scholarly journals Dostoevsky in Kazakhstan: History of Study, Results, Prospects

2021 ◽  
Vol 26 (3) ◽  
pp. 414-423
Author(s):  
Kenzhekhan Slyamzhanovich Matyzhanov ◽  
Svetlana V. Ananyeva
Keyword(s):  
Secondary Schools ◽  
World Literature ◽  
200Th Anniversary ◽  
The Brothers Karamazov ◽  
Study Results ◽  
Complete Study ◽  
History Of ◽  
Brothers Karamazov ◽  
The Village ◽  
History Of Study

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.

scholarly journals The First Production of The Brothers Karamazov on the Russian stage in the Mirror of the Press (Based on the Collections of the Vladimir Dahl State Museum of the History of Russian Literature)

2020 ◽  
pp. 219-241
Author(s):  
Pavel E. Fokin ◽  
Ilya O. Boretsky
Keyword(s):  
Russian Literature ◽  
The Novel ◽  
Theatrical Production ◽  
Distinctive Features ◽  
The Brothers Karamazov ◽  
The Press ◽  
State Museum ◽  
History Of ◽  
Brothers Karamazov

The first Russian theatrical production of Dostoevsky's novel The Brothers Karamazov premiered on the eve of Dostoevsky’s 20th death anniversary on January 26 (February 7) 1901 at the Theater of the Literary and Artistic Society (Maly Theater) in St. Petersburg as a benefit for Nikolay Seversky. The novel was adapted for the stage by K. Dmitriev (Konstantin Nabokov). The role of Dmitry Karamazov was performed by the famous dramatic actor Pavel Orlenev, who had received recognition for playing the role of Raskolnikov. The play, the staging, the actors’ interpretation of their roles became the subject of detailed reviews of the St. Petersburg theater critics and provoked controversial assessments and again raised the question about the peculiarities of Dostoevsky’s prose and the possibility of its presentation on stage. The production of The Brothers Karamazov at the Maly Theater in St. Petersburg and the controversy about it became an important stage in the development of Russian realistic theater and a reflection of the ideas of Dostoevsky’s younger contemporaries about the distinctive features and contents of his art. The manuscript holdings of the Vladimir Dahl State Museum of the History of Russian Literature includes Anna Dostoevskaya’s collection containing a set of documentary materials (the playbill, newspaper advertisements, reviews, feuilletons), which makes it possible to form a complete picture of the play and Russian viewers’ reaction to it. The article provides a description of the performance, and voluminous excerpts from the most informative press reviews. The published materials have not previously attracted special attention of researchers.

scholarly journals The First Production of The Brothers Karamazov on the Russian stage in the Mirror of the Press (Based on the Collections of the Vladimir Dahl State Museum of the History of Russian Literature)

2020 ◽  
pp. 219-241
Author(s):  
Pavel E. Fokin ◽  
Ilya O. Boretsky
Keyword(s):  
Russian Literature ◽  
The Novel ◽  
Theatrical Production ◽  
Distinctive Features ◽  
The Brothers Karamazov ◽  
The Press ◽  
State Museum ◽  
History Of ◽  
Brothers Karamazov

The first Russian theatrical production of Dostoevsky's novel The Brothers Karamazov premiered on the eve of Dostoevsky’s 20th death anniversary on January 26 (February 7) 1901 at the Theater of the Literary and Artistic Society (Maly Theater) in St. Petersburg as a benefit for Nikolay Seversky. The novel was adapted for the stage by K. Dmitriev (Konstantin Nabokov). The role of Dmitry Karamazov was performed by the famous dramatic actor Pavel Orlenev, who had received recognition for playing the role of Raskolnikov. The play, the staging, the actors’ interpretation of their roles became the subject of detailed reviews of the St. Petersburg theater critics and provoked controversial assessments and again raised the question about the peculiarities of Dostoevsky’s prose and the possibility of its presentation on stage. The production of The Brothers Karamazov at the Maly Theater in St. Petersburg and the controversy about it became an important stage in the development of Russian realistic theater and a reflection of the ideas of Dostoevsky’s younger contemporaries about the distinctive features and contents of his art. The manuscript holdings of the Vladimir Dahl State Museum of the History of Russian Literature includes Anna Dostoevskaya’s collection containing a set of documentary materials (the playbill, newspaper advertisements, reviews, feuilletons), which makes it possible to form a complete picture of the play and Russian viewers’ reaction to it. The article provides a description of the performance, and voluminous excerpts from the most informative press reviews. The published materials have not previously attracted special attention of researchers.

scholarly journals Intertekstualiteit en die Bose in Kroniek van Perdepoort (Anna M. Louw)

Literator ◽  
1986 ◽  
Vol 7 (2) ◽  
pp. 20-38
Author(s):  
E. Linde ◽  
D. H. Steenberg
Keyword(s):  
World Literature ◽  
Thomas Mann ◽  
Religious Literature ◽  
Sound And The Fury ◽  
The Brothers Karamazov ◽  
Constituent Element ◽  
Similar Theme ◽  
Brothers Karamazov ◽  
Good And Evil ◽  
The Devil

In Anna M. Louw’s novel Kroniek van Perdepoort the primal conflict between good and evil is an important constituent element. Well-known authors in world literature have been fascinated by this problem, and it is an enriching experience to bring together allusions and to investigate points of contact with authors such as Feodor Dostoyevsky, Thomas Mann. William Faulkner and Patrick White. In Kroniek van Perdepoort there is a meeting between Klaas Kamer and the devil. Similarities between this meeting and similar meetings in Dr Faustus (Thomas Mann) and The Brothers Karamazov (Dostoyevsky) are pointed out.Subsequently the portrayal of sin in Kroniek van Perdepoort is compared with Faulkner’s novels The Sound and the Fury and Absalom, Absalom!, in which a similar theme is represented.Patrick White is also an author of religious literature to whom Anna M. Louw is attracted by her own admission. His novels. The solid Mandala and Riders in the Chariot are studied, and similarities with Kroniek van Perdepoort indicated.

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

2021 ◽  
Vol 26 (3) ◽  
pp. 398-413
Author(s):  
Alexey Nicolaeyvich Varlamov
Keyword(s):  
Life History ◽  
Documentary Evidence ◽  
Scientific Level ◽  
Literary Research ◽  
The Brothers Karamazov ◽  
History Of ◽  
Brothers Karamazov ◽  
The Relationship ◽  
Objective Study ◽  
Deep Interest

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.

RESPONDING TO DOSTOYEVSKY? JULIO JURENITO BY ILYA EHRENBURG

2021 ◽  
pp. 30-42
Author(s):  
George S. Prokhorov ◽  
Keyword(s):  
First World War ◽  
Russian Revolution ◽  
The Novel ◽  
World War ◽  
The Brothers Karamazov ◽  
The First World War ◽  
History Of ◽  
Moral Damage ◽  
Brothers Karamazov ◽  
First World

Julio Jurenito – a 1924 Modernist novel by Ilya Ehrenburg, written hot on the heels of the 1917 Revolution and is distinguished by both a wide intertextual spectrum and an acute satirical orientation in relation to all ideological trends and factions. The article focuses on references of the novel by Ilya Ehrenburg to the legacy of Dostoevsky – primarily – The Brothers Karamazov. Ilya Ehrenburg resets Dostoevsky’s features – his protagonists and some elements of plot – into the reality of European history of the First World War, Russian Revolution and Civil War. But also, Ehrenburg goes beyond Dostoevsky’s semantic continuum, replacing the author’s sense of History as a process striving for its endpoint with a History in which an end is fundamentally impossible, and there is always at least the potential to put the flow of event on pause and rewrite their mistakes. As well, the idea important for Dostoevsky that of the moral damage of the modern atheist-minded person is transformed into a demonstration of the people’s inclination to create idols and devoutly worship the latter. Ilya Ehrenburg’s novel is grounded on an interpretation of Dostoevsky, perfected through the prism of the traditions of the Jewish Enlightenment.

scholarly journals The Reduce to Dostoevsky’s Artistic Mastery.The Brothers Karamazov and The Devils on the Stage of the Moscow Art Theater and in the Russian Press

2021 ◽  
pp. 193-231
Author(s):  
Marina V. Kudimova
Keyword(s):  
Dramatic Works ◽  
The Brothers Karamazov ◽  
The Future ◽  
History Of ◽  
Brothers Karamazov ◽  
Russian Theater

The article is dedicated to the history of the Moscow Art Theater productions in 1913–1914 based on F.M. Dostoevsky’s novels The Brothers Karamazov and The Devils, and to the fierce controversy that surrounded them. It analyzes the problem of finding an adequate stage form for the two novels, and the story of the birth of the so-called “Dostoevsky theater” and the Director’s theater, now dominating the stage. Despite Dostoevsky’s great interest in theater and his brother’s witness that the future novelist’s literary activity began with three (unfortunately lost) dramatic works, the writer himself was far from being confident that theatrical productions of his novels could be a success. The founders of the Moscow Art Theater challenged this opinion and proved that Dostoevsky’s novels could write a new page in the history of Russian theater. The article analyzes in detail newspaper and magazine reviews of the performances directed by Vladimir Nemirovich-Danchenko.

scholarly journals The Last Newspaper Fyodor Dostoevsky Read (Based on the Collections of Vladimir Dahl State Museum of the History of Russian Literature)

2020 ◽  
pp. 197-218
Author(s):  
Pavel E. Fokin
Keyword(s):  
Russian Literature ◽  
Intellectual Life ◽  
Fyodor Dostoevsky ◽  
The Brothers Karamazov ◽  
State Museum ◽  
History Of ◽  
Fatal Illness ◽  
Brothers Karamazov ◽  
New Time

Throughout Dostoevsky's life, reading newspapers was one of the most important sources of his inspiration. Reading newspapers, Dostoevsky drew on real factual material that reflected both the characteristic phenomens of the postreform Russian reality and the most incredible “adventures” of lost human souls and hearts. Daily acquaintance with the latest news from Russian and world life was an essential necessity for Dostoevsky. Even while abroad, he regularly visited libraries to read the most recent Russian newspapers. Journalism was inherent in his type of thinking and personality. He began his literary career as a newspaper feuilletonist; in 1873–1874, he edited the Grazhdanin (The Citizen) weekly; in1876–1877, his monojournal A Writer's Diary was focused on Russian and European periodicals. In 1881, having completed his novel The Brothers Karamazov, Dostoevsky decided to resume the publication of A Writer's Diary. He prepared only one issue which came out on the day of his funeral. The manuscript collection of the Vladimir Dahl State Museum of the History of Russian Literature contains Anna Dostoevskaya’s collection that includes a memorial copy of the last newspaper read by Dostoevsky on the eve of his fatal illness, the Novoe Vremya (The New Time) newspaper, No. 1764 dated January 25 (February 6) 1881. This item is a valuable biographical material and allows one to put additional touches on the picture of Dostoevsky's intellectual life of his last days. The article provides an overview of the newspaper’s contents contextualized within Dostoevsky's spiritual, political, and aesthetic interests and particularly within the articles included in the first issue of The Diary of a Writer for 1881 and the preparatory materials for it.

Dostoevsky, Confession, and the Evolutionary Origins of Conscience

2020 ◽  
Vol 4 (2) ◽  
pp. 19-32
Author(s):  
Tom Dolack
Keyword(s):  
World Literature ◽  
Human Mind ◽  
Human Condition ◽  
Late Nineteenth Century ◽  
Group Norms ◽  
Fyodor Dostoevsky ◽  
Crime And Punishment ◽  
Evolutionary Origins ◽  
The Brothers Karamazov ◽  
Brothers Karamazov

Abstract Fyodor Dostoevsky is renowned as one of the greatest psychologists in world literature, but what we know about the origins and the workings of the human mind has changed drastically since the late nineteenth century. If Dostoevsky was such a sensitive reader of the human condition, do his insights hold up to modern research? To judge just by the issue of the psychology of confession, the answer appears to be: yes. The work of Michael Tomasello indicates that the human conscience evolved in order to make people obey group norms. From this I draw the proposition that confession should be best directed to the group as a whole, and not to an individual. Judging by Raskolnikov in Crime and Punishment and an assortment of characters in The Brothers Karamazov, this appears to be exactly how confession works in Dostoevsky's novels: sin is against all, so forgiveness must be from all.

scholarly journals “Hysterical Shrieks of the Cherubim” (Concerning a Textual Incident in the History of the Text of The Brothers Karamazov)

2020 ◽  
Vol 7 (3) ◽  
pp. 166-174
Author(s):  
Boris Tikhomirov
Keyword(s):  
Editorial Staff ◽  
The Novel ◽  
Cover Letter ◽  
The Brothers Karamazov ◽  
History Of ◽  
The Absolute ◽  
Brothers Karamazov ◽  
The Devil

The article deals with a textual incident that occurred in the history of the publication of the chapter “Hell. Ivan Fedorovich’s nightmare” from the novel The Brothers Karamazov. When sending the manuscript of the chapter to “Russkiy Vestnik” (“Russian Bulletin”) for publication, in the cover letter to N. A. Lyubimov Dostoevsky expressed concern that the journal’s editorial staff might find the words “hysterical shrieks of the cherubim,” pronounced by the devil, obscene. The writer insisted on the absolute artistic justification of such an expression coming from the lips of his infernal character, begging Lyubimov to leave this version in print. However, he foresaw censorship difficulties and offered a backup version to replace the line (“if you can’t”): “joyous cries of the cherubim,” adding with regret that it will sound stylistically dissonant. As a result, the journal published the compromise version devised by N. A. Lyubimov, namely “joyful shrieks of the cherubim.” Although Dostoevsky’s letter clearly expressed his attitude to the “backup” versions, in a separate edition, which was published immediately after the magazine, he reproduced the devil’s remark exactly as it was printed in the “Russkiy Vestnik”. In the academic Complete Works of Dostoevsky, the printed version was “canonized” as an expression of the last author’s will of the writer. The article challenges this textual decision and justifies the need to revert to the version contained in the typeset manuscript, as it is reconstructed from Dostoevsky’s letter to Lyubimov: “hysterical shrieks of the cherubim”.

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