Married Dostoevsky? The History of Relations between V.V. Rozanov and A.P. Suslova

The article examines in detail the history of the relationship between A.P. Suslova and V.V. Rozanov in connection with the notion existing in the historical and literary science that Rozanovs marriage to Suslova was based on his deep interest in the work of F.M. Dostoevsky and his desire in such an unusual way to penetrate deeper into the secrets of the life and work of the author of The Idiot and The Brothers Karamazov. However, an appeal to various documentary evidence shows that Rozanovs marriage motives came from the warehouse of his nature and constituted a complex of rather complex reasons, among which the human, and not literary, research principle still dominates. The desire for a benevolently objective study of the life history of A.P. Suslova makes it possible to clarify at the modern scientific level the important facts of the biography of F.M. Dostoevsky and V.V. Rozanov, to free them from the stratifications of legends and myths.

Andrey Bely’s novel Petersburg as Dostoevsky’s hybrid hypertext

Andrei Bely’s “Petersburg” has been analyzed primarily with respect to its intertextual connections with Dostoevsky’s novel “The Brothers Karamazov”. This essay offers a comparative analysis of Nikolai Apollonovich Ableukhov, the main character in A. Bely’s novel, and Nikolai Vsevolodovich Stavrogin, the main character of Dostoevsky's novel “Demons”. We see that, in reality, the “Stavrogin genealogy” of the younger Ableukhov begins already with his name and appearance and continues with extravagant acts committed or only conceived by him. In the context of intertextual connections, other character in Bely’s novel are also considered: Alexander Ivanovich Dudkin – as a kind of hybrid of Ivan Karamazov with Stavrogin, and Nikolai Stepanovich Lippanchenko – as the reincarnation of Pyotr Stepanovich Verkhovensky or his hybrid with Nikolai Stavrogin. We conclude that, on the whole, Bely’s novel is a hybrid hypertext of Dostoevsky’s, in which “Demons” serves in the role of the main hypotext, and “The Brothers Karamazov” plays the role of a secondary hypotext. Thus, the hypertextuality of Bely’s novel in relation to Dostoevsky’s works is its constructive feature, outside of which it cannot be adequately perceived and interpreted.

The Idea of the Church as the Best Social Structure: F.M. Dostoevsky and V.S. Soloviev

The article presents the reconstruction of the views of F.M. Dostoevsky and Vl.S. Solovyov on the nature of relations between church and state. A line of mutual influence of thinkers in the context of the perception of Christian truth is drawn. It is shown that Dostoevsky was impressed by a series of lectures by Solovyov's "Readings on God-manhood" and adopted from them the idea of the possibility of religious and moral improvement not only of an individual, but of society as a whole. The article shows that not without the Solovyov's influence Dostoevsky arrives at the Slavophil idea of sobornost and the impossibility of salvation outside of church communion, while speaking of the Church as an ecclesia, that is, an assembly of believers. The author of the article shows that the sophistic and mystical moments in the novel "The Brothers Karamazov" appear under direct influence on Dostoevsky's "Readings on God-manhood" and a joint trip of thinkers to the Optina Pustyn monastery. It is also noted that in the novel "The Brothers Karamazov" the idea was expressed about the gradual growth of the state into the truth of the Church. Solovyov continued this line within the framework of his project of free theocracy in the 1880s, developing the thought of F.M. Dostoevsky - about the Church as the best social order. At the same time, the article shows the principled position of both thinkers on opposing the ideal of socialism and the idea of the Christian community, within which the term "Russian socialism", formulated in the "Diary of a writer". The author shows that Solovyov in his work "Three speeches in memory of Dostoevsky" was the first to explain the term "Russian socialism" precisely through the concept of the Christian community.

Dostoevsky in Kazakhstan: History of Study, Results, Prospects

The article is devoted to the analysis of the Semipalatinsk and Kuznetsk periods in the life and work of F.M. Dostoevsky. The purpose of the study is to reveal the Kazakh-Siberian periods in the fate of the Russian writer, their reflection in the letters and works of art by F.M. Dostoevsky. In the year of the 200th anniversary of the birth of the Russian writer, we cannot talk about the complete study of the indicated periods of the life of the prose writer, which, of course, to one degree or another, were reflected in his prose. This determines the degree of novelty of this article. Dostoevsky is dear to Kazakhstan. He not only served his exile, but also found a friend here, sincere and quivering - the historian, orientalist, ethnographer Ch. Valikhanov. The stories Uncle's Dream and The Village of Stepanchikovo and Its Inhabitant, the first chapters of Notes from the Dead House were written in Semipalatinsk. The story The village of Stepanchikovo and its inhabitants (1857-1859) has the author's clarification: From the notes of the unknown. Many works of fiction in world literature are the result of travel notes, diaries. Undoubtedly, the restoration of the history of the Kazakh-Siberian period of the life and work of F.M. Dostoevsky is of great value, because the greatest Russian writer experienced spiritual revival there, in Kazahstan. The works of F.M. Dostoevsky were included in the literature program of secondary schools in Kazakhstan, translated into Kazakh ( The Idiot, The Brothers Karamazov translated by N. Syzdykov). Dostoevsky scholars of Kazakhstan in the XXI century continue to study the writers works.

Two Councils by A.N. Maykov in F.M. Dostoevsky’s Novel The Brothers Karamazov

The article is devoted to the issue of reception of the poems about Catholic Church written by A.N. Maykov, a close friend of F.M. Dostoevsky, in his novel The Brothers Karamazov and, above all, in The Legend of the Grand Inquisitor. We are talking about the poems - The Queens Confessions. The Legend of the Spanish Inquisition, Sentence. The Legend of the Constance Council and The Legend of the Clermont Council. It is The Queens Confessions which led Dostoevsky to make Seville the setting for the Legend of the Grand Inquisitor. The main character of the Sentence, Cardinal Hermit, became the prototype of the Grand Inquisitor in Dostoevskys novel, and the main character of The Legend of Clermont Council, the Pilgrim Hermit, in many ways became the prototype of the unrecognized Christ from the Legend of the Grand Inquisitor. The article presents significant textual parallels between Maykovs poems and The Brothers Karamazov .

Ivan Karamazov as a Philosophical Type—but which one?

The article analyses a set of philosophical statements made by and attributed to Ivan Karamazov in Dostoevsky's The Brothers Karamazov, in order to answer the question as to what kind of philosophy Ivan may be said to express in the novel. My close reading reveals that there is a significant distinction between, on the one hand, Ivan's most radical statements, that is his rational egoism and the idea that "everything is permitted," which are always given in reported speech, and on the other the “Ivan of direct speech,” a character characterized by far more moral sensibility (e.g. in the Pro et contra part). On the basis of these findings the article seeks to bring together two traditions in the reception of Dostoevsky—the philosophical and the narratological. By letting these approaches inform one another I suggest ways in which the structural organization of the text is itself a bearer of philosophical meaning. Moreover, the article takes seriously Bakhtin's claim that Dostoevsky's heroes are not merely stable representations of ideas, but engage with them through dialogue and encounters with others, as exemplified by Ivan Karamazov himself as well as by other characters' responses to his articulations.

The Mystery of the Crime in Skotoprigonyevsk. Plot Analysis of the Brothers Karamazov from the Perspective of Literature Studies, Psychology and Psychiatry

In this article, by focusing on the two main protagonists, Mitya Karamazov and Pavel Smerdyakov, we would like to analyze the murder of Fyodor Karamazov, which is the crucial event in the novel The Brothers Karamazov. We have conducted analysis of these two characters from the perspective of literature studies, psychology and psychiatry. Although we agree with Freud’s opinion (1) that it is not important who killed the father, but who wanted to kill him, we hope that our findings will allow us to formulate conclusions that will be helpful in new interpretations of this masterpiece.

Life is Paradise. The Theology of Joy in Fyodor Dostoevsky’s The Brothers Karamazov in the Light of the Gospel of John

The idea that „life is paradise”, in The Brothers Karamazov expressed by Markel, Zinovy-Zosima, and Mikhail, is read from the perspective of the theology of joy, which is present in the Gospel of John as the theology of death (cf John 12:24), as losing the „self”, especially in the l ight of the following words of Jesus: „I am the resurrection and the life. The one who believes in me will live, even though they die” (John 11:25). Thus understood, life is neither bios nor psyche, but zoe, living for God, life beyond death. The characters’ conversion signifi es a „return to paradise”, symbolized by the motif of the reviving garden, and the vision of the Cana of Galilee revolves around the „restitution of paradise” and the joy that becomes communion (the picture of the community drinking the „wine of new joy”).

CRIME AND PUNISHMENT IN THE CHAPTER “REBELLION”, IN THE NOVEL “THE BROTHERS KARAMAZOV” OF F. M. DOSTOEVSKY (Problems of the suffering of the innocent)

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 author’s strong compassion for the suffering of the innocent.

IN THE BEGINNING THERE WILL HAVE BEEN VIOLENCE: JUSTICE AND LAW. THE BROTHERS KARAMAZOV BY FYODOR DOSTOEVSKY

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