an analytic framework to interpret Dostoevsky’s representation of a turbulent period of social change in 1860s Russia in his novel The Idiot. The paper shows that Dostoevsky engaged with Hegel’s philosophical constructs and understood them well enough to render them powerfully through artistic form of expression. It leads to the insight that Dostoevsky and Hegel were contemporaries in thought: both sought to create a new reader with a new sensibility about individual and social freedom, emerging in the post-Enlightenment period. Whilst Hegel may not have considered Russia to have entered World History, it is argued that this view was short-sighted and that Dostoevsky’s efforts highlight the complexity and nuance of this period of rapid social and political change in Russia of the 1860s.","PeriodicalId":125221,"journal":{"name":"The Dostoevsky Journal","volume":"10 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-04-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133139260","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}

{"title":"Dostoevsky’s Sequel to The Brothers Karamazov: Tsareubiistvo Revisited","authors":"H. Buchanan","doi":"10.1163/23752122-02401002","DOIUrl":"https://doi.org/10.1163/23752122-02401002","url":null,"abstract":"\u0000This article explores responses to the sequel sources for Dostoevsky’s The Brothers Karamazov – in which Alesha is projected to turn atheist and socialist and attempt to assassinate the Tsar (tsareubiistvo). Highlighting the tls “debate” of 2010 involving James Rice, Diane Thompson, and Joseph Frank, it contends that more attention is due to Alesha’s “idea” in the hysterical “rapture” of his “Cana in Galilee” epiphany, a “rapture” manifested again in his Speech at the Stone. Dostoevsky’s post-Karamazov notes on revolutionary violence and assassin Vera Zasulich would seem to lend credence to the tsareubiistvo ending, while articles in Diary of a Writer (1881) suggest that popular pressure on the “Tsar-Father” for reforms might have figured in the sequel content as revolutionary critique. Focusing on Belinsky in Dostoevsky’s writing, it argues that Alesha would have pursued Dostoevsky’s “Russian” socialism, while Kolia would have been a “European” socialist. It concludes that there is a wealth of untapped material in the novel, making possible more reconstruction of the sequel.","PeriodicalId":125221,"journal":{"name":"The Dostoevsky Journal","volume":"40 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-04-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116500581","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}

{"title":"The Poetics of the Unconscious in The Idiot and Hegel’s Subject of Philosophical History","authors":"S. Vladiv-Glover","doi":"10.1163/23752122-02401001","DOIUrl":"https://doi.org/10.1163/23752122-02401001","url":null,"abstract":"\u0000The present paper reads The Idiot in the context of Hegel’s philosophy of history and subjectivity and finds that Dostoevsky’s avowed interest in Hegel led to a substantial absorption of Hegel’s thought in his own aesthetics.\u0000Dostoevsky’s educated readers of the 1860s saw the novel as a moral history of the age, represented through an eccentric « new subject » (or the « new people »), embodied in marionette-like characters. The present paper explores this view further and finds that these marionette-like characters function as agents of the unconscious (and pre-empt the aesthetics of the theatre of the Absurd), which is the source of all subjectivity. Expressivity is the defining feature of subjectivity and is represented by means of pathological states – lying and self-destructive tendencies of the characters who display a pathological demeanour. Caprice (will power) is the prime mover of this subjectivity, which, in the context of Hegel’s philosophy of history, is the driver of the historical process and a direct expression of « Geist » or spirit of the people. This spirit comes to expression in different types of Russian national discourses, embodied in the myriad of embedded stories narrated by the characters on stage and off stage, and in stories within stories of episodic characters. These embedded episodic narratives, consisting of verbal pictures (or ekphrases), tell the story of Russia’s historical development from Peter Great’s time to Dostoevsky’s present of the 1860s. This is the story of the demise of the old « estate culture » of traditional Russia, with a « new Russia » emerging into history, which is grounded in an indeterminate subject of history, whose « pochva » (« soil ») is the groundless ground of language and an ethics of individual freedom. Both of these elements of subjectivity, which define the « new people », are negativities shaping a new dialectics, which is both form and content of the new self-conscious “world-historical individual” – Hegelian Man - through which spirit (Geist) manifests itself in the “present moment” of Dostoevsky’s Russia.","PeriodicalId":125221,"journal":{"name":"The Dostoevsky Journal","volume":"33 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-04-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115187629","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}

{"title":"Dostoevsky – Not a Defeated Idol in Akim Volynsky’s","authors":"O. Shalygina","doi":"10.1163/23752122-02301002","DOIUrl":"https://doi.org/10.1163/23752122-02301002","url":null,"abstract":"\u0000In Dostoevsky’s artistic quest, Volynsky saw general paths of development of culture and literature. In his last book on dance, Kniga likovanii: Azbuka klassicheskogo tantsa (1925)[The Book of Exaltations: The Alphabet of Classical Dance], Volynsky espouses a new ‘motor aesthetics’, in which the language and rules of ballet, as well as the connection of classical ballet with other arts is set out, whereby the technique of the emergence of the human spirit is reflected in the movements of the human body. The Book of Exaltations is proof that Dostoevsky never became a ‘defeated idol’ for Volynsky. In the article Infernal Woman (1900), answering the question why exactly beauty is undefinable, Volynsky gives the brief but exhaustive explanation that the undefined is in the “dualism of the span of beauty” (‘размах красоты’). In The Book of Exaltations, Volynsky already operates with this accidentally found image of ‘the span of beauty’, transposed into the term ‘coupé’, expanding it to a synthetic judgment in the Kantian sense.","PeriodicalId":125221,"journal":{"name":"The Dostoevsky Journal","volume":"138 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-12-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116417245","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}

{"title":"The “Hoffman Complex” in V. Khotinenko’s film based on F.M. Dostoevsky’s Demons","authors":"V. Koroleva","doi":"10.1163/23752122-02301004","DOIUrl":"https://doi.org/10.1163/23752122-02301004","url":null,"abstract":"\u0000The article examines the reception of the traditions of E.T.A. Hoffman (Elixirs of the Devil) in F.M. Dostoevsky’s novel Demons and the film directed by V. Khotinenko (Demons) (2014). It is proposed to consider the features of Hoffmann’s poetics in the novel of the Russian writer in the form of a “Hoffmann’s complex”, which functions systematically and represents the unity of problematics, images and stylistic techniques. It is argued that the “Hoffman complex” in Dostoevsky’s Demons manifests itself in the following components: an appeal to the problem of crime and redemption, which is revealed in the image of Stavrogin (the motive of the path through crime - pride, adultery, murder – to repentance); in Hoffman’s plot of apostasy; in the actualization of the problem of mechanization of life and man - the puppet representatives of the circle of Stavrogin, the mechanistic nature of Stavrogin himself, the puppetry of the guests at the ball; understanding the nature of duality - internal doubles (demons) and external doubles (Peter Verkhovensky, Shatov); the use of Hoffmann’s stylistics, which is represented by “destructive irony” and the grotesque, manifesting itself in romantic oppositions (beautiful – ugly, alive – dead). It is argued that these components of the “Hoffman complex” not only find expression in the film of V. Khotinenko, but are also complemented by other techniques that point to Hoffmann’s tradition: the emphasis on the plot “crime and repentance”, the development of the image of a double, the introduction of the image of a butterfly, actualizing the oppositions living – dead and beautiful – ugly, a new version of the finale, reflecting Hoffmann’s idea of the way to finding oneself. The results of the study show the presence of the “Hoffman’s complex” in the film based on Dostoevsky’s novel Demons, which allows us to consider it as a significant stage in the development of the “Hoffman narrative of Russian literature”.","PeriodicalId":125221,"journal":{"name":"The Dostoevsky Journal","volume":"86 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-12-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121364526","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}

{"title":"Dostoevsky on the Metaphysical Mystery of the Unhappy Consciousness","authors":"G. Petrova, N. Tarabanov","doi":"10.1163/23752122-02301003","DOIUrl":"https://doi.org/10.1163/23752122-02301003","url":null,"abstract":"\u0000We argue that such trends of modern philosophy as philosophical anthropology, hermeneutics and phenomenology in their ideological origins were born in Russian philosophizing, so that the ideas and images of Dostoevsky’s works have been revealed as their harbinger. More specifically, he supplemented the categorical apparatus of philosophy with the concept of mystery, foreseeing the specifics of descriptive language, which has become relevant to the specifics of modern philosophical and anthropological discoveries and socio-ontological constructions. In addition, we consider the phenomenon of unhappy consciousness found in Notes from the Underground and make an assumption about intersubjective (pluralistic) idealism – an original metaphysical conception, within the framework of which the definition of man as a mystery can be explained.","PeriodicalId":125221,"journal":{"name":"The Dostoevsky Journal","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-12-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130473570","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}

{"title":"Yevgeny Boratynsky as the Forerunner of Fyodor Dostoevsky: About One Topos in Literary Studies","authors":"Yu.Yu. Anokhina","doi":"10.1163/23752122-02301005","DOIUrl":"https://doi.org/10.1163/23752122-02301005","url":null,"abstract":"\u0000This article is intended to answer the question of why researchers of E.A. Boratynsky often call him F.M. Dostoevsky’s forerunner– despite the fact that Dostoevsky’s statements about the poet have not yet been found, nor evidence that unequivocally indicates which works of Boratynsky Dostoevsky was familiar with. The material for this study was the work of literary critics and philologists of the xx–xxi centuries such as I.L. Al’mi, S.G. Bocharov, E. Vinokurov, V.V. Kozhinov, D.S. Merezhkovsky, G.A. Meyer, S.V. Rudakova. The article shows that the research thought reveals similarities in the worldview and aesthetic attitudes of the poet and writer, in their artistic methods, as well as in the character of the depiction of the inner world of heroes. It is noted that, paradoxical as it may seem, scientists find similarities in the works of Boratynsky and Dostoevsky, even at the level of artistic and expressive means. Particular attention is paid to the analysis of the constructions of G.A. Meyer, who directly raised the question “Boratynsky and Dostoevsky” in the title one of his articles.","PeriodicalId":125221,"journal":{"name":"The Dostoevsky Journal","volume":"10 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-12-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126072269","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}

{"title":"Dostoevsky, Hegel, and the sequel to The Brothers Karamazov","authors":"H. Buchanan","doi":"10.1163/23752122-02301010","DOIUrl":"https://doi.org/10.1163/23752122-02301010","url":null,"abstract":"\u0000This paper considers the sequel Dostoevsky planned to write for The Brothers Karamazov – through the sources of his wife Anna, the biographer Nina Hoffmann and A.S. Suvorin’s diary, through the novel itself, and through Dostoevsky’s post-Karamazov notes. It sees Alesha’s fate in the sequel as a “Russian socialist” who will try to build Zosima’s earthly paradise of universal brotherhood, a notion for which there are deep affinities with Dostoevsky’s ideal of a Golden Age of international socialism. It contends that Dostoevsky was influenced by Hegel’s Phenomenology of Spirit for Alesha’s epiphany under the “stars” – where he is at one with the universe, like the more spiritual people of the antique Golden Age – and that this episode initiates his quest to establish Zosima’s paradise on earth or Dostoevsky’s new Golden Age.","PeriodicalId":125221,"journal":{"name":"The Dostoevsky Journal","volume":"333 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-12-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122745094","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}

{"title":"Dostoevsky’s View of Russian History and Assimilation of Hegel’s Concept of “Spirit”","authors":"S. Vladiv-Glover","doi":"10.1163/23752122-02301008","DOIUrl":"https://doi.org/10.1163/23752122-02301008","url":null,"abstract":"\u0000What gave rise to this Roundtable is the invasion by the Russian Federation of the sovereign state of Ukraine. This unprovoked act on the pretext of protecting Russian national security from a nato threat (as a result of Ukraine seeking membership) has shaken the existing post-Cold War world order. The question which arose shortly after the 24 February 2022 and which is still valid is: how do we read Russian literature against the background of the daily pictures of arbitrary carnage and destruction in the Donbas region and elsewhere in Ukraine? Is this a performance of a regressive Russian history in what Hegel termed the “world-historical” process? The question is answered by looking at Dostoevsky’s assimilation of Hegel’s concept of “national spirit” and the contradictory views about Europe this yielded in Dostoevsky’s aesthetics and polemical articles. It is this split vision which characterizes the civilizational paradox of the Russian Federation’s attitude to its European neighbors.","PeriodicalId":125221,"journal":{"name":"The Dostoevsky Journal","volume":"39 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-12-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"117317236","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}