scholarly journals The important semiotic indicators of Dostoyevsky's emotional image

2016 ◽  
Vol 3 (4) ◽  
pp. 3-8 ◽  
Author(s):  
Z.Z. Iskhakova ◽  
L.K. Gyulbyakova ◽  
M.V. Zhuravleva
Keyword(s):  
Fyodor Dostoevsky ◽  
The Brothers Karamazov ◽  
The Subject ◽  
Brothers Karamazov ◽  
Key Characters

This article is devoted to finding the emotional semiotic character of F. Dostoevsky that is expressed by the key characters' behaviour in 'The Gambler', 'Idiot', 'The Brothers Karamazov'. The object of the study is emotionally painted speeches of characters in his works. The subject of the study is emotive signs indices in emotional texts of Fyodor Dostoevsky

Between Nihilism and Transcendence: Camus's Dialogue with Dostoevsky

2015 ◽  
Vol 77 (2) ◽  
pp. 217-242
Author(s):  
Sean Illing
Keyword(s):  
Political Philosophy ◽  
Fyodor Dostoevsky ◽  
The Brothers Karamazov ◽  
Brothers Karamazov ◽  
Practical Implications

AbstractThis article examines the influence of Fyodor Dostoevsky on Albert Camus's political philosophy of revolt. The aim is to clarify Camus's reactions to the problems of absurdity, nihilism, and transcendence through an analysis of his literary and philosophical engagement with Dostoevsky. I make three related claims. First, I claim that Camus's philosophy of revolt is informed in crucial ways by Dostoevsky's accounts of religious transcendence and political nihilism. Second, that Camus's conceptualization of the tension between nihilism and transcendence corresponds to and is personified by the dialogue between Ivan Karamazov and Father Zossima in Dostoevsky'sThe Brothers Karamazov. Finally, that Camus uses his novelThe Plagueto bridge the moral and metaphysical divide between these two characters. In particular, I argue that Camus offers a distinct vision of revolt inThe Plague, which clarifies both the practical implications of revolt and his philosophical rejoinder to Dostoevsky.

Fyodor Dostoevsky: The Brothers Karamazov

1994 ◽  
Vol 38 (1) ◽  
pp. 172 ◽  
Author(s):  
Curt Whitcomb ◽  
W.J. Leatherbarrow
Keyword(s):  
Fyodor Dostoevsky ◽  
The Brothers Karamazov ◽  
Brothers Karamazov

Philosophical Anthropology and Dostoevsky's “Legend of the Grand Inquisitor”

1964 ◽  
Vol 26 (3) ◽  
pp. 353-377 ◽  
Author(s):  
Ellis Sandoz
Keyword(s):  
Political Science ◽  
Political Thought ◽  
Philosophical Anthropology ◽  
The Political ◽  
The Novel ◽  
Great Work ◽  
Fyodor Dostoevsky ◽  
The Brothers Karamazov ◽  
Grand Inquisitor ◽  
Brothers Karamazov

The political thought of Fyodor Dostoevsky grows out of his opposition to nihilism, atheistic humanism, and socialism in much the same way as the philosophy of Plato grew out of his opposition to the sophists. Indeed, the parallel of Dostoevsky's thought with that of Plato is to be seen in some further aspects of this fundamental opposition. Both the Russian master of the novel and the Hellenic founder of political science confronted adversaries for whom “Man is the measure of all things” and each based his opposition on the principle “God is the Measure,” to use Plato's formulation. This declaration, echoing like a thunderclap across more than twenty centuries of history, found consummate expression in the last great work of each writer: the Laws and The Brothers Karamazov.

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 Between Fiction and Physiology: Brain Fever in The Brothers Karamazov and Its English Afterlife

PMLA ◽  
2020 ◽  
Vol 135 (5) ◽  
pp. 895-913
Author(s):  
Jacob Emery ◽  
Elizabeth F. Geballe
Keyword(s):  
Medical Humanities ◽  
Translation Theory ◽  
Medical Terminology ◽  
Sentimental Fiction ◽  
Fyodor Dostoevsky ◽  
Cultural Paradigms ◽  
The Brothers Karamazov ◽  
Mental Diseases ◽  
Brothers Karamazov ◽  
Narrative Function

Working at the intersection of translation theory and medical humanities, this article interrogates the term brain fever, which Constance Garnett, adhering to clichés of English sentimental fiction, uses in reference to a wide variety of medical conditions in the works of Fyodor Dostoevsky. Garnett's choice has become useful shorthand for the narrative function of delirium in Dostoevsky's works, but it obscures the sensitivity to medical terminology that informs the Russian texts. In The Brothers Karamazov, Dostoevsky stages the conflict between Enlightenment rationality and religious mysticism by satirizing the terminology of medical authorities and contrasting it with the language of faith, which posits its own etiology for mental diseases. Garnett's abundance of interpolated brain fevers can be read not as a simple mistranslation but as marking the roles of translation and diagnosis in mediating the various cultural paradigms produced in fictional worlds.

scholarly journals SPIDERS AND THE WEB IN THE ARTISTIC WORLDS OF L. TOLSTOY AND F. DOSTOEVSKY

2021 ◽  
Vol 31 (2) ◽  
pp. 309-318
Author(s):  
K.A. Nagina
Keyword(s):  
Short Story ◽  
Russian Literature ◽  
The Brothers Karamazov ◽  
The Subject ◽  
Brothers Karamazov ◽  
Point Of Intersection ◽  
The Web

The relevance of the study is due to the significance of entomological motifs in the works of L. Tolstoy and F. Dostoevsky, and in Russian literature in general. In Tolstoy's artistic and philosophical systems, insects that have a «swarm» nature most often symbolize the joy of being. The spiders included in their plot have a different semantics, the analysis of which is particularly fruitful against the background of the study of such a plot in the works of F. Dostoevsky, since the vectors of these plots have diametrically opposite directions. The subject of the research in the article is the insectoid motifs associated with the image of the spider, supported by its mythopoetic nature in both writers. The two motifs that originate in the Arachne myth - creative and destructive - to varying degrees feed the “spider” topic of L. Tolstoy and F. Dostoevsky. In the works of L. Tolstoy, creative motifs associated with the image of the “web of love” - a metaphor of self-sacrifice - are brought to the fore. In the works of F. Dostoevsky, on the contrary, destructive motifs predominate: spiders are chthonic creatures, marking the dark beginning in the nature of the characters and associated with the theme of rebellion against the Creator. In this light, of particular interest is the point of intersection of the trajectories of the movement of the writers' artistic thought, which is represented by two parables: about the web from L. Tolstoy's short story “Karma” and about the “onion” from Dostoevsky's novel “The Brothers Karamazov”.

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