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

2021 ◽  
Vol 25 (1) ◽  
pp. 34-43
Author(s):  
Elena V. Besschetnova
Keyword(s):  
Social Order ◽  
Mutual Influence ◽  
Church And State ◽  
The Novel ◽  
Christian Community ◽  
Moral Improvement ◽  
The Brothers Karamazov ◽  
Brothers Karamazov ◽  
The Church ◽  
The Ideal

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.

INQUSITOR GENERALIS: IZMEĐU VOLjE ZA MOĆ I SLOBODE OD MOĆI

2020 ◽  
pp. 65-78
Author(s):  
Sergej Beuk ◽  
Jana Aleksic
Keyword(s):  
New Historicism ◽  
The Novel ◽  
Literary Field ◽  
Vast Number ◽  
Semantic Framework ◽  
Contemporary World ◽  
The Brothers Karamazov ◽  
Grand Inquisitor ◽  
Brothers Karamazov ◽  
The Church

/ In this paper, we observe the chapter “The Great Inquisitor” in the novel The Brothers Karamazov as a literary field in which the dominant discourse of Power, the Church elite, represented by the Grand Inquisitor, is confronted by the subversive aspirations of marginalized social groups, embodied in the figure of Christ. Initially considering that the “poem” is an eminent text of culture, in which a vast number of textual clues have been absorbed, primarily the Holy Bible, we discover how the character of the Grand Inquisitor was constructed from the generic-hermeneutic angle. This implies a contextual theological, (inter)textual and semantic framework. In the central part of the paper, the focus of our analysis is the mechanisms by which institutions of power control subversive elements and aspects of their rebellion from the perspective of New Historicism. At the end of the paper, we point to the histori- cal and civilizational implications of an antagonistically conceived narrative on the problems of human freedom, action, and the implementation of power in history and, consequently, the organization of the (contemporary) world.

Beauty as the Measure of Spirituality in the Novel “Demons” by F.M. Dostoevsky

2021 ◽  
pp. 257-262
Author(s):  
Irina V.  Logvinova
Keyword(s):  
The Novel ◽  
The Brothers Karamazov ◽  
Dead End ◽  
The World ◽  
Brothers Karamazov ◽  
The Ideal

The article analyzes F. M. Dostoevsky’s idea that beauty will save the world, with reference to the novel “Demons” (1871-1872). This idea is expressed in various contexts in the novels “The Idiot” (1869) and “The Brothers Karamazov” (1878). The analysis of beauty as the measure of spirituality in the novel “Demons” shows that beauty can really save the world from destruction, since the deviation towards the “ideal of Sodom” is a dead end.

scholarly journals Prototype of Hieromonk Misail in F. M. Dostoevsky’s Novella Uncle’s Dream

2021 ◽  
Vol 23 (1) ◽  
pp. 236-253
Author(s):  
Elena Yu. Safronova ◽  
Keyword(s):  
Creative Process ◽  
The Novel ◽  
Spiritual Leader ◽  
The Brothers Karamazov ◽  
Brothers Karamazov ◽  
The Church ◽  
Final Text

This article comments on one detail of the artistic world of the novella Uncle’s Dream. The mention of monk Misail in Svetozersky Hermitage is considered as a topographic sign, which allows one to accurately determine the local attribution of Dostoevsky’s text. According to the author of the article, the prototype of the priest is Father Macarius (Mikhail Yakovlevich Glukharev), also known as “the Apostle of the Altai Land”. The author introduces into scholarly circulation M. Ya. Glukharev’s autograph found in Barnaul and analyses the missionary activity of the Archimandrite and the reasons for his getting closer to Tobolsk Decembrists M. A. Fonvizin and his wife N. D. Fonvizina, P. S. Bobrischev-Pushkin, and P. N. Svistunov. The paper also discusses the question of F. M. Dostoevsky’s interest in the personality of the Archimandrite and the channels through which the writer could know about the old man: Fonvizin’s circle, the book about father Macarius of his succеssоr S. Landyshev, Dostoevsky’s Semipalatinsk fellow ethnographer N. A. Abramov, or oral legends, including raskolnik ones. The extant humorous stories about the Archimandrite might have served as an impetus for the comic transformation of his image in the novella Uncle’s Dream, in which the writer easily and ironically used facts known to him encrypting Father Macarius and using the secular name Mikhail. In the writer’s later works, the figure of Macarius is presented in the rough drafts of the novel The Brothers Karamazov and “the monk of Obdor” is included in the environment of Elder Zosima in the final text of the work. Long before the emergence of the conception of The Brothers Karamazov, M. Ya. Glukharev becomes not only a catalyst in the creative process and one of the prototypes for Dostoevsky, but also an example of the “romantic missionary”, a popular spiritual leader and reformer of the Church.

scholarly journals «МОНАСТЫРЬ В МИРУ» КАК ОБРАЗ ВСЕОБЩЕГО ОБЪЕДИНЕНИЯ В РОМАНЕ БРАТЬЯ КАРАМАЗОВЫ THE LAY MONASTERY AS AN IMAGE OF UNIVERSAL UNIFICATION IN THE NOVEL THE BROTHERS KARAMAZOV

2021 ◽  
Vol XII (38) ◽  
pp. 81-101
Author(s):  
Lazar Milentijević
Keyword(s):  
Old Testament ◽  
The Novel ◽  
The Brothers Karamazov ◽  
The People ◽  
The World ◽  
Constant Conjunction ◽  
Brothers Karamazov ◽  
God's Grace ◽  
The Church ◽  
Ways Of Life

The article deals with the theme of a "lay monastery" (“монастырь в миру“), which became one of the important milestones of spiritual life and the life of the Сhurch in the late 19th and 20th centuries and which was reflected in the later works of Dostoevsky. According to Russian thinkers, there was an obvious need to overcome the spiritual isolation of the Church, which should show a desire to merge with the world and manifest heartfelt and vital work on this path. However, the new form and way of salvation are seen as an impulse of humanity to overcome the gap and strengthen connections with the Church. Dostoevsky thought that in the fluid and already different spiritual and historical reality, it was of the utmost importance to find or create new ways of salvation and unification. The Brothers Karamazov tells of the increasing social influence of hermits’ (подвижник). Dostoevsky suggested that their influence was utilitarian in nature and could be associated with the upper limit of Russian medieval culture in the 17th century, when the cult of saints was significantly strengthened as they were revered primarily as real helpers in secular affairs. Sanctity in Russia was often achieved by following the paths of martyrdom, passion-bearing, asceticism in its extreme forms, hermitry, mysticism and foolishness (юродство) rather than through constant, consistent, and purposeful self-discipline and abstention. However, the unifying factor is "Labor with Christ", where both joy about the world and spiritual ennobling are revealed, as Dostoevsky illustrates a path on which there is the possibility of expedient union between the laity and the Church. In the last chapter, in which Alyosha gathers the children and makes a speech, the mission of the "lay monastery" is carried out, because he manages to unite people in the name of Ilyushechka and his expected resurrection, thus, in the name of Christ. Each thing, having an absolute meaning, exists not only in a passive correlation to the other, but also takes action, fills it up and is being filled up. Only in a universal synthesis of this type, does the true miracle of universal interconnection live. Here, we are witnessing the mysterious communion of the boys and their entry into the mystical Church. One can use Lurie's successful comparison of two ways of life, secular and monastic, with Law and Grace (159). The lay monastery corresponds to the meeting of the Old Testament law and evangelical freedom, as two Christian paths that should exist in constant conjunction. Dostoevsky's thesis once again confirms the idea of Solovyov: "The Church is there where the people are, united by mutual brotherly love and free unanimity, who become a receptacle of God's grace, which is the true essence and vital principle of the Church, that forms one spiritual organism" (1914, 4: 658).

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 ANTHROPOLOGICAL IDEAL IN THE NOVEL BY DOSTOYEVSKY “THE BROTHERS KARAMAZOV” IN THE RECEPTIONS OF RUSSIAN RELIGIOUS PHILOSOPHERS OF THE FRONTIER

2021 ◽  
pp. 87-94
Author(s):  
Анастасия Николаевна Кошечко ◽  
Алина Сергеевна Шилова
Keyword(s):  
The Novel ◽  
Philosophical Thought ◽  
Research Material ◽  
The Brothers Karamazov ◽  
Christian Worldview ◽  
Grand Inquisitor ◽  
Brothers Karamazov ◽  
Historical Comparative ◽  
Good And Evil ◽  
Further Development

Введение. Предпринята попытка исследования рецепции антропологического идеала в романе Ф. М. Достоевского «Братья Карамазовы» русскими религиозными философами порубежной эпохи XIX–XX вв. Аутентичное понимание и интерпретация ключевых идей писателя о человеческом идеале, его ценностях и смысле жизни возможны только в контексте православной антропологии. Важность этого материала не ограничивается осмыслением проблемы антропологического идеала и его влияния на дальнейшее развитие русской религиозно-философской мысли, позволяет исследовать особенности художественного мира романа, в том числе специфику репрезентации в идейном поле произведения авторского начала, мировоззрения писателя. Материал и методы. Материалом исследования послужили работы В. С. Соловьева «Три речи в память Достоевского», В. В. Розанова «Легенда о Великом инквизиторе», Н. А. Бердяева «Миросозерцание Достоевского», Н. О. Лосского «Достоевский и его христианское миропонимание», канонический текст романа Ф. М. Достоевского «Братья Карамазовы». Используются культурно-исторический, сравнительно-сопоставительный, структурно-типологический методы. Результаты и обсуждение. Наука о Достоевском начинается именно с трудов русских религиозных философов и мыслителей конца XIX – начала XX в., которые идеи о сущности человека, его предназначении, идеале делают содержательным ядром своих размышлений. Итоговый роман Великого Пятикнижия «Братья Карамазовы» как квинтэссенция жизненного и творческого пути Достоевского, неразрывно связанный с духовными и аксиологическими императивами православной антропологии, наиболее часто привлекается религиозными философами для рефлексии ключевых доминант собственных философских концепций, анализа и аргументации идей. Этот материал позволяет исследовать особенности художественного мира романа, специфику репрезентации в идейном поле произведения мировоззрения писателя и авторского начала, антропологического идеала, неразрывно связанного для Достоевского с такими духовными и ценностными доминантами, как Христос, Православие, святость, народность, добро и зло, и выявить его влияние на дальнейшее развитие русской религиозно-философской мысли. Заключение. Антропологический идеал Достоевского, по мысли религиозных философов, опирается на православное учение о человеке, раскрывающее как антиномичность человеческой природы (pro et contra в терминологии писателя), так и бытийную ее устремленность к Богу, Истине, потребность в добре, вне которых личность осознает свое не-бытие. Доминантами антропологического идеала писателя, которые находят отражение в трудах религиозных философов, становятся святость, красота как этическая доминанта личности, укорененность в ценностях и смыслах христоцентричной в своих основаниях русской культуры. Introduction. This article attempts to study the reception of the anthropological ideal in the novel by F. M. Dostoevsky “The Brothers Karamazov” by Russian religious philosophers of the late 19th–20th centuries. Authentic understanding and interpretation of the writer’s key ideas about the human ideal, its values and the meaning of life is possible only in the context of Orthodox anthropology. The importance of this material is not limited to comprehending the problem of the anthropological ideal and its influence on the further development of Russian religious and philosophical thought; moreover, it allows one to explore the peculiarities of the artistic world of the novel, including the specifics of the representation of the author’s principle in the ideological field of the work, the peculiarities of the writer’s worldview. Material and methods. The research material was the work of V. S. Solovyov “Three Speeches in memory of Dostoevsky”, V. V. Rozanov “The Legend of the Grand Inquisitor”, N. А. Berdyaeva “Dostoevsky’s worldview”, N. O. Lossky “Dostoevsky and his Christian worldview”, the canonical text of the novel by F. M. Dostoevsky “The Brothers Karamazov”. The work uses cultural and historical, comparative, structural and typological methods. Results and discussion. The science of Dostoevsky begins precisely with the works of Russian religious philosophers and thinkers of the late XIX – early XX centuries, which ideas about the essence of man, his purpose, ideally make him a meaningful core of his thoughts. The final novel of the Great Pentateuch “The Brothers Karamazov” as a quintessence of Dostoevsky’s life and creative path, inextricably connected with the spiritual and axiological imperatives of Orthodox anthropology, is most often attracted by religious philosophers to reflect key dominants of their own philosophical concepts, analyze and argue ideas. This material allows us to explore the features of the artistic world of the novel, the specifics of representation in the ideological field of the work of the writer’s worldview and author’s beginning, the features of the anthropological ideal, inextricably linked for Dostoevsky with such spiritual and value dominants as Christ, Orthodoxy, holiness, nationality, good and evil, and to identify its influence on the further development of Russian religious and philosophical thought. Conclusion. Dostoevsky’s anthropological ideal, according to religious philosophers, is based on the Orthodox doctrine of man, revealing both the antinomy of human nature («pro et contra» in the writer’s terminology) and its previous striving for God, Truth, the need for good, outside of which the person is aware of his non-existence. The dominants of the anthropological ideal of the writer, which are reflected in the works of religious philosophers, are holiness, beauty as the ethical dominant of the person, and reproach in the values and meanings of Christ-centered Russian culture in their foundations.

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