THE CONCEPT OF “PUNISHMENT” IN THE WORLD VIEW OF AN ORTHODOX BELIEVER: THE EXPERIENCE OF READING THE NOVEL F.M. DOSTOEVSKY “CRIME AND PUNISHMENT”

The paper is devoted to the study of semantic and functional features of expressive derivatives, both usual and occasional, in the artistic gist of the novel “Asan” by V. Makanin, as well as their role in structuring the individual-author’s linguistic picture of the world. It has been proven that the derivation of expressive lexemes is the result of improvisation according to established patterns, and that the formation of occasional substantives, adjectives and verbs involved the main methods of the Russian word derivation. It is noted that in the artistic discourse of V. Makanin, in the substantive word-formation, suffixation plays a leading role, which takes place in the sphere of abstractness and includes such lexical-semantic groups as expressive substantives with the meaning of a person, expressive substantives with the meaning of abstracted action or an abstract feature with connotation, as a rule, negative and/or reduced colloquial connotation. While in the sphere of adjectival and verbal word formation, confixation and prefixation, as the formation of expressiveness, is most productive. The paper considers the phenomenon of semantic word formation, describes the formation of semantic derivatives, including in the field of occasional vocabulary. Expressive derivatives in the artistic discourse of V. Makanin are a bright sign of his individual style, an important means of expressing the world view and outlook of the writer.

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The Problem of “Higher Individuals” in the Works of F.M. Dostoevsky

Solov’evskie issledovaniya ◽

10.17588/2076-9210.2021.4.119-134 ◽

2021 ◽

pp. 119-134

Author(s):

Li Xiaoyu ◽

I.I. Evlampiev

Keyword(s):

Personal Accomplishment ◽

The Novel ◽

Traditional Church ◽

Crime And Punishment ◽

Existential Crisis ◽

Kingdom Of Heaven ◽

The World ◽

Three Stages ◽

The Church ◽

The Ideal

This article deals with the controversial issue of F.M. Dostoevsky’s concept of “Higher Individuals.” The latter are people who rise above other people and have a special influence on society and on history. The authors argue that this concept is most clearly expressed in “The Diary of a Writer” (1876) as well as in the story “The Sentence”, along with Dostoevsky’s commentaries on this story. By means of a detailed analysis of Raskolnikov’s “theory” within the novel “Crime and Punishment”, it is demonstrated that only a superficial version of the concept of “higher individuals” is refuted in the heroes’ argumentations; at the same time, the novel’s characters – Marmeladov, his wife Katerina Ivanovna, and Raskolnikov – can be viewed as examples of different degrees in the personal accomplishment of this “higher personality” state. In conclusion, it is observed how a person must go through three stages of development in order to become a “higher character”: firstly, the experience of an existential crisis and the understanding of the lack of meaning in one’s life; secondly, the “rebellion” against the Creator of the world and its laws along with the rejection of the traditional church faith, whose rejection leads this person on the edge of suicide; thirdly, the acquisition of a new faith, first of all, a faith in one’s immortality, which happens in an unusual, unorthodox form, as is well demonstrated by the character of Svidrigailov in Dostoevsky’s novel. According to Dostoevsky’s doctrine, the meaning ofimmortality lies in the continuation of a person’s existence in a new form in the earthly world or in a “parallel” world similar to the earthly one, and not in the ideal Kingdom of Heaven, as the church claims. Finally, the authors maintain that the process of a character’s transformation into a “higher individual” was consistently and fully described by Dostoevsky in the stories of Raskolnikov and Ivan Karamazov.

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Design in Deloney's Jack of Newbury

PMLA ◽

10.2307/461488 ◽

1973 ◽

Vol 88 (2) ◽

pp. 233-239 ◽

Cited By ~ 1

Author(s):

Max Dorsinville

Keyword(s):

Middle Class ◽

World View ◽

The State ◽

The Novel ◽

Way Of Life ◽

Literary Value ◽

Greco Roman ◽

Political Conception ◽

The Social ◽

The World

Jack of Newbury's surface realism in characters, setting, and speech has led to an underestimation of its historical and literary value. A close reading reveals the consistent use of the Greco-Roman ethical-political conception of the state, epitomized in the figure of the ruler. Deloney shows his familiarity with this tradition, probably known to him through Erasmus and Sidney, in the three controlling motifs of his novel. First, the middle class of weavers, represented in Jack's household and dramatized in allegories and symbols, is portrayed as a self-sufficient state where peace and harmony reign. Second, this state is shown to be such because of the nature of its ruler, Jack, a benevolent, generous, wise man. Third, the middle-class way of life—hard work, thriftiness, material gains—serves as princely education; accordingly, Jack, from a menial position, goes on to become ruler of the state. Jack of Newbury, as a systematical reordering of an aristocratic tradition, represents the world view of the emergent middle class; and as such, a momentous shift in the social temper of the Renaissance and an important step in the evolution of the novel.

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MODELLING OF THE CHILDHOOD WORLD IN THE NOVEL “MARGHERITA DOLCEVITA” BY S. BENNI

Naukovì zapiski Nacìonalʹnogo unìversitetu «Ostrozʹka akademìâ». Serìâ «Fìlologìâ» ◽

10.25264/2519-2558-2020-9(77)-111-113 ◽

2020 ◽

Vol 1 (9(77)) ◽

pp. 111-113

Author(s):

Iryna Kushnir,

Keyword(s):

World View ◽

Family Values ◽

Growing Up ◽

The Novel ◽

Self Identity ◽

Her Family ◽

The World ◽

Home Space ◽

Existential Dimension ◽

First Time

In the article the problem of the childhood in the novel “Margherita Dolcevita” by S. Benni has been studied. The well-known Italian author shows the particular situation when the child comes into collision with the world of adults for the first time. That’s why the main character 15-year-old Margherita became an active adolescent who fights for her family and the main family values. The narrative subjectified child’s “I” reflects the world-view of the XXI century where adults are enchanted by the power of consumerism. Margherita struggles for salvation of the family because she is the only child who can find forces to resist the evil in his own pure soul. The process of modeling of the childhood world is accomplished due to the symbolization of the home space as hearth in contrast with modern soulless neighbors’ world embodied by their black house. Margherita became the core to assemble all generations of her family together. The following microdominants of modeling of the childhood world have been defined: existential dimension of home and family, discontinued connection between family generations, the way to self-identity through the life trials and growing up. The formal peculiarities of the novels such as visuality, unity of composition, burning conflict to show as if from within a difficult emotional and psychological situation in which the character is found have been investigated. This novel by its title “Margherita Dolcevita” gives the child answer to the challenge of the world which she would like to preserve as kind and joyful. The studied novel is rated between the best examples of literature on child’s problems and childhood. Unfortunately this writer remains quite unknown to Ukrainian audience. This fact shows the topicality of this research.

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FROM DARKNESS TO LIGHT: REMBRANDT'S LIGHTING IN THE NOVEL “CRIME AND PUNISHMENT” BY F.M. DOSTOEVSKY

Bulletin of Udmurt University. Series History and Philology ◽

10.35634/2412-9534-2021-31-2-297-308 ◽

2021 ◽

Vol 31 (2) ◽

pp. 297-308

Author(s):

S.I. Yermolenko ◽

O.I. Kadushina

Keyword(s):

Deep Understanding ◽

Main Function ◽

The Novel ◽

Social Psychological ◽

Crime And Punishment ◽

The World ◽

Direction Of Movement

The F. M. Dostoevsky’s special art of chiaroscuro at different times was repeatedly drawn to the attention of researchers. However the observations of Dostoevsky scholars about one of Dostoevsky’s methods of the art of chiaroscuro - the so-called “Rembrandt lighting” - are still fragmentary, which does not allow us to fully assess its significance in the poetics of the writer and the implementation of the ideological and philosophical intention of the works. The authors of the article are guided by the principles of the «slow reading», which allows you to gradually immerse yourself in the meaning of a work or some of its separate episodes, without losing sight of the details and particulars, without which a deep understanding of the text cannot be achieved. The article analyzes three episodes of the novel “Crime and Punishment” (the death of Marmeladov, Raskolnikov’s half-confession to Razumikhin in the corridor, Sonya’s reading of the Gospel to Raskolnikov), in which F. M. Dostoevsky uses the Rembrandt lighting technique. The author establishes not only the significance of these episodes in the text of the novel, but also their internal correlation: they constitute a kind of “Rembrandt plot”, characterized by the invariable direction of movement from darkness to light. As a result of the analysis, a conclusion is made about the multifunctionality of this technique in “Crime and Punishment” (social, psychological, ideological and compositional functions). The main function in the novel is the religious and philosophical function of the Rembrandt illumination as a form of expressing the author’s position: the assertion of the inevitability of the final triumph of the Spiritual Light over the “slum” darkness in the world and the hearts of people.

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Camus' L'etranger

PMLA ◽

10.2307/460515 ◽

1956 ◽

Vol 71 (5) ◽

pp. 865-887 ◽

Cited By ~ 2

Author(s):

Carl A. Viggiani

Keyword(s):

World View ◽

Complete Analysis ◽

The Novel ◽

Critical Writing ◽

Use Of Time ◽

The World

Most of the critical writing on L'Etranger has been focused on the world view or philosophy that it expresses. This is certainly legitimate, especially since Camus himself sees the novel as an incarnation of “a drama of the intelligence.” As a result, however, some of the formal and imaginative aspects of L'Etranger have been neglected, with the further result that the full meaning of the novel has remained hidden. On the surface, L'Etranger gives the appearance of being an extremely simple though carefully planned and written book. In reality, it is a dense and rich creation, full of undiscovered meanings and formal qualities. It would take a book at least the length of the novel to make a complete analysis of meaning and form, and the correspondences of meaning and form, in L'Etranger. My purpose here is less ambitious. I should like first to take up aspects of the novel that have not yet been studied sufficiently, principal among them (and in this order), the use of time and structure as thematic devices, myth, names, patterns of character and situation, and symbols, and then, in conclusion, to use the knowledge gained as the basis for an explication of the meaning of the novel as a whole. Frequent and fairly lengthy references will be made to others of Camus' books, simply because the novel is incomprehensible except in the context of all his works; it is hoped that what may appear to be digressions will be justified by the light they throw on the novel.

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Crime, punishment, and death: Reading finitude and the self in David Malouf’s ‘The Conversations at Curlow Creek’

Coolabah ◽

10.1344/co20212932-42 ◽

2021 ◽

pp. 32-42

Author(s):

Chinmaya Lal Thakur

Keyword(s):

Identity Politics ◽

New South ◽

The Novel ◽

Early Nineteenth Century ◽

Historical Representation ◽

Crime And Punishment ◽

South Wales ◽

The World ◽

German Philosopher ◽

Historical Accounts

The present paper reads David Malouf’s 1996 novel The Conversations at Curlow Creek as portraying a vivid and realistic picture of events relating to crime and punishment in colonial Australia in the early nineteenth century. The depiction of death penalty accorded to the bushranger Daniel Carney under the supervision of the Irish sheriff Michael Adair in New South Wales thus resonates with numerous historical accounts of incidents that actually happened. The novel, however, does more than only provide accurate historical representation as it also presents Adair as having undergone a rather dramatic transformation in the process of conversing with Carney before the latter’s execution. The paper, drawing on the views of the German philosopher Martin Heidegger, argues that a realization of inevitable mortality, of facing certain death characterizes this change in Adair’s nature and worldview. It concludes by suggesting that Adair’s acceptance of his finitude intimates of a way of being in the world that not only subverts procedures of administering punishment to convicts in colonial Australia but also indicates the limits of polarized identity politics that shapes the country in the present times.

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“Crime and Punishment”: A Mystical Novel about Saving the World through the Love of Jesus Christ and Sophia

Solov’evskie issledovaniya ◽

10.17588/2076-9210.2020.4.136-150 ◽

2020 ◽

pp. 136-150

Author(s):

I.I. Evlampiev

Keyword(s):

Detailed Analysis ◽

Jesus Christ ◽

The Novel ◽

Spiritual Power ◽

Natural Explanation ◽

Crime And Punishment ◽

Imitation Of Christ ◽

The World ◽

Material Power

This article is a continuation of the interpretation of F.M. Dostoevsky’s novel “Crime and Punishment”. A detailed analysis of the central episode of the novel, Raskolnikov's visit to Sonya Marmeladova, Is here offered, and, as a result, many hidden allusions to the story of Jesus Christ are revealed. Attention is drawn to the dual meaning of Raskolnikov's statements about the need to gain power over the world: this is either material power, based on the laws of the evil world (in imitation of Napoleon), or spiritual power, canceling the laws of the world (in imitation of Christ), which includes serving people and accepting suffering for everyone. It is proved that all the mysterious and incomprehensible details of the narration receive a natural explanation when the Gnostic myth of the salvation of the world through the love union (sizigiya) of Jesus Christ and Sophia is put at the basis of the symbolic plan of the novel. This connection takes place in the epilogue of the novel, where the symbolic plan completely prevails over the realistic, which allows to explain the change in the style of the narrative, which was paid attention to by many researchers.

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«Crime and Punishment»: mystical novel about the birth of the Savior in the world of the evil Demiurge

Solov’evskie issledovaniya ◽

10.17588/2076-9210.2020.3.140-156 ◽

2020 ◽

pp. 140-156

Author(s):

I.I. Evlampiev

Keyword(s):

Detailed Analysis ◽

Jesus Christ ◽

The Novel ◽

Main Character ◽

Dual Nature ◽

Crime And Punishment ◽

Full Responsibility ◽

Tragic Consequence ◽

The World ◽

New Interpretation

The article proposes a new interpretation of F.M. Dostoevsky's novel "Crime and Punishment”. It is shown that in addition to realistic and socio-psychological plans, the novel contains a symbolic and mystical plan, which is the main one. A detailed analysis of the text of the novel and the preparatory manuscripts for it suggests that Dostoevsky used as the basis of the novel the Gnostic myth of our world as the creation of the evil God the Demiurge and of the fallen Sophia (lower divine aeon), who was captured by matter and awaiting the Savior (Jesus Christ), who is to be born in the world itself, to realize his destiny and, having found Sophia, unite with her in an act of mystical love (syzygy). The mythological image of the Savior, Jesus Christ, expresses Raskolnikov, the main character of the novel. The article proves that the murder committed by a hero can be explained as an inevitable and tragic consequence of the dual nature of any person: he has not only a higher principle, arising from a connection with the good God the Father, but also a lower, dark beginning, created by the evil Demiurge. Therefore, in his action, man inevitably brings not only good, but also evil. Raskolnikov in his fate reveals the tragedy of a man who seeks to change the world of evil by his actions, and shows a universal way out of this tragedy - the acceptance of the full responsibility for what is happening in the world and the all suffering. In this sense, it exactly matches the image of Jesus Christ in its Gnostic understanding.

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"The transfomation of the novel Crime and punishment in the V. Pietzuch’s remake The new Moskow philosophy (axiologisation of Russian classics) "

Lyuboslovie ◽

10.46687/ggmi7155 ◽

2021 ◽

Vol 21 ◽

pp. 151-163

Author(s):

Dehka Chavdarova ◽

Keyword(s):

Russian Literature ◽

Scientific Discourse ◽

Spiritual Experience ◽

The Novel ◽

Cultural Consciousness ◽

Russian Culture ◽

Crime And Punishment ◽

The World ◽

The 19Th Century ◽

The Impact

The idea of literariness of Russian culture, of the impact of literature on Russian life, is an axiom of Russian cultural consciousness, which however doesn’t cease to draw the attention of researchers. Russian literature itself, from the 19th century on to this day, manifests this idea, altering the semantics of the life-literature relationship. In Pietzuch’s story the attention is drawn to the metatextual commentary about the role and value of Russian classics (and literature in general), and about the literariness of Russian consciousness – a commentary close to scientific discourse. The writer conceptualises literature as an invariant embodying the spiritual experience of humanity, and reality as an imitation of literature, deprived of structure and meaning. He creates an image of contemporary Soviet reality, which is a travestied variant of the world of Dostoevsky in the novel “Crime and punishment”. The conclusion refers to the development of similar axiologisation of Russian classics in the post-modernist remakes from the 1990s to this day.

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