scholarly journals MINISTERING IN THE WORLD: THE MAIN CHARACTER IN THE NOVELS «THE BROTHERS KARAMAZOV» BY F. M. DOSTOEVSKY AND «DANIEL DERONDA» BY GEORGE ELIOT

2016 ◽  
pp. 83-93
Author(s):  
Irina F. Gnyusova ◽  
Keyword(s):  
George Eliot ◽  
Main Character ◽  
Daniel Deronda ◽  
The Brothers Karamazov ◽  
The World ◽  
Brothers Karamazov

scholarly journals Felix Culpa: Salvific Sin in the Play The Satin Slipper and in the Novel The Brothers Karamazov

2020 ◽  
pp. 169-179
Author(s):  
Tatiana Kashina
Keyword(s):  
Human Freedom ◽  
The Novel ◽  
Garden Of Eden ◽  
New Man ◽  
Spiritual Change ◽  
The Brothers Karamazov ◽  
Starting Point ◽  
The World ◽  
Brothers Karamazov

The article attempts to compare the soteriological ideas of the play The Satin Slipper and the novel The Brothers Karamazov, two texts in which the authors express themselves most fully as theologians. For both texts, the theme of sin and atonement is central. The epigraphs to Paul Claudel’s play are two statements about the saving potential of sin. In Dostoevsky’s novel, it can be seen how sin becomes the most important starting point for further positive spiritual change of heroes. However, in his play, Claudel not only shows the possibility for sin to become the starting point for the conversion of protagonists, but also shows that in a certain sense the salvation of the world needs sin. For example, the main characters of the Satin Slipper make a kind of symbolic escape from paradise (Don Rodrigo leaves the Jesuit novitiate, Dona Prouhèze escapes from the “Garden of Eden” planted for her by her husband) and this allows them to reveal themselves in fullness and to realize their vocation, which is salvific for the world. Mitya Karamazov at the end of Dostoevsky’s novel says that the “new man” in him “would never have come to the surface” if certain things had not happened (and what happened includes a series of Mitya’s sins). This reminds of the idea of “happy guilt”, a term from the Latin hymn Exultet, which refers to the need for sin for the redemption. However, as Claudel shows, even by the very name of his play (Dona Prouhèze, before making her escape, donates her satin slipper as a gift to the Mother of God so that the Blessed Virgin would prevent her from taking the path of evil) suggests that sin becomes salvation only thanks to human freedom.

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

2021 ◽  
pp. 147-162
Author(s):  
Kibalnik S.A. Kibalnik
Keyword(s):  
Comparative Analysis ◽  
Main Character ◽  
The Brothers Karamazov ◽  
Brothers Karamazov ◽  
Intertextual Connections

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 Zossima Principle as an ideal for media ecology praxis

2021 ◽  
Vol 20 (1) ◽  
pp. 5-18
Author(s):  
Barry D. Liss
Keyword(s):  
Social Issues ◽  
Media Ecology ◽  
The Novel ◽  
The Brothers Karamazov ◽  
The World ◽  
Dialectical Tension ◽  
Brothers Karamazov ◽  
Lewis Mumford

This article develops the Zossima Principle as an ideal for the study of media ecology praxis. As such, I suggest that the Zossima Principle holds the potential to inform what we study as media ecologists and how we engage the world with practical responses to the exigencies and social issues arising from our analyses. I set the Zossima Principle in dialectical tension with Morris Berman’s (2000, 2013) articulation of the monastic option. I argue that Berman’s monastic option does not maintain the potential for substantive cultural rejuvenation. The Zossima Principle, based on the exhortations of Dostoyevsky’s elder monk from the novel The Brothers Karamazov, embraces a philosophy of existentialized love. This article demonstrates striking parallels between the ideas developed in the Zossima Principle and the writings of Lewis Mumford. I conclude with a series of pragmatic steps we can take as media ecologists, if we allow ourselves to take seriously the arguments underscoring this ideal.

Mythical Implications of Father Zosima's Religious Teachings

Slavic Review ◽  
1979 ◽  
Vol 38 (2) ◽  
pp. 272-289
Author(s):  
Roger B. Anderson
Keyword(s):  
Personal Experience ◽  
Mystical Union ◽  
Personal Quality ◽  
The Brothers Karamazov ◽  
The World ◽  
Logical Connectives ◽  
Brothers Karamazov

One of the most perplexing questions in The Brothers Karamazov is the manner in which Father Zosima serves as Dostoevsky's spokesman on matters of spiritual faith. Zosima's teachings emphasize humility, a mystical union of man and the world, and undifferentiated love; the key to faith for him is the individual's own emotion, the wisdom of the heart. In keeping with the deeply personal quality of Zosima's message, he teaches in the form of short homilies and stories from his own past. These often lack logical connectives, relying instead on repetition of certain images of nature and mystical community. Malcolm Jones has aptly remarked that Dostoevsky withholds specific guidelines from his seekers of faith, giving only the personal experience of individual characters, which is bound up with the symbolism of their own interpretations.

scholarly journals GRANDCOURT IN GEORGE ELIOT’S ‘DANIEL DERONDA’ AND THE PHILOSOPHY OF ARTHUR SCHOPENHAUER

2020 ◽  
Vol 12 (4) ◽  
pp. 117-127
Author(s):  
Boris M. Proskurnin ◽  
Keyword(s):  
Common Sense ◽  
George Eliot ◽  
Arthur Schopenhauer ◽  
The Novel ◽  
Critical Reading ◽  
Daniel Deronda ◽  
The World ◽  
Main Notion ◽  
Central Characters ◽  
First Time

For the first time in Russian studies of George Eliot, one of the central characters of her only novel about contemporary English life, Daniel Deronda, is under analysis. The character of Grandcourt is looked at as the writer’s distinctive reflection on her reading and comprehension of Arthur Schopenhauer’s book Die Welt als Wille und Vorstellung (1818). The author of the essay gives the facts of the very serious, profound and critical reading of this book by George Eliot. The essay shows in what ways this kind of reading influences the ideological and artistic structures of the novel. It is specially demonstrated how George Eliot’s thorough knowing of Schopenhauer’s book and the thoughts this knowing generates reflects on the image of Grandcourt. It is stressed in the article that the character of Grandcourt is not simply to illustrate some passages of the philosophical system of the German thinker. It is argued that Schopenhauer’s concepts of Man, his role and place in the world cause George Eliot’s deep ontological thinking of human existence and its meaning; the German philosopher’s speculations lead Eliot to the indirect dialogue and dispute with Schopenhauer as it happens in some works by Dostoevsky, Leo Tolstoy and other authors of the end of the 19th – beginning of the 20th centuries. The author of the article demonstrates artistic principles and means with the help of which George Eliot reconsiders the main notion of Schopenhauer’s system – Wille (Will), which transforms into rampage of subjectivity, unrestrained egoism and egotism, despotism, aggression, disdain of Other, moral violence and rapture of it, rejection of common sense and practical logic, the triumph of ‘nature’, seen merely as an instinct, deletion of such notions as self-analysis and self-criticism, human sympathy, compassion, friendship, love to others. Some special emphasis is put on Eliot’s arguing against Schopenhauer’s gender anthropology. It is stressed in the article that, parallel to ontological disagreement and with the help of this polemics, Eliot through the image of Grandcourt both ironically and dramatically sharpens some moral ill-being of contemporary English high society.

scholarly journals Motives of Home and Homelessness in the Novel by F.M. Dostoevsky “The Brothers Karamazov”

2020 ◽  
Vol 17 (2) ◽  
pp. 231-244
Author(s):  
Meruert B. Yeleussizova
Keyword(s):  
Literary Analysis ◽  
Special Role ◽  
The Novel ◽  
The Past ◽  
The Brothers Karamazov ◽  
Starting Point ◽  
The World ◽  
Brothers Karamazov

The article is devoted to the study of the complex motive home-antidome in the work of F. Dostoevsky The Brothers Karamazov. Studying the motive as a key unit of narratology, the author comes to the conclusion that in Dostoevskys poetry a special role is played by antinomic motives, the multidirectional semantic potential of which contributes to the complexity of the poetic dialectic of the writer. Thus, the motive of the home in Dostoevskys novel is inextricably linked with the motives of homelessness, wandering, the search for the place in the world by the heroes of the novel. Each of the heroes of the novel is a bearer of the motive function of home. The image of old Karamazov is associated with the idea of desacralizing the house as an intimate, family space. Each of the brothers is in a transit situation, not having, according to the thesis of Yu.M. Lotman, fastening to a certain topos. Homelessness becomes for heroes of the work the starting point of a spiritual search. Using the methods of linguistic-poetic and literary analysis, the author of the article concludes that the motives of the anti-home in the Brothers Karamazov novelty explicate the writers idea of a person and his place in the world, and in a broader sense, of the past and future of Russia, which has lost touch with previous generations and faith in God.

How the Russian Theater Discovered Dostoevsky: an Experience in Findings and Losses

2021 ◽  
pp. 128-154
Author(s):  
Alexander L. Renansky ◽  
Keyword(s):  
Temporal Structure ◽  
Russian Society ◽  
The Novel ◽  
The Public ◽  
The Brothers Karamazov ◽  
The World ◽  
Brothers Karamazov ◽  
Public Reaction ◽  
Stage Play ◽  
Symptoms And Signs

The article is dedicated to conceptualization of the first the Moscow Art Theater experience in stage production of Dostoevsky’s novel “The Brothers Karamazov” in (1910). A description is given of the process of V.I. Nemirovich- Danchenko’s work over a staged version of the novel and its scenic evocation. Consideration is given to the artistic discoveries of fundamental importance for the world theater that occurred in the process of work over the stage play: the discovery of new stagecraft techniques for theatricalizing great literature, the discovery of new “cinematographic” principles of editing acting scenes that had not been invented yet by the then cinematograph itself, the radical rethinking of the traditional temporal structure of scenic action, and the introduction of a Reader (Narrator) into the performance, a novelty for the world theater that allowed the combination of drama action and epic narrative, and the anticipation of the epic theater of the future. The public reaction to the stage production of “The Brothers Karamazov” found expression in a bitter widespread and lengthy dispute among leading political and literary-artistic groupings that revealed not only the deepening polarization in the attitudes toward Dostoevsky’s work but also the far-flung symptoms and signs of the spiritual condition of the Russian society in the prerevolutionary period.

To Die Laughing

2011 ◽  
Vol 25 (4) ◽  
pp. 737-758 ◽  
Author(s):  
Costica Bradatan
Keyword(s):  
Milan Kundera ◽  
Concentration Camps ◽  
The Political ◽  
Political World ◽  
The Brothers Karamazov ◽  
The World ◽  
Meaning Creation ◽  
Brothers Karamazov ◽  
Historical World

The article proposes an interdisciplinary introduction to the notion of the political world as farce. More exactly, it advances the argument that, despite experiencing the world as a joke of cosmic proportions, an individual can still create meaning even in the most meaningless conditions (concentration camps, totalitarian societies, etc.). The article traces the presence of the topic in Dostoevsky’s The Brothers Karamazov and Primo Levi’s Se questo è un uomo and discusses the particular case of Milan Kundera, for whom the historical world appears as nothing but a cruel joke. The treatment of the topic is framed in relation to the theologia ludens tradition, the theatrical elements of Communism, as well as the process of meaning creation in conditions of meaninglessness.

scholarly journals Motives of Home and Homelessness in the Novel by F.M. Dostoevsky “The Brothers Karamazov”

2020 ◽  
Vol 17 (2) ◽  
pp. 231-244
Author(s):  
Meruert B. Yeleussizova
Keyword(s):  
Literary Analysis ◽  
Special Role ◽  
The Novel ◽  
The Past ◽  
The Brothers Karamazov ◽  
Starting Point ◽  
The World ◽  
Brothers Karamazov

The article is devoted to the study of the complex motive home-antidome in the work of F. Dostoevsky The Brothers Karamazov. Studying the motive as a key unit of narratology, the author comes to the conclusion that in Dostoevskys poetry a special role is played by antinomic motives, the multidirectional semantic potential of which contributes to the complexity of the poetic dialectic of the writer. Thus, the motive of the home in Dostoevskys novel is inextricably linked with the motives of homelessness, wandering, the search for the place in the world by the heroes of the novel. Each of the heroes of the novel is a bearer of the motive function of home. The image of old Karamazov is associated with the idea of desacralizing the house as an intimate, family space. Each of the brothers is in a transit situation, not having, according to the thesis of Yu.M. Lotman, fastening to a certain topos. Homelessness becomes for heroes of the work the starting point of a spiritual search. Using the methods of linguistic-poetic and literary analysis, the author of the article concludes that the motives of the anti-home in the Brothers Karamazov novelty explicate the writers idea of a person and his place in the world, and in a broader sense, of the past and future of Russia, which has lost touch with previous generations and faith in God.

scholarly journals The inn as a place of confession. On a feature of the art world of Dostoevsky

2021 ◽  
pp. 80-94
Author(s):  
N.I. Dimitrova
Keyword(s):  
Urban Space ◽  
Literary Form ◽  
Specific Form ◽  
Art World ◽  
Crime And Punishment ◽  
Original Intention ◽  
The Brothers Karamazov ◽  
The World ◽  
Brothers Karamazov ◽  
Object Of Study

The object of study of the article is both the place that the word of confession occupies in the work of Dostoevsky and the place in which the word of confession itself is pronounced by the characters of the writer. As a literary form, confession is an inheritor of the Christian tradition, but subsequently the original intention to repent became unrecognizable among many other motives. The article notes that Dostoevsky's secularization of this religious motif took on a very specific form, associated with his famous romantic dream of seeing the world as a monastic dormitory; of uniting the secular and the sacred in order to give a sacred status to everyday life. The article examines the connection between Dostoevsky's confessional word and one of the places where it is spoken - the inn (as well as other drinking establishments). In order to highlight Dostoevsky's idea regarding the functions and goals of drinking establishments in general, the article focuses on his profile as an urban writer. Following is a discussion of specific cases (from “The Brothers Karamazov” and “Crime and Punishment”), in which the word of confession was spoken in a drinking establishment. The fact that the most philosophically saturated part of the writer's last novel is situated in this specific urban space is emphasized. The connection between the word of confession and the dirty inn is seen as part of Dostoevsky's creative experiments, as a test of the “endurance” of intimate, suffering ideas and faith in a completely random environment. This is the proposed explanation for the constant confrontation of the sacred and the profane, which we find in the work of the writer.

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