PDF Frauengestalten in Dostoevskijs Roman „Verbrechen und Strafe“ (German Edition)

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He stands there, the only reality in an invented world, amongst imaginary things, happenings, and people. Writing about them, he is only writing about himself But the disclosure is not complete. He remains to a certain extent a figure behind the veil; a suspected rather than a seen presence - a movement and a voice behind the draperies of fiction. Amsterdam, Atlanta , Columbia, London , London, Toronto , 8 f. Joseph Con- rad's Under Western Eyes. Beginnings, Revisions, Final Forms. Hamden , , Der Protagonist wird bereits im ersten Satz als..

Conrad schreibt hier als Konrad. Er braucht die Beute, um Ms Vault Conrad: Under Western EN es. Letzlich rekurriert Conrad hier auf eine Denkfigur aus der polnischen Romantik, die gleichzeitig auch zu einer Handlungsfigur geworden ist. Under the sumptuous immensity of the sky, the snow covered the endless for- ests, the frozen rivers, the plains of an immense country, obliterating the land- marks, the accidents of the ground, levelling everything under its uniform whiteness, like a monstrous blank page awaiting the record of an inconceivable Ebd.

Letters to and from Polish Friends. London, New York, Toronto , ,9. Warszawa , , Pisma zebrane 8 29 Joseph Conrad: London, Toronto , Konzeptionen der Beichte bei Conrad und Dostoevski] 19 Bereits Mickiewicz hatte Russland mit derselben herablassenden Meta- phorik beschrieben: He had one of those bearded Russian faces without shape, a mere appearance of flesh and hair with not a single feature having any sort of character.

His eyes 30 being hidden by the dark glasses there was an utter absence of all expression. He was useful to me and therefore I think that he must be useful to the reader both in the way of comment and by the part he plays in the development of the 32 story. Durch die Brechung der Romanhandlung im Bewusstseinsprisma des Sprachlehrers kompliziert sich die antirussische Ideologie des Romans. Conrad hatte sich bereits am There's just about as much or as little hatred in this book as in the Outcast of the Islands for instance. Subjects lay about for anybody to pick up.

I have picked up this one. And that's all there is to it. I don't expect you will believe me. You are so mssianised my dear that you don't know the truth when you see it - unless it smells of cabbage-soup when it at once secures your profoundest respect. Under Western Eyes and the Missing Center. Joseph Conrad's Under Western Eyes.

Razumov and the Western Eye. Critical Quarterly 3 , London, Toronto , ix. Volume 4, 1. Cambridge , f. The obligation of absolute fairness was imposed on me his- torically and hereditarily, by the peculiar experience of race and family [ Ajiklage gegen Russland zu lesen, sondern als Kritik am simplifizierenden Blick des Westens auf Russland. Viel angemessener ist eine Deu- tung, in der das Motiv der Beichte in den Vordergrund gestellt wird.

Die menschliche Freiheit besteht also gerade nicht darin, die Schuld zu ver- Joseph Conrad: Auch Mickiewicz hat immer wieder in seinen literarischen Werken das Problem des ehrenvol- len Verhaltens gestaltet. Genau diese Spezifik findet man auch bei Conrad. Auch Conrad betreibt keine psychologische Introspektion, sondern zeigt die Innenwelt seiner Helden nur indirekt durch ihr Verhalten in einer be- stimmten Situation.

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Razumov wird durch zahlreiche intertextuelle Anspielungen auf Dostoevski] als Inkarnation des russischen Elements charakterisiert. Dieser Forderung ordnete sich die ge- samte polnische Literatur des Er bediente sich des Englischen und wich in seinen Werken der polnischen Problematik aus. Dostoevsky Studies, New Series, Vol. Thus it makes sense not only that he was acutely aware of the ways in which printed texts were shaping so- ciety, but also that he saw words as acts: I use the term "print culture" here as a short-hand way of referring to the complex web of so- cial and economic relations that arise in societies where large numbers of texts are distributed among a broad reading public and "text" for my pur- poses refers simply and narrowly to words on paper.

Dostoevskii, Polnoe sobranie sochinenii Leningrad, , All Dostoevsky citations are from this edition. Midway through Crime and Punishment we learn that Raskolnikov, half a year before the moment when the narrative opened, wrote an article entitled "On Crime" and sent it off to a journal.

Months later the article was published, but without Raskolnikov's knowledge and in a different journal — where it was then read attentively by the man who would soon be Raskolnikov's interrogator, Porfiry Petrovich. Clearly, Raskolnikov's text took on a life of its own once he sent it out into the world.

It is in- structive to compare this plot development with Tolstoy's account, in Anna Karenina, of what it means to print and disseminate a text. Here Levin's half-brother Koznyshev labors for six years on a political- philosophical treatise that he expects will "make a serious impression on society [obshchestvoy The book's publication, however, is met with "ab- solute indifference," its appearance going virtually unacknowledged ex- cept for a single spiteful and petty review.

The reception of Koznyshev's book reads almost like a direct refutation of Crime and Punishments in- sistence on print culture's real-world effects: Refusing to recognize what Tolstoy clearly represents as the fundamental unreality of what we call print culture, Koznyshev consoles himself for his own book's failure to change the world by focusing on what he repeat- edly claims is the "public opinion" obshchestvennoe mnenie manifesting itself in print in response to the Serbo-Turkish war. Twenty years ago we would have been silent, but now the voice of the Russian people is Dostoevskii, 6: Tolstoi, Anna Karenina, 2 vols.

Khudozhestvennaia literatura, , 2: Quite characteristi- cally, he is anything but subtle in this debunking effort. Besides depicting the war volunteers as a drunken mob, he has Levin meditate on how ri- diculous it is to believe that "a dozen or so people It is a truism that Dostoevsky's fiction derives from the journalistic writing of his age, and Demons, more than any of his other novels, is a text "ripped from the headlines," a work that could not be any more deeply implicated in con- temporary print culture.

The book's origins lie partly in Dostoevsky's reading of early newspaper reports of the Nechaev affair, the murder of a Moscow student in November 1 by political terrorists. The writing of Demons largely predated detailed press accounts of the infamous crime, but once these accounts appeared in the papers — in July of , after about half the novel had already been serialized — Dostoevsky declared himself well pleased with his success at having imagined the kind of per- son who would be capable of such a crime.

Thus Demons is a product of the environment in which Dostoevsky lived his entire working life, a world where printed texts are part of a vast system of exchange that encompasses and passes around both ideas and money. For a concise discussion of the meanings of "public opinion" in late imperial Russia see Marcus C. Cornell University Press, , At this time Dostoevsky was living in Dresden, but he followed the Russian press almost obsessively. Demons was serialized in The Russian Herald from January through December before being published as a book in We read constant references to pamphlets and tracts, to various newspapers, periodicals, works of literature, books by German positivists, publications smuggled in from abroad, and on and on and on.

The provincial governor is an aficionado of political pamphlets, having amassed "his own private collection of all possible kinds of tracts [proklamatsii], Russian and foreign, which he had been carefully collect- ing since the year 'fifty-nine. By prefacing his novel with the story of Jesus expelling demons from a possessed man and driving them into a herd of pigs and by repeating the reference, rather heavy-handedly, in the book's final section , Dostoevsky reinforces the point that his characters are possessed, or infected, by ideas.

At one point the spread of political texts is explicitly equated — indeed, almost conflated — with the spread of cholera. Dostoevsky's narra- tor gives a characteristically semi-garbled and semi-reliable account of events. He begins with a discussion of the "tracts" proklamatsii re- cently discovered in the area, pointing out that they were "exactly the same ones, it would later be said, that had not long ago been spread about in Kh — province. Print Culture and Real Life in Dostoevsky 's Demons 29 mors to newspapers all of them circulating , the narrator then shifts without any hesitation to cholera, an infection which — like the dangerous printed material — is said to come from the factory or perhaps from "neighboring provinces.

Thus does the narrator of Demons move seamlessly between dan- gerous texts, dangerous rumors, and dangerous germs. If one were to judge the whole novel on the basis of passages like this one, one might conclude that Dostoevsky is representing all of print culture as contagion, thereby implying that we would be better off quarantining ourselves from the printed word.

In support of such a reading one might recall certain other Dostoevsky texts. Certainly Dostoevsky would not have been the first to make this kind of case against print culture. Gogol for one, who is Dostoevsky's ideological precursor in many important ways, represents the proliferation of printed texts which he associates with Europe and modernity as a kind of disease, both symptom and cause of chaos and cultural decline.

In Selected Passages from Correspondence with Friends , for exam- ple, Gogol describes the products of print culture as "convulsive, sick creations" 8: In the povest' "Rome" , the image of Paris serves to drive home Gogol's view of the print epidemic and its noxious effects. In a city described as "a numberless mixed crowd of gold letters, climbing on walls, on windows, on rooftops and even on chimneys," with "posters thronging everywhere, striking the eye by the millions," printed texts have displaced real life: People who were infected immediately became possessed [besnovatye: Never, never before had people considered themselves to be so wise or so unshake- able in the truth as those who were infected.

Never had they considered their own judgments, their scientific deductions, or their moral convictions and beliefs to be so infallible. But in fact a reading of Demons as a whole does not support the argument that the narrative equates printed matter with infection — above all because such an argu- ment would imply that Demons represents texts and ideologies as a dis- ease that can be cured, and thus as something escapable. In fact Dosto- evsky's novel does not invite us to imagine the possibility of a text-free, ideology-free world.

Rather, while Demons clearly tells us that bad texts spread bad ideologies, it nonetheless implies that texts are all we have: We have no choice but to try to make sense of them, sorting wheat from chaff. I base this conclusion in part on the passage in which Lizaveta Ni- kolaevna proposes to Shatov probably the most sympathetic of the revo- lutionaries that they undertake the publication of what she calls a "useful book.

While the passage is not in quotation marks, it appears to represent Liza's project in her own words rather than the narrator's. Describing the "multitude of stolichnye and provincial newspapers and other journals published in Russia, which report daily on a multitude of events," Liza laments the fact that these texts are not being preserved in a way that will render them accessible and useful. She notes that while "many of the facts that are published produce an impression and remain in the public's memory," they are eventually forgotten simply because "newspapers are everywhere stacked up in cupboards, or turned into trash Many people would like to consult them later, but what a labor it is to search through that sea of pages.

Gogol, Polnoe sobranie sochinenii, 14 vols. Akademiia nauk SSSR, , 3: It would be, so to speak, a picture of the spiritual, moral, inner life of Russia over an entire year. Liza accepts Shatov's clarification and remains enthusiastic about the un- dertaking.

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In her implicit conviction that printed texts especially journalistic texts can be taken as a mirror of the nation "a picture of the spiritual, moral, inner life of Russia," "the personality of the Russian people" , Liza reveals her belief in what Benedict Anderson has famously called the imagined communities constructed by reading publics, a belief based in a peculiarly modem view of print culture and its relationship to collective life. Benedict Anderson, Imagined Communities: The modem nation's "horizontal" vision of the collective horizon- tal in the sense that it is imagined as a vast fraternal web rather than as a hierarchy relates to what Anderson, citing Walter Benjamin, calls the "horizontal" secular time of modemity.

In this conception of time, simul- taneity is not a matter of "prefiguring and fulfillment" as in a Biblical exegete's typological and thus "vertical" conception of time, for example but rather of "temporal coincidence, This pervasive image of the nation as an entity that is defined by fraternal "horizontal" relations does not of course preclude inequality and exploitation in real life.

Anderson, Imag- ined Communities, 7. Anderson, Imagined Communities, Fontana, , ; and Erich Auerbach, Mimesis: The Representation of Reality in Western Literature, trans. Willard Trask Garden City, N. Doubleday Anchor, , 64, emphases added. In this context one might also cite Michael Holquist's analysis of Crime and Punishment, in which he argues that the "disjunction be- tween the temporal structure of the novel proper and its epilogue" stems from the fact that "the moment of [Raskolnikov's] conversion results in a diminished significance for chronology. Northwestern University Press, [orig.

Print Culture and Real Life in Dostoevsky 's Demons 33 the steady onward clocking of homogeneous, empty time. As a book that will convey "the personality of the Russian people at a given momenf "facts for the whole year," "a description of Russian life for all the year," "a picture of the spiritual, moral, inner life of Russia over an entire year" , this is indeed a text that can be understood as "a complex gloss on the word 'meanwhile.

Newspapers and novels — and Liza's project, which shares charac- teristics with both — can be seen as formal embodiments of such a belief Thus Demons underlines the close relationship between these two forms, as if to illustrate Anderson's claim that a newspaper is in effect "a book sold on a colossal scale, but of ephemeral popularity.

Nonetheless the passage offers another way into Dostoevsky's views on print culture, a perspective that undermines the Anderson. Dostoevsky is, I think, fundamentally sympathetic to Liza's idea, as evidenced immedi- ately by the fact that this idea appears to come to us in Liza's own words, undistorted by the garrulity, contradictoriness, and unreliability that char- acterize the narrator's discourse.

Furthermore, if printed texts were conta- gions, we would expect a wholesale rejection of their taint and an effort to contain it or perhaps a relativist assumption that all texts are equal, that is, equally corrupt and corrupting. Instead Demons seems to endorse, or at the very least not to condemn, a project aimed at disseminating texts even more widely, making them available to as many readers as possible and allowing these readers to judge for themselves. The "usefiil book" Liza proposes will not yield eternal truths, since it will represent the nation only "at a given moment," but it will yield information and meaning — a claim that suggests quite a positive view of how print culture works, or how it might work.

Some critics have pointed out similarities between Liza's undertak- ing and Dostoevsky' s own Diary of a Writer, noting that her idea reflects Dostoevsky's belief that "the analysis of seemingly disconnected factual events could tell the discerning eye much about the national life. Moore, "The Voices of Legion: The Narrator of The Possessed.

As Charles Moser has written, "Dostoevsky rejected the particular theories advanced by the radicals Dostoevsky was far too ideological a writer for that. Therefore we must make do with what we have, and what we have are texts: In an letter to Strakhov Dostoevsky wrote, "in every issue of the newspaper, you find reports of the most realistic [deistvitel'nye] as well as the oddest facts.

Our writers see them as fantastic and ignore them. Of course Dostoevsky did not think that newspapers were never inaccurate. Rather, what this statement points to is his conviction that printed words are the "deeds" that create reality itself. Demons does not fail to recognize the dangers inherent in this situa- tion and in the wide circulation of print. Dostoevsky makes it abundantly clear that printed texts — even "good" ones, and even in the hands of 32 Moser, "Dostoevsky and the Aesthetics of Journalism," Narrative as a Socially Symbolic Act Ithaca: Indeed, one of the key problems in the novel is the extent to which one person's ideas can be judged responsible for another person's actions, a problem that is directly analogous to the questions of intentionality and responsibility raised by the spread of print.

How responsible is a writer for what a reader decides to do on the basis of what he or she has read? Were the authors who influenced Raskolnikov guilty of murder? Demons acknowledges these dangers, yet in the end the novel reflects the convictions of a profes- sional journalist. When Dostoevsky initially conceived of Demons as a "pamphlet," he signaled his conviction that we have to fight texts with texts. The novel is not the work of someone who would urge us to es- chew print culture, even at its most dangerously ideologized, and retire to the purity of say Yasnaya Polyana, or Rome.

In this sense Gogol's heir is not Dostoevsky but rather Tolstoy es- pecially late Tolstoy , who shared Gogol's apophatic leanings and thus his suspicion toward the surfeit of words being generated and circulated in print culture. In What Is Art? Over and over he cites the mind-numbing numbers: But in Demons Dostoevsky takes note of the same excess that troubles Tolstoy — what Liza describes as an ever-accumulating "sea of pages," unnavigable in its vastness — in order to propose a way of extract- ing the real meanings that are buried in these pages.

Thus Liza's project affirms the conviction that Tolstoy mocks in the character of Koznyshev, who naively naively, that is, in Tolstoy's judgment believes that in the press "the voice of the Russian people is heard. But with the advent of print technology and wide circulation, the problem becomes especially acute. As one critic has asked, "when one man's idle fantasies become another's rigid faith, is the former responsible for actions the latter may commit in the name of his own ideas?

Tolstoi, Polnoe sobranie sochinenii Moscow: KJiudozhestvennaia literatura, , Print Culture and Real Life in Dostoevsky 's Demons 37 words are the real world despite their unreliability and their problematic copiousness , in Anna Kareuina printed words have little to do with real- ity.

In other words, rather than being a mere ancillary to the conspicuous brothers and their unsightly father, Grushenka is the center the play-maker around whom the others gyrate with their ideas and personalities. Shifting heuristic metaphors, Grushenka is the black center of the Karamazovian kaleidoscope around which the more visible colors circle in their permutations: At the epi-center of all this figurative circling stand two scenes, conjoined in the middle of the book: Grushenka herself is variegated in her self-descriptions: No protagonist in The Brothers Karamazov, in any case, is spoken of in so many ways, many of them contradictory.

As the first narrator says, "the biography of the young woman was only slightly and inconsistently known in our town. Toward a Feminist Biography Let us turn from holography to the essential biography of Aggripina Al- exandrovna Svetlova" that is feminist in spirit although lacking the techni- cal terms of those myriad ideologies.

Grushenka' s father served as a deacon in her church. Her family prayed, sang hymns. The Lives of the Saints were on some page in her soul but on another were tales she memorized of teens who'd fled from home with dashing men. She'd lie awake whole nights thinking, sobbing, boiling for vengeance: No, it was the protection of a fifty-year-old sensualist, a well-known lecher, her "oldie.

Then he became dependant on her, insisting that she keep his books, which she did once a month. She was good at business, by hook or by crook: She entered into usurious loan deals with a ft-iend of shady practices that he'd learned from Jewish partners in Odessa. By twenty- two she was called "an absolute Jewess. What are the implications and consequences of this life history, sticking, as I have, to the basic facts? First, the combined experiences made her "angry and arrogant," hostile to men of all kinds, such as the many suitors of whom she made a laughing stock through her rejections, contemptuous toward others such as her own "oldie protector" and the lecherous Fyodor Karamazov, or fearful of their violence, as of Dmitri's, but at the same time herself, as she repeatedly worded it, "violent, fierce, and angry" — and ready to pack a knife.

Her being abandoned, then "sold" could account for her cruel streak, symbolized by the occasional expression of her lips. In sum, we have, on the one hand, the numerous and often deroga- tory characterizations by local townsfolk and the two narrators that are itemized above; the literary critics to this day are as diverse and often as negative see below.

What Dostoevsky gives us, on the other hand, re- veals a resourceful, tough, extremely intelligent and extremely passionate woman who survived an adolescence that would try any of us and who, at the time of The Brothers Karamazov, was moving toward the middle echelons of a society that, as noted, was economically ruthless and vi- ciously judgmental. During the same four years, one must infer, there had evolved an emotional and religious inner nature that enabled her to re- The "real-life prototype" of Grushenka was Grushenka Men'shova, "she of the delicately curving little foot and the sweet voice Grushenka 41 spond adequately to the news of Zosima's death and the complex person of the young monk, Alyosha.

She was also bothered by guilt and shame at her "fall," as seen by her townsfolk and in light of her Russian Ortho- dox upbringing. Two Summaries As a preliminary to the main act let's mention the hyper-dramatic con- frontation where Katerina, wanting to get Grushenka away from Dmitri, uses an inclusive "we," and, ostentatiously respectful, kisses her "plump little hand," whereas Grushenka, seeing through these ploys, puts on a saccharine voice and a nervous little laugh but then, after promising kisses, withdraws her hand.

Commuting the chocolates and kisses into a failed hoax, she overturns social conventions and hierarchies with a re- morseless honesty that is consistent with the ethics of equality between humans that is taught by Zosima and is ubiquitous in the Gospels. Near the start Grushenka upbraids her "former one" for using Polish, and then, to Dmitri, "Sit down!

Is there something to cry about? In the course of eighteen pages, or one or two hours, the twenty-two year old Grushenka, snarling and shouting and ultimately "merciless and malicious," emerges dominant over six men: Dmitri, the two Poles, her young friend Kalganov, her old-man friend Maksimushka, and the inn- keeper. In terms of "Grushenka dominant," this scene makes a perfect structural twin to the earlier one called "The two together," where she is also called a whore, but turns the tables on the aristocratic, superbly edu- cated Katerina Ivonovna.

A Close Reading of a Central Text: Under her head were two white down pillows taken from her bed. She was ly- ing stretched out motionless on her back with her hands behind her head. She was dressed up as though expecting someone, in a black silk dress with a deli- cate three-cornered kerchief on her head, which was very becoming; over her shoulders was thrown a lace shawl pinned with a massive gold brooch.

She cer- tainly was expecting someone. She was lying filled with longing and impa- tience, her face rather pale, her lips and eyes hot, impatiently tapping the arm of the sofa with the tip of her right foot. A later portrait is by the same narrator but looking through the eyes and thinking the thoughts of the young Alyosha: She came over playfully, sat down next to Alyosha on the sofa and looked at him with positive delight. She was really glad, she was not lying when she said so Her whole maimer also seemed to have changed for the better since the day before: Cutting through all Grushenka' s tension and stress, Alyosha had walked in, handsome, youthful, innocent, as totally welcome as he had been to- tally unexpected.

Alyosha, whose sadness and mourning for Father Zosima had been called an "armour," experiences what Dostoevsky calls "a new, strange feeling"; this woman whom he had feared above ail — and he does fear women — arouses "the most pure-hearted curiosity. Grushenka 43 At the news of Zosima's death, which had already been alluded to, she jumps off Alyosha's knees and cries out with genuine sympathy, at which Alyosha's face "lights up. I wanted to swallow him but now I am his sister.

I gave him an onion. Later Alyosha says, "I came to be destroyed," implying some level of sexual downfall, "but she is higher than us. But now the omniscient narrator gives us one of the most sur- charged, pregnant and critically neglected sentences in 77? What the narrator says is: Here follows Grushenka' s story of the little onion. A totally evil zlaya woman had never helped or given, but once: Her savior angel, after pleading with God, is pulling her from the lake of fire in Hell but, when other sinners cling to her, she kicks at them, the onion shoot breaks, and she sinks back into the flames to boil forever.

The Russian folk connotations of "A little onion," incidentally, "contribute to the process whereby Dostoevsky' s works assume great metaphysical significance" Wigzell In a shift of the Dosto- evskian kaleidoscope, it is the "infernal seductress" who with her gener- ous act extends her onion to the young monk, outwardly holy and chaste but inwardly famished not just for the saintly love of a Zosima but for the love of a woman, like Grushenka, a body-and-soul-mate. Hoffman wrote that "'the sinner Grushenka' breaks up Alyosha's marriage with Lise and threatens to ruin him, but after his erratic life he returns to the monastery purified" Rice Later she says, "He has turned my heart upside down.

He pitied me, the only one to do so , that's what. Why didn't you come here before? I believed that someone would love me, nasty as I am, not only out of shameful love alone. Alyosha's of Christ through Mary turning water into wine for the indigent, of Dmitri's an- guish over the little babe, blue with cold, for whom he wants to suffer, and Ivan's black epiphany of the tortures of little children, polar antithe- ses to the generous act.

Grushenka integrates the symbolism of the book as a whole. The extreme message that Dostoevsky is trying to convey to us be- neath the mind-boggling turn-taking and shifts of attitude is clinched by the critical organizational fact, in this masterfully orchestrated book, that Grushenka's parable of the little onion is positioned directly before, as a companion piece in a diptych, to the miracle story of the wedding feast at Cana; "the striking fact is that, in the main, the parallels to folklore [in Dostoevsky] are found in places which touch upon, and dramatize, themes of the greatest importance to the author" Gibian Not only are the scenes juxtaposed, but toward the end of the reading of John 2.

Speaking in Grushenka's idiom of the little onion, "We are rejoicing," the little wiz- ened man continued, "we are drinking new wine, the wine of a great new joy. See how many guests there are? Here are the bridegroom and the bride, here is the ruler of the feast, tasting the new wine.

Why are you marveling at me? I gave an onion, and so I am here. And there are many here who gave an onion, only one little onion What are our deeds? And 7 Here she uses the long form, zlaya, implying a general state, whereas earlier she had used the short form, zla, for a present condition speaking to Rakitin ; the short form can also mean "angry," but that is not the case with its earlier use by Alyosha. I have the impression that Grushenka's speech involves more the most creative use of grammar of all the characters; this calls for further analysis.

Grushenka 45 you, quiet one, my meek boy, today you, too, were able to give a little onion to a woman who hungered. Begin, my dear, begin, my meek one, to do your work! Zosima' s commutation probably symbolizes the symbolic reciprocated gifts between bride and groom before the wedding: Moreover, her "Little Pear," from the expensive and luscious actual pears, has now been associated with the humble onion, the fruit of the poor.

She is learning Christian humility. In sum, "the infernal one" and the saintly monk are integrated through a symbolic commutation that gives profound substance to the simple juxta- position of chapters into a diptych. That Dostoevsky saw the two chap- ters as tandem is suggested by the key role of candles in each Matlaw 2 n. The issue of the diptych is clinched by the author's statement in a letter: I particularly beg you to proofread the legend of the little onion carefully.

This is a gem, taken down by me from a peasant woman, and of course published for the first timer Dostoevsky originally planned to call Book VII "Grushenka" Miller Dostoevskian Love Let us expand on Dostoevsky' s idea of love because it is connected with Karamazovshchina. Both Grushenka and Alyosha repeatedly character- ize themselves using the Russian ethical terms zol and dobr with their emotional aureolae. Their duet on good and evil, which runs to three pages, is a context for the basic process of an elective affinity where a carnal, obviously sexual love between two young people, whose bodies have been pressed together just moments before, merges with a love of many kinds — all variations of the comprehensive Dostoevskian philoso- phy of love that partly governs and orients The Brothers Karamazov.

Let us delve yet deeper into this philosophy. Most ostensibly, it is grounded in the sensuous or voluptuous, the carnal, the pleasures and tor- ments of the flesh. Second, it is active in this empirical world, which means that it is reciprocal or interactive, entailing empathy and synergy between souls, not self-serving, manipulative or exploitative. Love, as Paul and Camus have said, is patient, enduring the flaws of the other. It is spontaneous or immanent rather than calculated or reasoned, and, by the 46 Paul Friedrich same token, it is not dictated by obligation or duty.

Finally, Dostoevsky's sensuous love is balanced at least potentially by its metaphysical reach to the divine love. It is Grushenka, after all, who says, "You shall love for no reason. Alyosha and Grushenka are drawn to each other by a ftision of Eros and agape. By "metaphysical love" I mean love that is conceived and felt as in- volving soul, depths of personality, if you will, life after death in several senses, and a supernatural power often called "God" — and their intercon- nections.

Grushenka, Dmitri and Alyosha repeatedly invoke the soul, immortality, and God. In his novelistic argument for the many- chambered love that comprehends and transcends the human and the di- vine, Dostoevsky joins company with the great Sufi mystics such as Rumi, and the Spanish mystics such as St. The theological, partly concealed meaning of Grushenka is ftirther developed by Ivan's poem of The Grand Inquisitor, the politics of which has so fascinated the critics.

Mary descends into Hell where countless sinners are being boiled in a fiery lake. On her return she tear- fully implores God to spare and forgive these wretched souls. The tale, clearly prophoric to Grushenka' s tale of the little onion, one hundred pages later, is also synergistic with Alyosha' s vision of the mira- cle at Cana, where Mary nurtures the poor. Mary the Mother of God at Cana, Mary the Intercessor in Heaven and Hell, both symbolizing the for- giveness of sinners, are high religious contexts for Grushenka as all- forgiving.

As she says during "Delirium": If I were God, I would forgive all sinners: Grushenka emerges as a Marian figure in the fullest possible sense of the word, fuller than that of any other figure in world literature, as far as I know. Zenkovsky , Gudziy In the senses being argued in this paper, Grushenka is a redeemed Nastasya Filipovna, the religiously enigmatic heroine of Dostoevsky's earlier The Idiot. Grushenka 47 But let us not idealize love; Dostoevsky does not. Dostoevsky' s theory of love, fmally, comprises love- hatred, where you hate for various reasons because of your love; as Dmitri puts it: I hate you because I love you and I love you because I hate you.

Jealous and masochistic love, like love-hatred, are the dark or black sides of selfless love, and deepen its meaning. In the very last paragraph of the book proper, as the innocent Dmitri is being led away to prison, we hear "from the balcony, above, in the backmost comer, there rang out a piercing woman's wail. In other words, near the end Grushenka' s voice is coming down from the so-called "choir," just as early on we learn that she grew up in a family of the clergy caste.

Many, perhaps most, say nothing at all: Belknap , Ivanov , Nabokov , Vivas , and Leatherbar- row Belknap's gap is particularly intriguing given Grushenka' s many functions within the book's structure, Gibson's because of what should be Grushenka' s crucial role in any exposition of Dostoevsky's re- ligion. Frank, the leading biographer of Dostoevsky, does mention her in his fifth and final volume, but via a half-dozen clauses scattered en route up until the part in books ; she is reduced to a marginal stereotype "sensuous, tantalizing, alluring," etc. His handling of her conflict with Katerina Ivanovna is adequate, be it said, in general, but the deep psycho- logical and religious import of Grushenka is ignored.

Mochulsky, the second biographer in line of status, does make a half-dozen points and has a good page on "A little onion," but undercuts it all with "Dostoevsky's women do not have their own personal history" Grushenka shows up in two pages as "wickedly" bribing Rakitin to accomplish "Alyosha' s ruin," her motives are "perverse," she thinks like Fyodor Pavlovich, has "wallowed in sin" for five years, "hardly knows what has happened," and exemplifies "the spiteful logic of offense and resentment"; although the article is ostensibly about her par- able of the onion, she is reduced to its perverse vessel or vehicle.

The ba- nal characterization is Curie's Classic Greek denotation of courtesanal friend, a "hetaira" in Dostoevsky's day and our own, can be a a sophisticated courtesan, b a concubine, or c a euphemism for prostitute. Schlochower and Trubestsky are between the second and third of these.

Grushenka 49 cause Grushenka or women in her position in the psychological structure of a novel, should in principle figure crucially in any oedipal theoretic reading. Terras and the au- thors of the four Brown University doctoral dissertations that he super- vised and cites make many solid points about Grushenka while missing the main ones which are being argued here. There is some light amid the critics' gloom. Second, a brilliant ray is cast by the pages entitled "the memory of religious folklore and legends" as part of the sometimes incandescent analysis my Thompson In Thompson's eyes Grushenka becomes a theo- retically e.

The individuation of Grushenka is achieved in various ways by Dostoevsky through her earthiness already dealt with above, which is part of her ethnicity; she is both stereotypically and quintessentially Russian, as emphasized by many events and in many voices, notably Dmitri's at several points. Hers was a Russian beauty of the sort loved so passion- ately by many, a transient beauty that one often finds in Russian women, as the narrator puts it.

Grushenka' s beauty is perhaps universal in the "in- fernal" curves of her body but very specific to a Russian, even Dosto- evskian or Pushkinian culture in the focus on her foot and even her little 50 Paul Friedrich toe. Her beauty, far from being just physical, is also ethical because it arises from bridging social categories in several ways. Another side of her ethnicity: From Gibian's laudatory albeit exaggerated point of view, Grushenka is "the embodi- ment of the salutary influence of the Russian people and of Russian wom- anhood in particular" In the way she fuses erotic vitality, Russian earthiness, spontaneous sincerity, Russian components of what used to be called "the Russian idea" e.

We know that the Russian idea was at the forefront of Dostoevsky's thoughts in the s, and in his action, and that he advocated Pocheven- nost. In all these terms, Grushenka incarnates or represents values that Dostoevsky felt strongly and tried to persuade us to feel if not to comprehend rationally. This, in sum, means that she is ideo- logically coordinate with the three Karamazov brothers. She, as noted at the outset, is the most holographed of all the characters and a litmus paper for them, including Ivan, whose calling her a "beast" indexes his alienation from his family and Russia, yet, as also noted, whose virgin Mary anecdote sets us up for the "A little onion" parable.

She is "natural" in the sense of being violent, volatile and tempestuous, but she is also quintessentially cultural in her exquisite dress and precocious fi- nancial skills. At a deeper ethical level she is evil-hearted and malevolent and also good and good-hearted, alternately, sometime simultaneously. She can be a mistress of deceit, as to Katerina and Fyodor, but also abso- lutely honest including to and about herself, and so consistent with per- haps the basic tenet in Zosima's teaching.

As she words it in her direct, sincere, honest and often folksy way, speaking of her own liminal status in "Deliriium," "Tomorrow to a nunnery, but today we'll dance I am a beast, but I want to pray. I have a little onion. An evil-minded person Lena Steiner points out a related ideological issue implied at many points in this paper: Dostoevsky, like Pushkin, was a feminist avant la lettre, ready to liberate women from their culturally prescribed role and let them define their destinies e.

Grushenka 51 like me wants to pray. Mitya, let them dance, don't interfere. Everyone on earth is good, to the last one. It's good on earth. Even though we're vile, it's good on earth. Vile we are, both vile and good. She is an extreme beauty, a ras-krasavitsa, but the physical passion she arouses passes over and blends with a religious love — thus symbolizing the fusion between the sexual and the religious that The Brothers Karamazov, to a large degree, is about. She is, moreover, the point of in- tersection between the two primal, multivocal values of love and shame, in their universal and Russian specific meanings, that also orients The Brothers Karamazov.

She incarnates Dmitri's riddle of fearful beauty that fuses opposites, where "the shores converge," not just of a symbolic Sodom and Madonna but the expanses of water between the shores of Sodom and Madonna. To repeat, she is the most liminal protagonist in The Brothers Karamazov, but also central and pivotal. Through Dosto- evsky's brilliant structural ambiguity she is both one of the four ideologi- cal cornerstones of this epic novel, yet also, at another level, the half- submerged center around which the others gyrate, or, to recur to my ini- tial metaphor, the central black of the Karamazovian "black-tainted" kaleidoscope.

She can cause homicidal and suicidal despair, but also ec- static joy and hope, the only character whose redemption is unambiguous but who also redeems: AU of which, if I may be permitted a one sentence cadenza, supports or at least suggests the interpretation that Grushenka, like the Grushenka' s claim during "Delirium" may mean that she has been chaste since her elopement, or chaste except for enforced sex with Kuzma, or chaste in the face of public opin- ion, the crowd in the tavern, etc.

The same Dostoevskian ambiguities surround Dmitri's words about only kissing Grushenka' s foot. Problems of Dostoevsky's Poetics. University of Minnesota Press. The Structure of The Brothers Karamazov. Paris and The Hague: Studies from Four Major Novels. Richard Pevear and Larissa Volokhonsky. As for Alyosha, most readers, taking the Dostoevskian bait, read him as saintly, naive, virginal, even flat, the phenotypal Alyosha, while missing or misconstruing the genotypical or Karamazovian Alyosha — a sinner, impure and sexually covetous, whom Dostoevsky gives us intimations of often enough.

Grushenka 53 Drummond, D. A Dictionary of Russian Obscenities. The Mantle of the Prophet, Princeton Uni- versity Press. A Collection of Critical Essays. University of Chicago Press. Essays in Semiotic Analysis. The Religion of Dostoevsky. Krestomatiya pa Drevney Russkoy Literature. Freedom and the Tragic Life. Jackson, Robert Louis ed. Dostoevsky and the New Testament. Cam- bridge University Press. The Cambridge Companion to Dostoevsky. Novelistic Technique, 's- Gravenhage: His Life and Work. The Brothers Karamazov and the Mythic Prosaic.

Robert Louis Jackson, pp. The Tragic Heroine Across Cultures, pp. University Press of the South. Mythic Patterns in the Literary Classics. Wayne State University Press. Dostoevsky and the Woman Question. University of Wisconsin Press. The Brothers Karamazov and the Poetics of Mem- ory. Grushenka 55 Vivas, Eliseo. Medical Russia's Epics, Chronicles, and Tales. Dostoevsky Studies, New Series. Irene Masing-Delic points out the dangerous "religious temperament" that Dostoevskii in his engagement with Pushkin's Pugachev texts discovered among the Russian people and as whose root he regarded Russian sectarianism, especially the khlysty flagellants and the skopcy self-castrators.

The present study places stronger emphasis on the material situation and the political usefulness of this alleged characteristic of the people. For its primary example the study draws on the excessive alcohol consumption, commonly considered a typical characteristic of the Russian national character. As with other issues, in the case of alcoholism, too, Dostoevskii shows signs of concern about and skepticism for the Russian people and tries to counteract it through specific countermeasures, which he delegates to the social elites.

The "Castrator" Rogozhin and the "Castrate" Smerdiakov: Incarnations of Dostoevskii's 'Devil-Bearing' People. Marmeladov drinks neither from sorrow nor for pure pleasure but rather, as he assures the reader at the outset of the novel, for noble reasons. And with his hero, in fact on behalf of his hero, Dostoevskii, too, asks for compassion. Like the children of addicted parents - this insight is owed to Catherine MacGregor - the author protects his suffering creation, but the supposed support only promotes decay and pushes the alcoholism even further.

Dostoevskii, however, does not stop at the individual. Far beyond the figure of Marmeladov he sketches a society of drunkards, a community, in fact, that seems to constitute itself through drink - the Russian people. Through this perspective, which also informs this essay, Dostoevskii's work is seen sideways, as it were, embedded in the context of its time.

Dostoevskii's personal ideas of the people, their fraternity, and unity play only a secondary role. Instead, the essay foregrounds the fact that despite such lofty, morally-tinged ideas, more trivial, yet socially and politically virulent phenomena are adduced for the construction of '4he people". On this point the essay does not contradict the most recent study of Dostoevskii's Russophiha S. Dostoevsky and the Idea of Russianness. A New Perspective on Unity and Brotherhood.

Routledge Courzon but rather complements it in a specific, hitherto unelucidated and embarrassing aspect. The people appear less as the carrier of "humility," "meekness," and "self-sacrifice" S. Hudspith, , , , but as a conglomerate of socially and culturally heterogenous groups whose unity still remains to be constructed. Polnoe sobranie sochinenii v tridcati tomakh. Codepency and Crime and Punishment. Writing and Addiction from the Romantics. Sheffield Academic Press, The following re reading of Crime and Punishment reveals how Dostoevskii turns the excessive alcohol consumption of the lower classes into a national characteristic while simultaneously obscuring the political-economic basis of Russian drinking.

In their comprehensive study on Russian nutritional habits Robert Smith and David Christian outline how, beginning in the sixteenth century, the original peasant drinks - beer, braga, mead - start to disappear from the market due to increasing restrictions on brewing rights. Vodka becomes the state's main source of income; the people have to get drunk for the state to make money. In their most recent study on "Russian joys" and the link of "drinking and power in Russia" Irina Takala and Sonja Margolina can only confirm this fatal connection.

In Domostroi, "vino", spirit, is mentioned only in passing, whereas beer constitutes the main drink both for the master and the servants She stood facing him and looked at him. It was from that evening that I loved her" ; ellipsis in original. What makes this episode remarkable is the connection that Aleksei seems to be making perhaps unconsciously between his fantasy that Polina had just slapped De Grieux, and his sudden love for her. His narration of the event suggests that what he is ultimately seeking is to be in De Grieux 's position, to be the recipient of the gaze of a woman who had just slapped him.

This, of course, may remind the reader of the underground man's desire to be in the position of the man who had just been thrown out of a tavern window in Part II of Notes from the Underground. It implies that a certain degree of masochism may lie at the core of his feelings for Polina. Aleksei desires Polina in part because De Grieux seems to. We shall soon see if this hypothesis has merit. Taking all of these points about Aleksei' s first moment of infatuation with Polina into consideration, the reader may be justified in harboring some suspicion about the depth or authenticity of Aleksei' s professions of love for Polina.

Indeed, these suspicions are painfully confirmed at the very moment when Aleksei seems to be facing the fulfilment of his most fervent wishes. Thus, his masochistic feelings are closely bound up with sadistic impulses, and at one point he admits: For a discussion of these impulses within Aleksei, see Knapp Peii-asive lustabilin- in Doswevsky 's The Gambler 75 completed her first round of gambling.

Aleksei reflected on his situation and that of Polina. And could I leave her? These last words are worth remembering when we turn to the scene in which Aleksei' s dream seems to come true. Aleksei returns to his room to find Polina sitting there, all alone in the dark. You'll see that directly" Later m the scene, he realizes that Polina loves him.

Indeed, she is indignant when he suggests that she seek out Mr. Polina rejects the kind of substitution that Aleksei seems to find so appealing. After a brief interchange in which Polina declares her anger about De Gneux's treatment of her and her desire to have money to throw in his face, Aleksei suddenly leaves the room, without telling her where he is going or what he intends to do.

He heads to the casino and embarks on a gambling spree which results in substantial winnings. Despite his claim that all he wanted was to be near Polma and to bask in the halo of her radiance "And could I leave her? It IS clear that for him. Connolly mately finds more seductive than the demands of involvement with another. When Aleksei returns to his room, flush with his winnings, he seems preoccupied with his new wealth and his potential role as Polina' s benefactor.

Polina is quick to notice this change in attitude, and when Aleksei suddenly offers her the equivalent of fifty thousand francs, she makes a bitter, self- deprecating remark that implicitly links Aleksei's new stance with that of De Grieux: Aleksei immediately picks up on this potential identification and substitution, and he asks: Still, Polina does not quite want to acknowledge a complete, one-to-one substitution.

anastasia-

This statement implies a similarity between the two men, but not a complete identity, as Aleksei's preceding comment had done. She continues in this vein, drawing Aleksei ever closer to De Grieux's position: For fifty thousand francs, like De Grieux? Yet she resists the identification, and seeks signs that Aleksei truly loves her as she is, and not simply someone whom he can buy. In a maelstrom of doubts and desires, she draws Aleksei to her, and they become lovers. Through his willingness to have a sexual encounter with her even though it is clear that she is in emotional turmoil, Aleksei seems to confirm Polina' s most anxious concerns, and when she awakens the next morning, she is ready to enter fully into the arena of substitution that she had resisted the previous evening.

She asks for the money she had rejected earlier, and she throws it into Aleksei's face. In a comment that echoes the principle of mutability and substitution developed in the present article, Geha also sees a deep series of substitutions going on in Aleksei's gambling activity: Nina Pelikan Straus sees Polina's gesture as a the rejection of a different kind of substitution. In her reading, Polina is rejecting the implied identification of women with money, a view that symbolizes "'the feminine' as a purchasable commodity" Pervasive Instability in Dostoevsk ' 's The Gambler 77 proved a shattering experience, and she leaves Aleksei, trying to find refuge and peace elsewhere.

Aleksei, on the other hand, is doomed to remain locked in a world in which the unique and the individual is devalued, and where everything is subject to ready exchange and substitution. Having lost Polina, he does not pursue her, but replaces her presence with Blanche. In his distorted world-view, everything is susceptible to immediate transformation. Indeed, as he puts it: Even life and death seem to be subject to this heady elixer of fluid substitution, at least on a metaphoric level: What may I be tomorrow?

Tomorrow I may rise from the dead and begin to live again! It is here that we see the ultimate significance of Dostoevsky's use of the theme of substitution in 77? In the world of Roulettenburg, as in the game of roulette itself, nothing seems to be fixed or permanent; everything is subject to change. As Jackson puts it: Designations appear arbitrary, and fortunes rise and fall in a seemingly haphazard way.

For some lost souls, such as Aleksei, this freedom from essence, from fixed values, may be both intoxicating and devastating. Clearly, he relishes the sensation of being caught up in the "whirlwind," of losing sight of "all order and measure" In a revealing moment, Aleksei acknowledges the impact of his state of mind on his moral orientation: As a result, Aleksei manages to do damage not only to himself, but to those who love him as well.

By the end of the novel, Aleksei has been reduced to an especially grim state in Dostoevsky's fictional world: Thus The She ultimately ends up in the company of Mr. Astley's sister, effectively taking her out of the cycle of substituting one male for another. Aleksei's abrupt abandonment of pursuit of Polina deserves comment. His behavior seems to bear out Girard's prediction about what happens when the rival in this case De Grieux disappears: If the rival disappears, this value will also disappear" As Alex de Jonge has observed, the compulsive gambler "plays in a kind of eternal present.

He loses all sense of past or future" Connolly Gambler not only provides a revealing portrait of the psychology of the gambler. Through its treatment of the power of arbitrary signifiers and the effects of free substitution on human relationships, Dostoevsky's The Gambler offers a unique perspective on that "terrible" freedom which so many readers have found to be one of Dostoevsky's enduring themes. Works Cited de Jonge, Alex.

Dostoevsky and the Age of Intensity. Seeker and Warburg, The Gambler with Polina Suslova 's Diaiy. The University of Chicago Press, Great Short Works of Fyodor Dostoevsky. The Miraculous Years, A Contribution to the Psychogenesis of Gambling.

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Frauengestalten in Dostoevskijs Roman Verbrechen Und Strafe (German, Publisher: Grin Verlag; ISBN: , X; Edition: ; Pages. Frauengestalten in Dostoevskijs Roman "Verbrechen Und Strafe" Language: German The Little Penguin Handbook: Australasian Edition - Lester Faigley.

The Psychoanalytic Review Deceit, Desire, and the Novel: Self and Other in Literaiy Structures. The Johns Hopkins University Press, Essays on Literature, Mimesis, and Anthropology. The Art of Dostoevsky: Charles Scribner's Sons, Dostoevsky' s False Beauty and the Poetics of Perversity. Dostoevsky and the Woman Question: Rereadings at the End of the Century. Berman Princeton University The Idiofs Romantic Struggle The Idiot does not immediately present itself as a romantic novel and critics have not generally regarded it in that light.

Reacting against classicism and the pure reason of the Enlightenment, the German romantics of the late eighteenth century who became a model for the later Russian romantics struggled to bridge the gap between reason and creativity, reality and ideals. Their plotlines frequently involved bringing together opposing worlds, the typical heroes being dreamers and wanderers and typical settings including pristine lands untouched by the corrupting hand of civilization.

By the time Dostoevsky wrote The Idiot, twenty years had passed since his early romantic period and he was well established as a psychological writer in the new realist tradition, but "the school of romantic aesthetics At its heart is Dostoevsky' s great experiment - to create a 'completely beautiful man' with childlike ' In his book on romantic realism, Fanger provides only one passing mention of The Idiot His approach, with its focus on the city, offers a different perspective on the interaction between romanticism and realism than the one given here.

Grazhis argues that while scholars traditionally talk about Dostoevsky's progression from romanticism to realism, they overlook the fact that in many of the mature works like The Idiot as well as Dream of a Ridiculous Man and even The Brothers Karamazov, there are more elements of romanticism than in Dostoevsky's first novel. Berman goodness and naivety, place him in the realist context of St Petersburg society, and see if the dissonance between the ideal and the real could be overcome. This is a quintessentially romantic struggle. What makes The Idiot different from a traditional romantic novel, however, is that Dostoevsky shifts the locus of this struggle to within his main hero.

Instead of the author wrestling with bringing together the ideal and the real in his work, it is Myshkin, with his childlike goodness, who struggles to see St Petersburg society in the simple, positive ternis he used in his Swiss village, while being bombarded with the cold, harsh realities of greed, lust, and cruelty that become unavoidable from his first day of arrival in Russia. With overly-simplistic childlike logic, he fears that to acknowledge baseness in others would be an admission that darkness had crept into his own soul and therefore he fights against his own knowledge, gradually breaking down by the end of the novel.

When this struggle between real and ideal belongs to the author, it shapes the fomi of the text the fragment being considered a way to create movement towards an ideal, even when it was unattainable. Once Dostoevsky places it inside of Myshkin, however, he creates a new battleground in the realm of psychology. As Myshkin's inner struggle becomes the center of the novel, Myshkin himself becomes fragmented, taking on many of the traits of a traditional romantic text.

I believe that shifting the romantic stmggle from the author's to the hero's plane of vision holds one of the keys to understanding how the psychological novel arose out of the legacy of romanticism. As a result, modem men came to appreciate nature and the natural as things they had lost - a stance Schiller calls sentimental. There are moments in our life when we accord to nature in plants, minerals, animals, landscapes, as well as to human nature in children, in the customs of country people and of the primitive world, a sort of love and touching respect, not because it pleases our senses nor because it satisfies our intellect or taste They are, therefore, at the same time a representation of our lost childhood, which remains eternally the most precious to us.

At the same time they are representations of our highest perfection in the ideal Once people find themselves outside of nature, they do not live with its immediacy, but instead become reflective upon their experiences as they strive to regain this lost ideal. What was for Schiller a question of the author's stance, Dostoevsky makes into a question of his hero's point of view. He is a unified being who experiences the world directly, without an intervening layer of reflection or self-consciousness. He is able to hold this viewpoint because in many ways he is a permanent child.

After coming into contact with the realities of St Petersburg and Moscow society however, he undergoes a radical change. When Myshkin appears again in Part Two, instead of being a two dimensional character, he has become internally fragmented, living in the second-degree like Schiller's sentimental. Berman between author and hero.

Mikhail Bakhtin argues that unlike earlier monologic authors, Dostoevsky invented a new kind of polyphonic novel: Bakhtin' s theories show that in making this move from author to hero, the struggle shifts from the aesthetic to the ethical plane. In his early writing on the relationship of the author and hero, Bakhtin argues that the author, standing outside the work, operates on the aesthetic level of the text: The consciousness of the creator must exist on a qualitatively different level from that of the one created.

This effect actually has its roots in romanticism and can be seen in the earlier Russian romantics. Dostoevsky, standing outside of the work, has this kind of excess vision and can concern himself with the large structures of "ideal" and "real. Instead, standing within the reality of the novel, he is concerned about the ethical choices he is forced to make. As a result, he becomes increasingly cut off from himself and plagued with doubts about his own thoughts. When Myshkin appears on the train at the beginning of Part One, he is coming from the pristine setting of a village in the Swiss countryside where he has enjoyed a simple, quiet life surrounded by the beauties of nature and a band of children for his companions - the classic Romantic idyll.

More importantly, he himself is a permanent child. Myshkin reports that in his doctor's words: Berman not an adult, and thus I will remain. When Myshkin appears in the novel at age twenty-six, he is still in the childlike state of innocence and unity with nature that the romantics idealized and strove to attain. He tells the Yepanchins quite directly in their first meeting: This choice evokes associations to the bleak lives of Makar and Varenka, the destitution of Raskolnikov and Sonya, and a population of Gogol's petty clerks and puffed-up bureaucrats.

While in most of his other works, Dostoevsky writes of the lower levels of society, people wrestling with extreme poverty and degradation, by turning to a higher stratum in The Idiot he strengthens the contrast between Myshkin' s naturalness and the artifice of the wealthy and those who surround them looking for wealth.

Reference to the Russian Sobrauie sochineuii henceforth will be to PSS followed by volume and then page number. English translations of The Idiot are from McDuff. David , with occasional slight alterations to convey a specific meaning needed. This is precisely the dissonance Dostoevsky creates in a literal, "realisf ' manner when he places his 'completely beautiful man" into the middle of a brewing societs' scandal.

We come to know Myshkin in Part One mainly through his own words and actions. Myshkin cries out to her. Is it really possible! When Ganya comes to apologize after slapping him, Myshkin declares that Ganya is not "base" but simply "the most ordinary man there could be. Berman slap he just received and Ganya's declaration that he is marrying a woman he despises for money, Myshkin sees Ganya as simply weak, not base. This way of seeing allows Myshkin to maintain his childlike naivety in the face of the dark realities of selfish motivations, petty intrigues, and greed that surround him.

We can view simultaneously the conflicting planes on which various characters are operating, and thus watch Myshkin' s process of projecting his vision onto others from both the inside and the outside. By the end of the first day, the coUision of Myshkin' s ideal vision and the realities of St Petersburg already causes a major explosion at Nastasya Filippovna's birthday celebration.

Then the heroes disappear for six months and Dostoevsky uses the rest of the book to trace the results of his experiment, with a particular emphasis on how it affects Myshkin' s psychology. Myshkin as a Struggling Sentimental Figure When Myshkin reappears after the six-month gap that precedes Part Two, he has undergone a radical shift. In the interval he has come into his inheritance and "the money brings Myshkin into contact with the material world The only thing we hear from Myshkin directly during the six months when he is absent from Petersburg is a letter that he writes to Aglaya: At one time you honored me with your trust.

It may be that you have now forgotten me entirely. How has it come to pass that I am writing to you? I do not know; but there has appeared in me an irrepressible longing to remind you of me, and you in particular. How many times I have needed all three of you, but of all three I saw only you. I need you, very much. I have nothing to write to you about myself, nothing to tell you.

I did not want that, either; I should terribly For a discussion of the conflicting real and ideal spheres, see Grazhis: That is all 1 wanted to say to you. Instead, they suggest a man who is full of uncertainty about his own feelings. Myshkin says explicitly that he does not even know why he is wTiting. This is the first sign that his outlook has changed. There is none of his naivety in this conversation, but instead a cynical realism.

He opens the topic with the words: I know it all. Have you managed to sell her to him, as you did last time, or not? He is realistic about the base motivations of others and is not seeing the kinds of positive explanations for everything that he found so easily in Part One. Myshkin goes to visit Rogozhin, whom he suspects was watching him at the train station, and through the whole conversation he is in a kind of daze, continually fixating on Rogozhin' s knife.

Myshkin asks several questions about the knife and then suddenly comes to himself and says: I become quite, quite absent-minded and absurd. I didn't mean to ask about this at all Myshkin is wrestling with the f PSS8: If man has entered into a state of culture and if an has placed her hand on him. Nhshkin answers "It seems it's the complete truth. As he tells the Yepanchms: Berman once they have been put into words for the outside world, do not come out the way he means them.

He used to believe that through speaking of Switzerland and his ideal vision of the world, he could recreate that world in St Petersburg, but he has lost that certainty now. He cannot express himself clearly because he no longer sees the world in clear simple terms. He betrays this desire to Kolya when the latter brings him a hedgehog from Aglaya, which brightens Myshkin' s mood. The sphere of romantic love is most problematic for Myshkin because it is the least compatible with childhood and a childlike outlook, and the area where he feels most guilty before everyone.

Myshkin becomes increasingly out of alignment with himself as he struggles against adult comprehension of the amorous overtones in his relationships. Despite the fact that his behavior seems like that of an active suitor for two women! When he muses about a note from Aglaya, inviting him to a rendezvous, the narrator tells us that Myshkin cannot acknowledge the Eros in the situation: If anyone had told him at that moment that he had fallen in love, was passionately in love, he would have rejected the idea with astonishment and, Gasparov: And if anyone had added to this that Aglaya's note was a love letter, the assignation of a lover's tryst, he would have burned with shame for that man All this was completely sincere, and he never once 47 doubted or had the slightest 'double' thoughts.

Unlike Dostoevsky's Underground Man, Myshkin does not relish double thoughts and loopholes. While in Part I, Myshkin would speak about any topic, after his return to St. Petersburg he will not let others speak to him of Aglaya's escapades - a concerted effort not to know. Myshkin admits to Ippolit that he is aware of a rendezvous between Aglaya and Ganya and then in the same breath claims to know nothing about it.

Ippolit' s reply highlights a key problem for Myshkin: That' s why you're trusting, because you don't know. The type of cognitive dissonance Myshkin is experiencing cannot be maintained. Under the strain of trying to attain the unattainable, he begins to break down. At first he finds himself in a feverish state, and then the increased tension of the Yepanchins' soiree brings on an epileptic fit which signals the beginning of his return to childlike non-comprehension and then eventual "idiocy.

The signs of his internal strain become visible to everyone present: Why he had suddenly become so anxious, why he had fallen into such an obsequious rapture, for no apparent reason and, it seemed, quite out of proportion to the subject they were discussing - it would have been hard to determine. He is trying to express an idea 47 PSS8: Berman about Catholicism being worse than atheism, but has lost the ability to speak clearly and to put his thoughts in order.

After finding that people are not angry with him for knocking over an expensive vase, he suddenly feels intimate with everyone in the room. Becoming joyful, he attempts to share with them openly, as he had when he first arrived in Russia. I was afraid of you, and afraid of myself. Most of all, myself. I have always heard so much about you that is bad, more than is good, about the pettiness and exclusiveness of your interests, about your backwardness, your poor education, your ridiculous habits. I saw people who are elegant, open-hearted, intelligent; I saw an elder statesman who was kind and understanding and forgiving, good-natured Russian people, almost as good-natured and warm-hearted as those whom I met back there [in Switzerland], almost as good as them.

Like a child, he now sees them as he wants to believe they are, linking them back to his time in Switzerland. Craving direct connection, he tells the company: This is not the behavior of a child, as children do not put themselves in the position of their interlocutor. Myshkin shows his external viewpoint with comments like: What shall I say to begin with, so that they at least understand something? To talk to someone and not be happy that one loves him Look at a child, look at God's dawn, look at the grass growing, look into the eyes that look back at you and love you His final statement sounds just like Schiller's words about appreciating nature quoted at the beginning of this paper.

Viewed in this light, Myshkin's final thought appears to be one of self acceptance as well as love for the outside world. Berman contrary our opposition to nature in our relationships, circumstances and customs, drives us to seek a satisfaction in the physical world which is not to be hoped for in the moral world. The strain is too much for Myshkin, and after his fit he never fully recovers.

Although he feels no derangement in his mind, the narrator tells us that his soul is sick. He is bombarded by a series of visitors, all hinting and making allusions to events, romantic liaisons, intrigues, and potential dangers he does not want to know about or believe. Myshkin breaks into a fever and becomes increasingly passive, overwhelmed by the circumstances around him. When Aglaya comes asking him to escort her to Nastasya Filippovna's, he follows "like a slave.

He almost ceases to process information. Once engaged to Nastasya Filippovna, he goes to the Yepanchins' every day to see Aglaya, is refused admittance, and then returns the next day as if he had forgotten. He seems unfazed when Nastasya Filippovna runs off with Rogozhin, leaving him alone at the altar.

While looking for Nastasya Filippovna in St Petersburg, Myshkin becomes increasingly impaired and eventually loses his mind after finding her murdered. During his search, Myshkin comes across Rogozhin in the street, and the narrator himself is baffled at how Myshkin suddenly begins to babble. He asks Rogozhin a question and it takes him two full minutes to process the three-word answer.

Having been taken to Rogozhin' s silent room, Myshkin must literally be shown Nastasya Filippovna's body before he understands that she has been murdered. His mind is doing everything it can to avoid this reality. Once the murder becomes an unavoidable fact, Myshkin immediately begins to tremble, his legs go weak, and he starts asking irrelevant, trivial questions, as if his mind is looking for a way to escape.

Next, he becomes focused on calming Rogozhin, stroking his hair when Rogozhin begins to mumble. The narrator comments that there was nothing more Myshkin could do. His foray into the world has ended in complete failure. By morning, he is stroking Rogozhin's head with no understanding of what is taking place. Myshkin the Romantic Knight This is not, however, the only level at which The Idiot draws on its romantic heritage.

In broad terms, the novel as a whole follows a traditional romantic plotline: Despite its overall outline, the novel does not read like a romantic text because the protagonist at its heart is not a traditional romantic hero. In creating Myshkin, Dostoevsky undertook one of his most ambitious challenges - to make a ''completely beautiful man.

Dostoevsky's beautiful man would follow a romantic plotline, but he would not be a romantic hero. Both Myshkin and other characters in the novel attempt to script Myshkin into this traditional role, making him into the prince out of a fairytale. On his first day in St Petersburg, when Myshkin originally proposes to Nastasya Filippovna, he says he will take her as an honest woman. Nastasya Filippovna dismisses his words as "stuff out of novels," but after rejecting him, she admits she used to dream of him: Constant's Adolphe, and Pushkin's Prisoner of the Caucasus, to name only a few examples.

For more on this, see for example: Berman dream and dream - and always imagining someone like you, kind, honest, good, and a bit stupid, that you would suddenly arrive and say: Before reciting the poem to Myshkin and an assembled audience, Aglaya explains: The 'poor knight' is Don Quixote, but a serious, not a comic one. And the mention of Don Quixote links Myshkin directly with Dostoevsky's idea of the 'completely beautiful man. Viewing Myshkin as a Don Quixote, Yevgeney Pavlovich retells the events of the novel to Myshkin, highlighting their romantic quality.

He begins with the day Myshkin arrived from Switzerland: And then, that very same day, you were told the sad and heartrending story of an insulted woman - it was told to you, a knight, a virgin - and about a woman! That same day you saw this woman; you were entranced by her beauty, a fantastic, demonic beauty Yevgeny Pavlovich tells the story through the eyes of a man of reason and rationality, and in his version Myshkin is the "poor knighf striving to act chivalrously, in a world whose realities will not allow for his type of actions.

Nastasya Fihppovna's desire that he be "a bit stupid" either Hnks him back to the tradition of Don Quixote, or aUematively it suggests a sHghtly more modem and reahstic version of the romantic hero. However, Yevgeny Pavlovich goes on to show how Myshkin' s compassion was exaggerated and did not belong in the real world. This problem of Myshkin's compassion and its place in the real world is more complex than Yevgeny Pavlovich makes it out to be because it does not only hinge on the tensions between ideal and real. Myshkin fails at his traditional knight-in-shining-armor quest because he is not a straightforward romantic hero.

As a result, the real drama is now the struggle taking place within the central hero. Dostoevsky has made the shift to the psychological novel. Myshkin as a Romantic Text or the Rise of the Psychological Novel If we step back and look at the text as a whole, it is striking how similar Myshkin's inner state is to the structure of the novel. Both begin as a unified whole which proceeds to fracture under strain.

Dostoevsky had no clear overall plan when he was writing The Idiot and as a result, the text emerged organically as a series of loosely connected sections. The first part of The Idiot was conceived and written as a self-contained unity, which may perhaps best be read as an independent novella. After this point, however, it is clear from Dostoevsky' s notebooks and letters that he had no satisfactory idea of how to continue the action. This uncertainty persists all through the middle sections of the book Parts II and III , where Dostoevsky is obviously writing from scene to scene with only the loosest thread of any central narrative line.

Ideas are raised once in the novel only to be dropped and never re-examined. The text leaps from one thing to another without giving a finalized account of PSS 8: Berman how events turned out in the same way that Myshkin is unable to finish a thought. Six almost-unexplained months pass between the day presented in Part One, and the opening of Part Two. Part Two opens with a change of location, the addition of new characters, and a radically changed central hero. It closes with Lizaveta Prokofyevna dragging Myshkin to a meeting with Aglaya, but then instead of Part Three beginning with that meeting, it opens with the statement "People are forever complaining that we have no practical men Similarly, Part Three closes with an intense meeting between three of the principal characters, only to have the issues raised at their meeting dropped when Part Four opens two weeks later with an unrelated digression about Gogolian character types and the difficulty of portraying the ordinary.

These breaks have much akin to the radical shift in Myshkin between Parts I and II that was discussed earlier. Myshkin' s inner state and the state of the text are moving in unison. Fragmentation of the text only exists while Myshkin himself is internally fragmented.

Part One when Myshkin is at one with himself is written as a unified whole with a smooth style of narration. In the conclusion, after Myshkin returns to "idiocy," this same clear narration returns. Thus, as an aesthetic device, fragmentation helps us to understand Myshkin' s experience by making our experience as readers akin to his; when he is fragmented, we see a fragmented world.

Just as Myshkin is faced with "double thoughts" and unfinished ideas which fill his mind and prevent him from seeing the world clearly, we face the same kind of unfinalized world in the novel, with nothing taken to its conclusion and no ultimate answers. In Myshkin we see the psychological consequences of the struggle, while in the text as a whole, we experience the tension between ideal and real as an aesthetic concern.

Thus Myshkin' s struggle is a psychological parallel to the author's aesthetic attempt to bring together ideal and real. What is significant about this parallel is that it hints at the close ties between romanticism and the rise of the psychological novel. This new placement allows for Myshkin's gradual development over the course of the novel, a type of character evolution which became a central component of the psychological novel. At heart, however, both cases are still addressing the same romantic struggle. The psychological novel deals with the ethical version of romanticism's aesthetic concerns.

In essence, Myshkin has become a human embodiment of the fragmented romantic text. Works Cited Bakhtin, Mikhail. Early Philosophical Essays by M. Michael Holquist and Vadim Liapunov. University of Texas Press —. Caryl Emerson and Michael Holquist. University of Minnesota Press —.

Sobranie sochinenii v semi tomakh. Russkie Slovari Coates, Ruth. God and the Exiled Author. Cambridge University Press Dalton, Elizabeth. Daniel Rancour- Laferriere ed. Russian Literature and Psychoanalysis. Knut Andreas Grimstad and Ingunn Lunde eds. Essays in Honor of Jostein Bortnes. University of Bergen Emerson, Caryl. Problems with Baxtin's Poetics. The Slavic and East European Journal, 32 4: Dostoevsky and Romantic Realism: Dostoevskii- khudozhnik i myslitcT.

Khudozhestvennaia Literatura Gasparov, Boris. The Don Giovanni Moment: Essays on the Legacy of an Opera. Columbia University Press Ginzberg, Lydia. Princeton University Press Grazhis, Pamas. Pushkin and Romantic Fashion: Fragment, Elegy, Orient, Irony. Stanford University Press Hollander, Robert. Dostoevsky and the Novel. Journal of Russian Studies, Schiller in Russian Literature. Critical Essays on Dostoevskw Boston: Anthem Press Dosioevsky Studies.

Merkwiirdiger- weise tat dies aber der Wirkungsmacht des Textes keinen Abbruch - im Gegenteil. Literarische Tradition und gesellschaftlicher Anspruch. The Stir of Liberation Existentialism from Dostoevsky to Sartre. Nun steht das Ende seines Martyriums bevor: The New Criterion, Vol. Zu Camus La Chute s. An Approach to La Chute. Hostovskys Roman wird im folgenden unter Angabe der Seitenzahl zitiert nach der tschechischen Erstausgabe Egon Hostovsky: Das Ergebnis sei kurz vorweg- genommen.

Hostovskys Held erweist sich als modemer Untergrundmensch. Bei Dostoevskij ist der. Ganz anders der Held bei Hostovsky: Probleme der Poetik Dostoevskijs. Subtantiell handelt es sich aber doch um einen Monolog, denn das.. In diesem Sinne bemerkt Gerigk: Und doch hat der Untergrund auch in Hostovskys Roman eine symbolische Dimension. Der Held bringt dies an einer Stelle selbst zum Ausdruck: Schon vorher war ich immerfort von Einsamkeit umschlossen; schon vorher war es, [ Dahinter verbirgt sich ein modemer Untergrundmensch mit zahlreichen verbor- genen Parallelen zu Dostoevskijs Antihelden.

Die wichtigsten Etappen dieses Prozesses sollen im Folgenden nachvollzogen werden. Werk von den ihm nachfolgenden [ Structure and Integration in Notes from the Underground. I drive jsem byl obklicen neustalou samotou, i drive, [ Nicht anders Hostovskys Protagonist. Die Kerkerexistenz des Emigranten ist im Grunde nur die Quintessenz einer selbst- verschuldeten Isolation. Er betrachtet sie allein durch das Prisma seiner privaten midlife crisis. Durch eine Reihe motivischer Parallelen macht Hostovsky deutlich: Dostoevskijs Werke werden im folgenden unter Angabe von Band und Seitenzahl nach dieser Ausgabe zitiert.

Auch nach der Zerschlagung der Tschechoslowakei wird deutlich, dass die individuelle Verfasstheit des Helden stets auch eine nationale Dimension besitzt. Ich wusste, was das war: Wir alle wussten, was das Wort Karutmon bedeutete. Und wir standen darin wie ein Fels, zusammengewachsen; wir lebten noch und begriffen: In Son smesnogo celoveka schildert Dostoevskij solch eine gelungene Wiedergeburt. Entsprechung im nationalen Trauma der Tschechen, sich kampflos ergeben zu haben. Znovu jsme se rodili. Of Shame and Human Bondage: Dostoevsky's Notes From Underground.

Sarah Young, Lesley Milne eds. Dostoevsky on the Threshold of Other Worlds. Essays in Honour of Malcolm V. Jones, Ilkeston, Derbyshire , Die Chance, sich durch die wahrhaft selbstlose Hinwendung zu den Mitmenschen aus dem mentalen Untergrund zu befreien, ist ein weiteres Mal vertan. Im zweiten Kapitel des zweiten Teils der Zapiski iz podpol'ja V: Aubin scheint stets schon zu wissen, wie es sich wirklich verhielt: Damit ist der Protagonist auch real im Untergrund angelangt.

Sie sind nicht der Typ. Erneut dient die Dramatisiemng seiner Situation nur dazu, die eigene Bedeutungslosigkeit zu maskieren.

A vite, tak si myslim. Etwas wird geschehen, etwas, das keiner erwartet. Der Held widersteht der Versuchung: Hostovsky verbindet beide Figuren mit einem Motiv der Umkehr. Aubin leitet die Pariser Begegnung mit dem Helden ein, indem er diesen auffordert, sich zu ihm umzudrehen Beide sind durch einen Offenbarungstraum zur Umkehr gelangt. Sehen in dem apokalyptisehen Alptraum um.. Rarutmon" offenbart sieh dem Helden die Wahrheit in einer Spraehe. Und stolz wiederholte ich - wie jeden Morgen - den stereotypen Satz: Aubin, der leidenden Menschheit.

Petersburg - Paris - Chicago Fassen wir zusammen: Black American Literature Forum, Vol. Er stirbt den Opfertod: Eight Men, New York , , hier: Darin finden wir auf dem Hintergrund einer soziologischen Analyse der Petersburger Gesellschaft um die Mitte des Dostoevski] i Nietzsche, St. Es geht mir nur um meinen Hauptgedanken, und an den glaube ich. Die Fragmente der Vorsokratiker von Hermann Diels. Die Philosophie im tragischen Zeitaher der Griechen Der Philosoph und die Vielen.

Die Bedeutung des Gegensatzes der unphilosophischen Menge zu den Philosophen und das Problem des Argumentum e consensu omnium im philosophischen Denken der Griechen bis auf Aristoteles. Gorgias db , in: Schleiermacher, Darmstadt , Bd. Raskolnikows philosophische Lehre Diese philosophische bzw. Eine Darstellung dieses Gedankens auf anthropologischer Ebene findet sich in seinem Vorwort zur Physik des Aristoteles, wo der Araber schreibt: In der Renaissance vertreten diesen Gedanken besonders zwei Denker: Niccolo Machiavelli und Giordano Bruno.

Denn der Neuerer hat alle die zu Feinden, die bei den alten Gesetzen sich Wohlbefinden, und er hat an denen nur zaghafte Verteidiger, die von den neuen Gesetzen Vorteile erhoffen [ Medieval and Renaissance Studies, vol. In Libres Physicorum Aristotelis Prooemiiim. Zu Giordano Bruno siehe die Studien von M. Daher siegen alle bewaffneten Propheten, und die nicht bewaffneten gehen zu Grunde [ Jahrhunderts zwischen Fortschritt Wissenschaft und Moral Christentum nicht zu wundem.

Friedrich Blaschke, Leipzig Di qui nacque che tutti 'i Profeti armati vinsono. Tractatus theologico-politiciis und Ethica und A. Verbrechen und Strafe, a. Physik und Chemie verbreiteten sich daraufhin stark in den 60er Jahren und wurden zur Bildungsgrundlage der Nihilisten. Heureux les peuples qui les comprennent et les suivent! Edited by Johanna M. Smith, Boston-New York ", S.

I, V und VI. Polnoe sobranie socinenij, a. Universal History, the history of what man has accomplished in this world, is at bottom the History of the Great Men who have worked here. They were the leaders of men, these great ones; the modellers, patterns, and in a wide sense creators, of whatsoever the general mass of men contrived to do or to attain; all things that we see standing accomplished in the world are properly the outer material resuk, the practical realisation and embodiment, of Thoughts that dwelt in the Great Men sent into the world: Es ist jedoch der deutsche Philosoph Friedrich Nietzsche, der die Lehre Raskolnikows am besten widerspiegelt und wirklich zu Ende denkt.

Nietzsche selbst vermerkt in einem Brief an Paul Deussen: Teil des Werkes, der das Mitleid als Leitmotiv hat. Es geht um den Schaffenden: Darum soUt ihr Schaffende sein! Man beruft sich auf ein Naturgesetz wie Kallikles. Auf eine solche Auslegung wird an dieser Stelle nicht eingegangen.

Wenn also Raskolnikow die unabschaffbare Existenz dieser zwei verschiedenen Arten von Menschen anerkennt, so verdient das unsere Aufmerksamkeit. Turgenjewa " Mart , in: Socinenija v 4-ch tomach. Staf i , Moskau , S. Weshalb hat vorhin Rasumichin, dieser Narr, gegen die Sozialisten gewettert? Nein, ich habe nur ein Leben, und dieses Leben kommt niemals wieder: Ich will nicht auf das 'allgemeine Wohl' warten. Ich will selber leben, sonst will ich lieber gar nicht leben [ Ich lebe ja nur einmal, ich will doch auch Einleitung Dmitrij Mereschkowskijs, a.

Einleitung von Mereschkowskij, a. Vecnye sputniki, Moskau , S. Der deutsche Philosoph vermerkt in seinem Werk Ecce homo: Und er fugt hinzu: Aus dem Russischen von Swetlana Geier. Aber wir wollen auch gar nicht in' s Himmelreich: Was Dostojewskij als Irrweg denunziert, kultiviert Nietzsche. It has been the intention of the compilers that the Current Bibliography, when used as a supplement to the bibliographies in the preceding issues of the Bulletin of the International Dostoevsky Society v.

With some exceptions, book reviews, reviews of theatrical productions and brief newspaper articles have been omitted. It is our aim for the bibliography to be exhaustive. Consequently, the latest year is usually the least represented and the earlier years become more and more complete as time passes. In general, we can say that over a three-to-four- year period, the entries for the first of these years will be nearly complete.

Every attempt has been made to provide full, clear citations, and a special effort has been made to keep together all citations by one author, disregarding the variations in spelling and transliteration which can occur when an author publishes in a variety of languages. Any additional information which is not a part of the citation itself, but which may provide clarification of the topic in relation to Dostoevsky, is given in brackets after the citation.

Whenever possible, collections of essays have been fully analyzed, with individual citations provided for each article in the volume. A complete, integrated, alphabetical list of all citations from the bibliographies is now available at: Dostoevsky Studies 11 International Dostoevsky Bibliography, Journal of the International Dostoevsky Society" for the Years Serial publications and special journal issues Dedicated to dostoevsky Deutsche Dostojewskij-Gesellschaft.

Moskovskoe otdelenie; Literatumo-memorial'nyi Muzei F. The Journal of the International Dostoexsky Society. Epokha ; Vremia The Author and Protagonist in 'Demons": Similarities in Communication Style and Functions. McGill University', " Dickmann. Dostojewskis Epilepsieerkrankung aus der Sicht xon Laien. Secularism and its Discontents: University of California, Berkeley. Griboedov, Pushkin, Gogol and Dostoevsky. D dissertation, Yale University, [Chapter 4: Zeiterfahrung bei Dostoevski] und Camus.

RAN, Institut russkogo iazyka, Osamotnienie jako znak czasu: Inteligencja w tworczosci literackiej i publicystyce Fiodora Dostojewskiego. Instytut Filologii Obcych Akademii im. Dostoevskii i mirovaia kul'tura: Zametki na poliakh posle chteniia materialov "kruglogo stola" 'Problema 'realizma v vysshem smysle' v tvorchestve F.

Variatsii na temu "zhena, muzh i liubovnik" v proze Dostoevskogo i Polia de Koka. Materialy XX Mezhdunarodnykh Starorusskikh chtenii goda. Eskhatologicheskaia orientirovannost' russkogo dvoinichestva: Net proroka v svoem otechestve? Literatumaia gazeta 7 Prestuplenie i nakazanie v romane X. Sintaksicheskie kontsepty i tipy rechi: Volgograd, aprelia g.: Volgogradskoe nauchnoe izdatel'suo, Na materiale romana F.

Dostoevskogo "Prestuplenie i nakazanie". Izd-vo Nizhegorodskogo gosuniversiteta, Vnutrennee prostranstw ordynova flz nabliudenii nad povest'iu "Khoziaika". Chronotope and Gender in Dostoerskii's "White Nights". Space and Gender in Russian Fiction. The Seduction of the Daughter: Narrative, Space and Gender in Russian Fiction. A Sense of Place: Space and Gender in Russian Fiction, Notes on Dostoevsky's "Possessed". Reflections on Literature and Culture.

Edited and with an introduction by Susannah Young-ah Gottlieb. Stanford University Press, Stat'i iz sbornika "Iz zhizni dukha Varshava, Otkrytie pamiatnika Dostoevskomu v Drezdene. Ashimbaeva, Natal'ia T, and V. Dostoevskogo v Sankt- Peterburge: Pushkin v zhizni i tvorchestve Dostoevskogo.

Aleksandr Belousov et al. Baevskii, Vadim, and Irina Romanova: Iberoamericana; Frankfurt am Main: Moskva 1 1 Dostoevskii v tvorcheskom vospriiatii U. Folknera na materiale interv'iu, beded, pisem. Sbomik statei V Vserossiiskoi nauchno-prakticheskoi konferentsii studentov. An Outline of Russian Literature. Turgenev, Tolsto] Bartow A.: Tomas Mann i F. Evangel'skii tekst v proizvedeniiakh F.

Theater heute 1 1 Theater heute 12 Apokalipsis i roman F.

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