WARUM TÖTETE RASKOL’NIKOV EIGENTLICH? MOTIVIERUNG IM LICHTE EINER PSYCHOHISTORISCHEN MOTIVATION

This paper shows that the text of the novel Crime and Punishment places plot and characters in the context of a specific historical epoch. The epoch implies a specific psychological structure of the characters. One aspect of this psychological structure is singled out and demonstrated on the basis of its intra-fictional as well as its extra-fictional motivating effect. In this way, the old riddle of why Raskolnikov actually became a murderer is solved.

„EIN MONOLOG DES FÜRSTEN MYSCHKIN1“ (NACH FEDOR DOSTOEVSKIJS ROMAN IDIOT) VON INGEBORG BACHMANN UND SEINE ÜBERTRAGUNGEN INS RUSSISCHE: ASPEKTE DER ÜBERSETZUNGSFORSCHUNG

The paper analyzes three translations of a fragment of Ingeborg Bachmann’s libretto for Hans Werner Henze’s ballet, The Idiot. Bachmann’s libretto is based on Dostoevsky’s novel, but it also expresses crucial themes of her own poetry, which is underlined by the fact that the text was integrated into her book of poems, Invocation of the Great Bear. Following the transfer-oriented approach of the Göttingen School of translation research, first, the semantic structure of the source text is examined, after which, the target texts are analyzed with regard to significant deviations, which are then explained against the backgrounds of literary, cultural and social-political history. The fact that Bachmann’s text refers back to Dostoevsky’s novel plays a not inconsiderable role in the choice of texts to be translated.

THE GRAND INQUISITOR: THE PATHS OF FREEDOM

This paper analyzes the antitheistic argument of Ivan Karamazov in the context of theodicy. We focus on the chapter The Grand Inquisitor, which, as we demonstrate, represents the ultimate argumentative point of Ivan’s "rebellion" against God. Logical impossibility of justifying evil in the world leads Ivan not only to the conclusion that evil is an unerasable mark of God’s mistake appearing while making his creation (man and the world), but also that the basis of that evil is one of the most appreciated human virtues: freedom. After Alyosha introduces Christ (thesis) into an argument on theodicy, as an instance that can and has the right to forgive evil and thus cancel its effects, Ivan responds with his dialectical counterpart (antithesis): The Grand inquisitor. Synthesis in this dialectical struggle, as we demonstrate, does not lead to any logically acceptable solution. On the contrary. We are left with the paradox: freedom has, at the same time, led to theodicy and to an accusation against Christ.

DIE WEIBLICHE LEICHE BEI DOSTOEVSKIJ

THE FEMALE CORPSE IN DOSTOEVSKY The concept of the “beautiful female corpse” of E. Bronfen is used to analyse the narrative functions of the dead woman in Dostoevsky’s “Idiot” (“The Idiot”, 1868) and “Krotkaja“ (“A Gentle Creature“, 1876).

AT 200 YEARS OLD, DOSTOEVSKIJ HAS ARRIVED IN THE 21st CENTURY

Let's look into our time. Dostoevsky’s works, which have to be rediscovered by every generation, appear not only in a new way through colorful front pages (this is now part of the visual presentation), but also through new translations. For the past 30 years, Swetlana Geier has been responsible for the translation of the Russian poet's novels and stories into German. Now, in small individual publications, the names of new translators appear in all European languages.

ИДЕЈЕ ЕВРОАЗИЈСТВА И „РУСКИ ХРИСТОС“ ДОСТОЈЕВСКОГ IDEAS OF EURASIANISM AND DOSTOEVSKY'S "RUSSIAN CHRIST"

In this paper, through a review of the most important ideas of the philosophy of Eurasianism related to concepts of nationality, personality and Orthodoxy, we point out their connection with the world of ideas of F. M. Dostoevsky. The main part of the paper is dedicated to an analysis and observation of the connections between the idea of national culture, nationality, and the idea of Dostoevsky’s "Russian God", as well as Nikolai Trubetzkoy's key ideas about national culture as the only possible one, based on Orthodoxy as the only form of Christianity that preserves the original teaching and tradition. The notion of the "Russian Christ", recognized by Oscar von Schultz in the works of Pushkin, Lermontov, Turgenev, Chekhov and Dostoevsky, is especially present in the novel “The Possessed” through the character of Shatov. The character’s micro-monologue about the "Russian God" is a special focus of our analysis in the light of the phrase “Russian Christ”. This phrase expresses a specific understanding of Christianity that Russia received from Byzantium. Moreover, this specificity has been characteristically reflected, both in the literature and in the character and features of the Russian people, through the dominant kenotic principle.

F. M. DOSTOEVSKY AND NIHILISTIC INTERPRETATION OF HOLBEIN'S PAINTING „DEAD CHRIST IN THE TOMB”

Ever since Hans Holbein the Younger completed his painting, The Dead Christ in the Tomb, in 1522, a question has been looming over it, namely, what message does this dead body convey? Having seen the painting in 1847, the Russian classic writer Fyodor Dostoevsky was also intrigued by this question. In his novel, The Idiot, Ippolit Terentyev seeks to give a systematic and direct answer. The article presents a hermeneutic analysis of his position, and classifies it as nihilistic. Nihilism affects all three levels of Ippolit's discourse - the ontic, eschatological and ontological. Nevertheless, the question remains: can such nihilism be justified from the perspective of the painting itself? Posing this question in the context of Alois Riegl’s periodization of European culture has proven to be interesting. He is of the opinion that, following the era of Christian monotheism, the third and the last period of the development of European culture is the natural-scientific period. This particular period, Riegl believes, began in 1520. If we choose to accept this periodization model, The Dead Christ may be seen as one of the first paintings of the modern era, keeping in mind that Holbein painted it in 1521 and 1522. As regards the issue of the body of The Dead Christ being immersed in physical suffering to the extent that the possibility of resurrection is excluded - as Ippolit presumes - this article offers certain reasons of an anatomical nature which may be interpreted theologically and which deny the validity of Ippolit’s modern, nihilistic hypothesis in regard to the meaning of Holbein's Dead Christ.

CRIME AND PUNISHMENT IN THE CHAPTER “REBELLION”, IN THE NOVEL “THE BROTHERS KARAMAZOV” OF F. M. DOSTOEVSKY (Problems of the suffering of the innocent)

F. M. Dostoevsky is one of the world's great writers who, while preserving the autonomy of a literary work, incorporated into his works issues of an ethical-philosophical and religious character. He permeated his works with echoes of these topics, but, in addition to the literary stamp, in some chapters he concretized ethical-philosophical and religious issues, for example, in the novel "The Brothers Karamazov", in the chapters "Rebellion" and "The Grand Inquisitor”. Concerning his spirituality and his perspective on life and society, Dostoevsky belongs to writers whose moral norms are the foundation and imperative of their poetics. He paid special attention to those who were "insulted and humiliated, ", the so-called "little people", especially children who suffer in the world of adults. In this light, we can also say that the title of the chapter "Rebellion" is a seal of Dostoevsky's work, and our work focuses on the central theme of "Rebellion" - the relationship of adult characters to the suffering of children in the world, and the very purpose of punishment for crimes which cannot adequately be redeemed. By analyzing this key chapter of the novel, through concrete images of the suffering of children and the attitudes of Ivan Karamazov, we emphasize the motif of crime and punishment in "The Brothers Karamazov": the question of freedom, that is, free will, but also love towards people who are close, which Dostoevsky problematizes, especially in the parent-child relationship. We also point out the creative task of this Russian writer; his effort to solve the eternal enigma of man as a being, through which the writer wants to solve the riddle of God. Ivan's rebellion against such an arrangement of God is also shown, in which the suffering of the innocent is allowed, with the hero's rejections of future harmony at the expense of the suffering of the innocent and powerless. In this chapter, which has so far received little attention in literary criticism, Dostoevsky also questioned the eternal questions of man through the experience of lived truth, with the view that there is no goal worthy of a single human life or a child's tears. In his complex task, synthesizing in the sphere of literature, ethical-philosophical and religious attitudes, Dostoevsky determines the essence of man and his moral values, opposing the postulates of the notion of unconditional love to rational will, determined by social, generally accepted factors. Based on a wider range of contrasts and contradictory attitudes of Dostoevsky's heroes, especially Ivan Karamazov in "Rebellion", from atheism, faith and agnosticism, to rebellion and preaching, we conclude that these categories are strongly intertwined in the rich literary amplitude of Dostoevsky - writer and ethicist, philosopher, and preacher in literature - and not only permeate, but always end with the apotheosis of a love for man, especially for the so-called "little man", and for unprotected children, indicating the author’s strong compassion for the suffering of the innocent.

http://www.folia.ac.me/image/38/Dora%20Kelemen.pdf

This paper analyzes female characters in two early works by Fyodor Mikhailovich Dostoevsky– Poor Folk (1845, Bednye liudi) and The Double (1846, Dvoinik). It considers the literary methods used to represent those characters, as well as their relation to the male main character and some aspects of gender construction in these works. It is shown that the importance of female characters in these two works is directly connected with their (real or imagined) influence on the male main character. Consequently, a female character can play an important role in the novel even if she doesn’t personally appear in it. Women are fatal for both male characters, albeit for different reasons. Drawing on the research of Neuhäuser (1979), this article shows some further similarities in the basic structure of both works. They share the form of a love affair accompanied by intertextual references, as well as a narrated previous relationship of the male character, both of them serving as an additional explanation of the current love affair. The epistolary form of Poor Folk leads to self-representation being the main way of showing Varvara Dobroselova’s character, while Klara Olsuf’evna of The Double is depicted both from the perspective of the auctorial first-person narrator, as well as from Goliadkin’s perspective. The auctorial narrator of The Double ironizes not only Klara Olsuf’evna, but also other characters and social practices of the Petersburg society. The internal monologues and the free indirect speech of Goliadkin, however, show signs of a negative, even misogynistic attitude towards the character of Karolina Ivanovna and partially also to Klara Olsuf’evna. Lastly, Poor Folk introduces themes to Dostoevsky’s work, which occupy him until the end of his life and manifest themselves in their more recognizable form in his later works.