From Volynsky’s Writings on Dostoevsky (1900; 1901)

2019 ◽  
pp. 97-120
Author(s):  
Stanley J. Rabinowitz
Keyword(s):  
Female Characters ◽  
Women's Bodies ◽  
The Core ◽  
The Brothers Karamazov ◽  
Brothers Karamazov ◽  
The Aesthetic ◽  
The Individual

Two articles on Dostoevsky’s strongest female characters, Nastasya Filippovna (from The Idiot) and the “Infernal Woman” Grushenka (from The Brothers Karamazov). Volynsky’s approach emanates from his belief that women’s bodies represent the aesthetic and metaphysical locus of the core Dostoevskian concern: the fate of beauty on this earth. Especially in his treatment of Grushenka, Volynsky posits the flesh’s potential to turn into spirit and the individual, carnal, and also sinister nature of beauty to disclose its fundamentally universal, divine, and benevolent foundation—all of which Volynsky will see fully realized in ballet.

scholarly journals AMNESTIE BEI DOSTOEVSKIJ

2021 ◽  
Vol XII (38) ◽  
pp. 185-204
Author(s):  
Sebastian Kornmesser
Keyword(s):  
Social Injustice ◽  
International Peace ◽  
Ancient Greek ◽  
The Core ◽  
The Brothers Karamazov ◽  
Political Events ◽  
Brothers Karamazov ◽  
The One ◽  
The Individual ◽  
Sense Of Justice

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

Cognitions in Consonance

1986 ◽  
Vol 62 (2) ◽  
pp. 531-539 ◽  
Author(s):  
Leonard Zusne
Keyword(s):  
Cognitive Dissonance ◽  
Aesthetic Experience ◽  
Essential Element ◽  
Aesthetic Object ◽  
The Core ◽  
The Aesthetic ◽  
The Individual

A reconceptualization of some of the ideas associated with the aesthetic experience is proposed. The problems that arise in defining the terms ‘beautiful’ and ‘perfect’ may be overcome by substituting the term ‘fittingness.’ The core of the aesthetic experience is the experience of some degree of fit between the specimen (the aesthetic object or event) and the corresponding standard. The degree of fit determines the intensity of the experience. The essential element of the aesthetic experience is the process of collation between specimen and standard, but the nature of the experience must be sought in the realm of motivation. To every instance of an extrinsive motive that begins with a deficiency, stimulation, or conflict and ends in homeostasis, there corresponds an intrinsic motive that is self-reinforcing. Cognitive conflicts lead to cognitive dissonance, and cognitive equilibrium is achieved by various cognitive means. There is also a state of cognitive consonance, which is sought for its own sake. The aesthetic experience is the experience of cognitive reinforcement that occurs upon the realization that the aesthetic specimen approximates or fits the model of perfection currently held by the individual. This reinforcing experience of cognitive consonance is the core of the aesthetic experience. This view is compared with Berlyne's theory.

scholarly journals PHILOSOPHICAL FUNDAMENTALS OF INCLUDING NATIONAL VALUES IN THE AESTHETIC CULTURE OF PERSONALITY IN THE PERIOD OF GLOBALIZATION

2021 ◽  
Vol 58 (2) ◽  
pp. 6207-6213
Author(s):  
Gaybullaev Otabek Muhammadievich
Keyword(s):  
Aesthetic Education ◽  
Philosophical Foundations ◽  
The Core ◽  
Spiritual Culture ◽  
National Values ◽  
The Aesthetic ◽  
The Individual ◽  
Integral Feature

In today's era of globalization, the presence of national values ​​in the aesthetic education of the individual is important.  In the era of globalization, the inculcation of national values ​​in the aesthetic culture of the individual as an integral feature of the spiritual culture of the Uzbek people is the ideology, worldview, and values ​​of all nations and peoples living in the country.  Raising the aesthetic culture of the individual in Uzbekistan is the core of the spiritual culture, morals, and psyche of all nations and peoples.  This article describes the philosophical foundations of the inculcation of national values ​​in the aesthetic culture of the individual.

scholarly journals “Oh, if only I could create a majestic, positive, holy figure!” (On Peculiarities of Sacralization of Gogol’s and Dostoyevsky’s works from Their Late Periods of Writing)

2019 ◽  
pp. 25-37
Author(s):  
Nataliya Skvira
Keyword(s):  
Original Source ◽  
The Core ◽  
The Bible ◽  
The Brothers Karamazov ◽  
Dead Souls ◽  
Brothers Karamazov ◽  
Core Idea ◽  
Main Ideas ◽  
Spiritual Movement ◽  
The Village

The paper deals with Gogol’s “Dead Souls” and Dostoyevsky’s “The Brothers Karamazov”. The author investigates main ideas, motives, plot coincidences, which are core for the works. The word of the Holy Scripture clearly permeates the language of the works by Gogol and Dostoyevsky, forming the stylistic direction of the narrative with its inherent didacticism and emphasizing the credibility of the original Source. The aim of the Bible intertext is to sacralize the whole of the text. The writers’ techniques of retrospection enhance the reader’s attention and actualize pivotal biblical formulas. The researcher states that some episodes of “The Village of Stepanchikovo and Its Inhabitants” by Dostoyevsky cover the ideas of “Selected Passages from Correspondence with Friends” by Gogol, and also extend the content components of the statements articulated by the heroes’ of the second volume of “Dead Souls”. The chapter of “The Brothers Karamazov” called “Conversations and Exhortations of Father Zosima” by its style, didactic pathos, plot, motive combinations and the names of the sub-chapters reminds “Selected Passages from Correspondence with Friends”. Gogol’s phrase “Love us black, anyone can love us white” repeatedly echoes in the replicas of the characters of “The Brothers Karamazov” and becomes universalized to the formula: “Love a man even in his sin, for that is the semblance of Divine Love and is the highest love on earth. Love all God’s creation… If you love everything, you will perceive the divine mystery in things…  And you will come at last to love the whole world with an all-embracing love”. The image of Troyka (Carriage-and-Three) makes the image of Russia in the studied works by Gogol and Dostoevsky more profound, accumulating the core idea of the writers – the revival of society. ‘Gesture situations’ allow the writers to describe a psychological image of the characters in detail and to relate their spiritual movement with a millenary dimension of existence.

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

2021 ◽  
Vol XII (38) ◽  
pp. 123-145
Author(s):  
Milen Vladić Jovanov
Keyword(s):  
The Novel ◽  
Law And Order ◽  
Fiction Writing ◽  
Fyodor Dostoevsky ◽  
Literary Forms ◽  
The Brothers Karamazov ◽  
Basic Meaning ◽  
Brothers Karamazov ◽  
The Individual ◽  
In The Beginning

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

Reply to Connor and Evers (2020): Critique of the Bias of Crowds Model Simply Restates the Model

2020 ◽  
Author(s):  
Keith Payne ◽  
Heidi A. Vuletich ◽  
Kristjen B. Lundberg
Keyword(s):  
Implicit Bias ◽  
Group Level ◽  
Systemic Racism ◽  
Individual Level ◽  
The Core ◽  
Psychological Science ◽  
Implicit Biases ◽  
The Individual

The Bias of Crowds model (Payne, Vuletich, & Lundberg, 2017) argues that implicit bias varies across individuals and across contexts. It is unreliable and weakly associated with behavior at the individual level. But when aggregated to measure context-level effects, the scores become stable and predictive of group-level outcomes. We concluded that the statistical benefits of aggregation are so powerful that researchers should reconceptualize implicit bias as a feature of contexts, and ask new questions about how implicit biases relate to systemic racism. Connor and Evers (2020) critiqued the model, but their critique simply restates the core claims of the model. They agreed that implicit bias varies across individuals and across contexts; that it is unreliable and weakly associated with behavior at the individual level; and that aggregating scores to measure context-level effects makes them more stable and predictive of group-level outcomes. Connor and Evers concluded that implicit bias should be considered to really be noisily measured individual construct because the effects of aggregation are merely statistical. We respond to their specific arguments and then discuss what it means to really be a feature of persons versus situations, and multilevel measurement and theory in psychological science more broadly.

In a word, I’ve been there

2019 ◽  
pp. 246-256
Author(s):  
A. K. Zholkovsky
Keyword(s):  
The State ◽  
Female Characters ◽  
Political Situation ◽  
The Core ◽  
The Relationship ◽  
Core Problem ◽  
Typical Solution

In his article, A. Zholkovsky discusses the contemporary detective mini-series Otlichnitsa [A Straight-A Student], which mentions O. Mandelstam’s poem for children A Galosh [Kalosha]: more than a fleeting mention, this poem prompts the characters and viewers alike to solve the mystery of its authorship. According to the show’s plot, the fact that Mandelstam penned the poem surfaces when one of the female characters confesses her involvement in his arrest. Examining this episode, Zholkovsky seeks structural parallels with the show in V. Aksyonov’s Overstocked Packaging Barrels [Zatovarennaya bochkotara] and even in B. Pasternak’s Doctor Zhivago [Doktor Zhivago]: in each of those, a member of the Soviet intelligentsia who has developed a real fascination with some unique but unattainable object is shocked to realize that the establishment have long enjoyed this exotic object without restrictions. We observe, therefore, a typical solution to the core problem of the Soviet, and more broadly, Russian cultural-political situation: the relationship between the intelligentsia and the state, and the resolution is not a confrontation, but reconciliation.

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