scholarly journals On the Meaning of Parallel Scenes and Cross-Cutting Motives in F. M. Dostoevsky’s «Super-Novel»: The Search for a Method Between Innokenty Annensky and the «New Criticism»

2020 ◽  
Vol 3 ◽  
pp. 84-93
Author(s):  
M. B. Plyukhanova ◽  
Keyword(s):  
The Body ◽  
The Other ◽  
New Criticism ◽  
Crime And Punishment ◽  
The Brothers Karamazov ◽  
Continuous Text ◽  
Brothers Karamazov ◽  
Continuous Work ◽  
Vyacheslav Ivanov

The article is based on the idea that fi ve Dostoevsky’s novels can be interpreted as one continuous text. This opinion has already been expressed by Vyacheslav Ivanov, Petr Bitsilli and others, in various frameworks. The article shows how certain scenes and details migrate from one novel to the other, gaining key positions in the novels’ structure. Scenes involving a coffi n with the body of a victim (a woman, a child), are analyzed: flowers, birds, a fly acquire different functions and meanings in such scenes in "Crime and Punishment", "The Idiot", "The Eternal Husband", "The Brothers Karamazov". The concept of one continuous work («great novel», or «super-novel») takes shape through correspondences and contrasts between such images and details.

scholarly journals To Be or Not to Be God—The Issue of Authorial Power in Dostoevsky

Religions ◽  
2021 ◽  
Vol 12 (7) ◽  
pp. 506
Author(s):  
Alexander Zholkovsky
Keyword(s):  
The Other ◽  
Crime And Punishment ◽  
Playing God ◽  
The Brothers Karamazov ◽  
Grand Inquisitor ◽  
Brothers Karamazov

This paper problematizes the now widely accepted concept of Dostoevsky’s dialogism, which alleges the ‘Author’s’ equal empowerment of all his characters. Using examples from Crime and Punishment and The Brothers Karamazov, Zholkovsky focuses on instances of ‘scene-staging’ based on the ‘scripts’ devised and enacted by some characters, that are ‘read,’ with varying success, by their targets. He documents the resulting ‘discursive combat’ among the characters, with special attention paid to those ‘playing god’ and thus, the more ‘authorial’ among them. In several cases, the would-be ‘divine’ manipulation is shown to be consistently subverted by the Dostoevskian narrative. However, in one instance, where Aliosha Karamazov charitably scripts Captain Snegirev’s behavior, the ensuing discussion of this episode, in Aliosha’s conversations with Lise Khokhlakova, upholds Aliosha’s right to play god with the Other—“for the Other’s own good”, of course (not unlike the Grand Inquisitor).

scholarly journals «Два романа одного жизнеописания»: «Три года» А.П. Чехова и «Братья Карамазовы» Ф.М. Достоевского

SlavVaria ◽  
2021 ◽  
Vol 1 (1) ◽  
Author(s):  
ДИАНА КОМЯТИ
Keyword(s):  
Comparative Analysis ◽  
The Other ◽  
The Brothers Karamazov ◽  
Other Hand ◽  
Brothers Karamazov ◽  
Intertextual Connections ◽  
The One

“Two novels of one biography”: “Three years” by A.P. Chekhov and “The Brothers Karamazov” by F.M. Dostoevsky. In contemporary Chekhov studies the significance of Dostoevsky’s creative heritage in Chekhov’ artistic world is increasingly comprehended. They attempt to reveal and interpret intertextual connections with Dostoevsky’s novels, embedded in the subtext of Chekhov’s works. On the one hand, common themes and problems that bring writers closer together are revealed, on the other hand, Chekhov’s polemical rethinking of Dostoevsky’s legacy is noted. Connected with this tendency the article deals with comparative analysis of Chekhov’s story “Three Years” and Dostoevsky’s novel “The Brothers Karamazov”. In this work we try to identify and interpretate the allusions and parallels hidden in Chekhov’s story.

scholarly journals Ivan Karamazov as a Philosophical Type—but which one?

2021 ◽  
Vol 24 ◽  
pp. 54-75
Author(s):  
Kåre Johan Mjør
Keyword(s):  
Structural Organization ◽  
The Other ◽  
Close Reading ◽  
The Novel ◽  
Reported Speech ◽  
Direct Speech ◽  
Moral Sensibility ◽  
The Brothers Karamazov ◽  
Brothers Karamazov ◽  
The One

The article analyses a set of philosophical statements made by and attributed to Ivan Karamazov in Dostoevsky's The Brothers Karamazov, in order to answer the question as to what kind of philosophy Ivan may be said to express in the novel. My close reading reveals that there is a significant distinction between, on the one hand,  Ivan's most radical statements, that is his rational egoism and the idea that "everything is permitted," which are always given in reported speech, and on the other the “Ivan of direct speech,” a character characterized by far more moral sensibility (e.g. in the Pro et contra part). On the basis of these findings the article seeks to bring together two traditions in the reception of Dostoevsky—the philosophical and the narratological. By letting these approaches inform one another I suggest ways in which the structural organization of the text is itself a bearer of philosophical meaning. Moreover, the article takes seriously Bakhtin's claim that Dostoevsky's heroes are not merely stable representations of ideas, but engage with them through dialogue and encounters with others, as exemplified by Ivan Karamazov himself as well as by other characters' responses to his articulations. 

«SUPERNATURAL» AND «FANTASTIC» IN DOSTOEVSKY’S POETICS: THE RECEPTION BY USA RESEARCHERS IN SLAVIC STUDIES

2021 ◽  
pp. 132-141
Author(s):  
Tatiana Millionshchikova ◽  
Keyword(s):  
Literary Studies ◽  
Crime And Punishment ◽  
The Brothers Karamazov ◽  
The Usa ◽  
The Dead ◽  
Brothers Karamazov ◽  
Slavic Studies

The review analyzes Slavic literary studies of the USA discussing the motives of unreality used by F.M. Dostoevsky to create atmosphere of fantastic and supernatural in his prose. It focuses on the works by R.B. Anderson, R.L. Jackson, D. Lowe, N. Perlina, St. Rachman, and E. Slivkin, exploring the role and functions of supernatural in the Dostoevsky's novels «Notes from the House of the Dead», «Crime and punishment», «Idiot», «Devils», and «The Brothers Karamazov».

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.

The Parasites of Parricide. Living through the Other when Killing the Father: Interpassivity in The Brothers Karamazov

2018 ◽  
Author(s):  
Robert Pfaller
Keyword(s):  
Sigmund Freud ◽  
The Other ◽  
The Brothers Karamazov ◽  
Brothers Karamazov

Dostoyevsky’s novel Brothers Karamazov contains, as Sigmund Freud has perspicuously noted, an utterly paradoxical and psychologically most interesting scene - one that immediately calls for attention from the perspective of the theory of interpassivity: Why can one be relieved and grateful to someone else for having killed his father - even if they are not brothers? By what psychic mechanism does the parricide of the other allow one to renounce one’s own? Is it identification? Or love? Or something else?

Crime Without Punishment: Ivan Bunin’s "Loopy Ears"

Slavic Review ◽  
1981 ◽  
Vol 40 (4) ◽  
pp. 614-624
Author(s):  
Thomas Gaiton Marullo
Keyword(s):  
Young People ◽  
World View ◽  
Christian Mysticism ◽  
Crime And Punishment ◽  
The Brothers Karamazov ◽  
Brothers Karamazov ◽  
Emigre Writers

Despite their often disparate recollections of Ivan Bunin, émigré writers, critics, and memoirists agree that he was vociferously opposed to the fiction of Fedor Dostoevski, especially his major novels. They recall repeatedly that Bunin looked upon Dostoevskii as a “loathsome writer” and that he indicted Crime and Punishment, The Possessed, and The Brothers Karamazov for what he believed to be their strained atmosphere, brittle construction, unwieldy style, and, most importantly, their monotonous characters, especially conscience-stricken criminals and suffering heroines. The émigré literati further contend that Bunin found particularly abhorrent the Christian mysticism of Dostoevskii’s world view. In Bunin’s opinion, they report, the ontological flights and falls of Raskol'nikov and Alesha Karamazov were but a lame excuse to “have Christ shoved into vulgar novels.” Valentin Kataev recalls that Bunin raged apropos of Raskol'nikov: “Dostoevskii sticks your nose into impossible and inconceivable abominations, into spiritual filth—From here has come everything that has happened to Russia: Decadence, Modernism, Revolution, young people who are infected to the marrow of their bones with Dostoevshchina—[ who are] without direction in their lives, confused, physically and spiritually crippled by war, not knowing what to do with their strengths and talents, at times, their exceptional, even colossal talents.” Significantly, Bunin’s dislike of Dostoevskii continued until his death. A. Bakhrakh reports that on November 7, 1953, the last day of Bunin’s life, the writer promised that “should I live and God give me strength, I will try again to remove Dostoevskii from his pedestal.”

scholarly journals On the Metaplot of Reading Aloud in the Novels by F. M. Dostoevsky

2021 ◽  
Vol 27 (2) ◽  
pp. 102-109
Author(s):  
O. D. Kosheleva ◽  
◽  
N. V. Prashcheruk ◽  
Keyword(s):  
Reading Aloud ◽  
Crime And Punishment ◽  
The Brothers Karamazov ◽  
Brothers Karamazov ◽  
Raising Of Lazarus

The article is devoted to the four episodes of reading the passages from Holy Scripture in the F. M. Dostoevsky’s novels. These include The Raising of Lazarus in “Crime and Punishment”, Messages to the Angel of the Laodocian Church in “Demons” and the Marriage at Cana in “The Brothers Karamazov”. There are several shared characteristics of the content and structure in noted episodes. First of all, there are always heroes-who-read and heroes-who-listen. Secondly, while heroes-who-read are usually having a strong faith, heroes-who-listen are facing the crisis of belief. Finally, each passage is meant to be an allegory, by which the readers are trying to point a new way in life for listeners, and motivate them to work on themselves instead of giving them ready answers. In conclusion, all of the above-mentioned episodes could be summarized into a metaplot of reading in the F. M. Dostoevsky’s novels.

Sign in / Sign up

Export Citation Format

Share Document