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By the end of the 19th century, Russian literature had gained world- leading status. This process was connected in particular, with the political realities generated by Russia’s defeat in the Crimean War (1853–1856), the Franco-Prussian War of 1870–1871 (as a result of which the role of the ideal Other in French cultural consciousness was transferred from Germany to Russia) and the birth of L’Entente on the outskirts of the First World War. In this context, the importance of E.-M. de Vogüé’s book “Russian Novel” (1886), which played the role of a cultural accompaniment to the political doctrine of creating the Franco-Russian alliance (1891–1892), should be assessed. The links between politics and literature were often paradoxical. Thus, the Crimean War, accompanied in the West by building an anti-Russian propaganda industry, simultaneously contributed to the rooting of Russophile tendencies in Western European literature. The article pays special attention to modelling the image of the Other on the example of N. M. Karamzin and F. M. Dostoevsky. It is concluded that for the world’s critical reception, Russian classics are often fundamentally “non-classical”: they are a phenomenon of a Modern type associated with the metaphysics of the rational paradigm crisis.

The article is devoted to the issues of F. M. Dostoevsky’s understanding of the role of Ivan the Terrible’s state activity in Russian history and the reflection of the writer’s ideas about the personality of Ivan the Terrible in works of art and literary criticism. The article notes the importance of a detailed study of the references in the writer’s work to the events and figures of the past periods, the attention to which until recently was on the periphery of scientific interests, and if it was covered, then along the way, when considering the historiosophical views of the writer and mainly on the material of journalism. The article points to the writer’s interest in the figure of Ivan the Terrible as a monarch and a person. It emphasizes that the writer’s attitude toward this ruler was influenced by reading The History of the Russian State by N. M. Karamzin. If, in his artistic work, Dostoevsky is attracted primarily by Ivan the Terrible as a split and tragically complex personality, then, in A Writer’s Diary, the talent of a statesman is put in the first place, whose experience can be helpful in solving the Eastern question vital for the era. At the same time, observations are made on Dostoevsky’s understanding of the “historical” truth and the specifics of the writer’s interpretation of historical plots.

The new concept of the history of Russian literature presupposes a hermeneutic reading of the texts of classics, allowing us to understand the hidden meanings embedded in them, reflecting the Christian foundation of Russian culture. The need to look at the work of Russian writers of the 19th century as a reflection of a unique discourse of precedent Christian texts poses the need for teachers and lecturers of literature to master additional educational programs on the “Spiritual and Moral Foundations of Russian Literature.” This article provides an analysis of the images of small and large eschatology in the last novel of the Great Pentateuch by F. M. Dostoevsky, reflecting the axiological views of the writer. The research demonstrates that the content of Dostoevsky’s last novel contains the spiritualizing and enlightening power of Christian life-building for the world.

In modern cultural processes, the problems of the essence of the mentality of the Russian people in Dostoevsky’s artistic works are acquiring critical importance. The article provides a detailed analysis of the images of the Russian people and pictures of their life created by F. M. Dostoevsky in Notes from a Dead House, and reveals the origin of the ideas of Pochvennichestvo in Dostoevsky’s work of the early 1860s. The following main typological groups of images of the people are distinguished: the types of “meek” and “fierce”, “tormentors” and “victims”, “self willed” and “weak-hearted”. It is concluded that Dostoevsky affirmed the religious tolerance inherent in Russian Orthodox culture and called on the Russian people to take on the mission of the messiah. In his opinion, “Europeanized” Russian intellectuals are morally lost souls, temporarily cut off from the roots of the people as a result of the reforms of Peter the Great, who were destined to merge with the people. He opposed the “Blame circumstances” form and utilitarianism, and called for a return to art itself. Although Dostoevsky did not hide the obvious cruelty, barbarity and backwardness of Russian peasant life, he still believed that the noble Christian virtues of mercy and self-sacrifice remained at the core of peasant life. He believed in the spiritual strength and moral power of the Russian people and saw the way of salvation for a developed personality in uniting with the people. The significance of the work lies in the in-depth and detailed understanding of the problem of people and nationality in Dostoevsky’s works. The results of the work can be used in the study of Dostoevsky’s oeuvre in universities.

The article is devoted to the role of history in the life and work of F. M. Dostoevsky. The writer studied world and Russian history throughout his life. The work notes what historical works Dostoevsky read and especially valued, and what books on history were in his home library. The article attempts to determine how Dostoevsky understood history, how he saw the role of the individual in history, and how he expressed it in his works. The writer’s first literary experiences in the early 1840s were already associated with an attempt to write essays on historical topics. And then, he defined many of his works by the genre as “chronicle” or “annals,” which allows them to be formally classified as “historical literature” in a broad sense. In Dostoevsky’s works, the characters not only enthusiastically study and teach history but also actively compose historical works of a scientific and artistic nature. The author of the article substantiates the idea that the writer and his characters’ appeal to history lies at the basis of Dostoevsky’s poetics and often creates a secondary plot in his works, giving the depicted scenes and characters additional historical and cultural volume.

The article provides a historiography of the coverage of the theme of adolescence in the works of L. N. Tolstoy and F. M. Dostoevsky. An axiological approach to the works of both writers by the famous scientist and thinker A. A. Ukhtomsky allows us to explore the spiritual and moral issues of the works. The story “Childhood” and the novel “The Brothers Karamazov” show the types of proud characters — this is Tolstoy’s Nikolenka and Dostoevsky’s Ilyusha Snegirev. Due to their pride and the desire to please others, both characters experience a similar state of “eclipse,” when carnal feelings drown out the “natural” law. Kolya Krasotkin, like Nikolenka, is carried away by rationalism, which leads both characters to a spiritual crisis.

The article reviews the monograph by Kapitalina Antonovna Koksheneva, DSc in Philology, dedicated to the cultural and philosophical aspects of N. N. Strakhov’s legacy. The book under review is an innovative study that links the problems of nihilism and devaluing of the idea of personality, and the crisis of rationality in the European philosophical culture of the last third of the 19th century. The monograph examines the legacy of K. S. Stanislavsky in the context of the theory of “organic art.” The study is characterized by both new approaches and interdisciplinary thoroughness. Based on the concepts of understanding man and the national nature of the soul, created by Russian philosophers of the second half of the 19th century, the author defines the range of national ideals that N. N. Strakhov developed in “The Struggle with the West in Our Literature,” and which is fundamental, eternally relevant for Russian culture. The research of K. A. Koksheneva convincingly proves that only the metaphysical method allows us to understand the cultural studies of N. N. Strakhov and the circle of artists-creators and thinkers-creators close to him.

This review is dedicated to the book by the American researcher, a famous specialist in the field of literary comparative studies, Dale Peterson, “Up from Bondage. The Literatures of Russian and African American ʽSoul’.” D. Peterson’s work represents the first study that draws a parallel between the evolution of Russian and African-American cultural identities in literary works and analyzes the phenomenon of the “folk soul.” The study is distinguished not only by its innovative approach and high scientific significance but also by its careful research of archival materials, manuscripts, and letters from the authors, which creates a solid basis for subsequent theoretical generalizations. Using the concept of the “polyphonic novel” by M. M. Bakhtin and the theory of culturally embedded speech acts he developed, Peterson concludes that the dynamics of development and deep mentality of Russian and African-American literature are similar.

The article is devoted to the analysis of the picturesque plot in F. M. Dostoevsky’s novel “Demons,” built around the canvas of the Italian master Raphael Santi, “Sistine Madonna,” in its semantic and symbolic dynamics — the inner spiritual relationship with the fate of Stepan Trofimovich Verkhovensky. The image of Raphael’s Madonna is the most significant element of the ethical and aesthetic system of the character’s worldview, defining the way of thinking and behavior of the character. At the same time, in the conceptual space of the novel, the Sistine Madonna acquires the features of a spiritually ambivalent image: inspiring Stepan Trofimovich to a high way of thinking, she, nevertheless, turns out to be powerless to transform his life. The article analyzes the theological content of the canvas in the context of the Russian tradition (Zhukovsky, Karamzin, Dostoevsky, Bulgakov), which makes it possible to decipher the pictorial code in the fate of Verkhovensky’s father. Spiritual healing and the near-death transformation of the hero become possible thanks to two symbolic and semantic transitions carried out by the Verkhovensky’s father in the final part of the novel: from the Western Catholic “Sistine Madonna” to the Russian Mother of God, from the Western way of thinking and life to the Russian “soil” and Orthodox spirituality.

The article proposes a typology of righteous heroes on the material of L. N. Tolstoy’s stories “Father Sergius,” “False Coupon,” “Alyosha the Pot,” and F. M. Dostoevsky’s novels “Teenager,” “The Brothers Karamazov.” The “great sinners” Dostoevsky and Tolstoy have gospel prototypes — the prodigal son and the “prudent thief.” At the same time, both writers have static characters — righteous people carrying Christian ideals. In the later stories of Tolstoy and the novels of Dostoevsky, there is a teleological plot, which includes the plot motifs of the test, the choice of the hero, and his movement toward salvation. Turning to the ethical teaching of A. A. Ukhtomsky, created based on the works of Tolstoy and Dostoevsky, allows us to highlight the dominant character of the hero, which involves the rejection of egocentrism and determines his salvation, as well as the hero’s “doubles” and “interlocutors” who are capable of awakening his selfawareness. A comparison of the reading range of Tolstoy and Dostoevsky shows their attention to the works of John Climacus, Isaac the Syrian, and Tikhon of Zadonsk.

The article presents a review of the monograph by Susan Fusso, an American researcher, and professor of Russian, East European, and Eurasian languages at Wesleyan University, published by Bibliorossika Publishing House and devoted to the role of an authoritative journalist, editor, and publisher of the largest organs of the Russian conservative press M. N. Katkov — in the formation of the concept of the Russian novel of the second half of the 19th century. The author’s attention focuses on Katkov’s relationship with the major Russian writers of the second half of the 19th century, I. S. Turgenev, F. M. Dostoevsky, and L. N. Tolstoy. Based on a broad historical and literary context, a scrupulous analysis of the journalistic speeches of the journalist and the literary texts of Turgenev, Dostoevsky, and Tolstoy, the researcher rethinks the importance of Katkov in the literary process of the 1860s and 1880s. The review describes the structure of the monograph, and the range of issues raised in it, highlights the most successful and original author’s conclusions, and outlines the prospects for further research.

The image of the “fallen woman” in the novels of G. Fallada’s “Wolf Among Wolves” and F. M. Dostoevsky’s “Crime and Punishment” is examined. Traces of the literary influence of the Russian classic on the poetics of the German writer’s novel at the thematic and character levels are identified. It is established that the key motif in both works is the theme of moral resurrection of the fallen individual. It is shown that, in addressing the problem of the “humiliated and insulted”, both authors incorporate the image of the “fallen woman” into the system of characters in their novels. It is noted that the writers pay special attention to the reasons for her social downfall. Through the use of comparative-historical analysis, parallels in the images of “fallen” women presented in these works — Petra Ledig and Sonya Marmeladova — are identified. The author of the article concludes that the heroines share a number of common features: Christian semantics of their names, moral purity despite physical vice, a tendency towards selfsacrifice, great inner strength despite outward timidity, a desire to show mercy, the ability to motivate their loved ones towards spiritual rebirth and thereby “rebirth” themselves. The results of the study allow to demonstrate the significance of F. M. Dostoevsky’s humanistic ideas for the aesthetic principles and worldview position of G. Fallada in the novel “Wolf Among Wolves”.

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The article examines parallels in plot and images between Ostrovsky’s drama “Without a Dowry” and Dostoevsky’s novel “Demons.” Ostrovsky’s remarks about Dostoevsky in the last years of his life reveal that he distanced himself from the creative principles of the author of “Demons.” However, gestures and remarks of the characters of “Without a Dowry,” such as Paratov, Vozhevatov, Larisa Ogudalova, as well as motifs and collisions connected with them allow us to suggest that while working on the drama, Ostrovsky was influenced by a “literary recall” of Dostoevsky’s novel “Demons” and its characters, namely Stavrogin, Petr Verkhovensky, Liza Tushina. The possible parallels between the characters in “Without a Dowry” and “Demons” are also indicated by their common biblical and literary prototypes: there are allusions to the Serpent-temtper, Hamlet, Prince Harry, Mephistopheles and Faust contained in the stories of Stavrogin and Paratov, allusions to the Serpent and Mephistopheles in the gestures and actions of Petr Verkhovensky and Vozhevatov, while allusions to Ophelia, Gretchen and Poor Liza can be found in the images of Liza Tushina and Larisa Ogudalova. Even despite the differences in the writers’ approaches, there are remarkable plot parallels between the two works, common components in the characters’ images, similar artistic techniques, which, in our opinion, are signs of a literary “dialogue” between the authors of “Demons” and “Without a Dowry.”

Based on the ethical teaching of the religious thinker A. A. Ukhtomsky, the article traces and comprehends the development of the type of the Dreamer and Underground Hero in Lermontov and Dostoevsky’s stories and novels. Lermontov creates the image of the artist Lugin as a Dreamer (“Stoss”), and in the character traits of Krasinsky and Pechorin (“Princess Ligovskaya”), the features of the Underground Hero appear. In the work of Dostoevsky, the Dreamer appears not only in the story “White Nights,” but also in the story “Little Hero,” the story “Netochka Nezvanova.” The Underground Hero of Dostoevsky is depicted in the story “Notes from the Underground” and the novel “The Teenager.” The dreamers of both writers are immersed in the world of literature, music, theater, which develops their imagination. However, the characters of Dostoevsky, unlike Lermontov’s one, are able to commit an act and influence reality.

Readers are invited to review a new collective monograph on the phenomenon of the epic novel, published under the scientific editorship of a DSc in Philology V. G. Andreeva (IWL RAS) and which is the result of the work of well-known specialists in Russian classics in Russia. Besides V. G. Andreeva, the authors of the monograph are A. V. Gulin, N. L. Ermolaeva, S. K. Kazakova, Yu. V. Lebedev, V. I. Melnik, N. G. Mikhnovets. The author of the review analyzes the structure of the monograph, emphasizes the breadth of coverage of the material, as well as an attractive for the reader and at the same time promising scientific approach to the issues under study. The monograph examines in detail the most significant novels of Russian literature of the second half of the 19th century. The seemingly heterogeneous literary material is comprehended from a single methodological point of view, and the term “epic novel” is the key theoretical concept for the monograph. The review characterizes the range of problems raised in the monograph, highlights the successful and non-trivial observations of the authors of the new book.

This review examines a new in-depth study of the perception by contemporaries, both literary critics and readers, of a complex and multi-colored picture of the existence of the creative heritage of F. M. Dostoevsky. The author of the review notes the source base of the study under consideration, emphasizes the breadth of views of the authors of the book, their constant desire to understand the writer in his main ideas and the smallest observations. The assessment of literary criticism in the new edition becomes the reason and basis for identifying Dostoevsky’s place in public and literary life. Presenting the book, the author of the review describes its main sections, pays special attention to the names of forgotten writers and publicists, the movement and polarization of criticism.

Jon Stewart's book Hegel's Century analyzes the reception and modifications of Hegel's notions of recognition and alienation by his German, Russian, and Danish followers. The present text pays attention to the method of Stewart's approach and the chapters devoted to F. M. Dostoevsky, K. Marx, and F. Engels. [ABSTRACT FROM AUTHOR]

The review is dedicated to the book by the honorary professor of the University of Nottingham, the famous Russist and dostoevist Malcolm Jones “Dostoevsky and the Dynamics of Religious Experience” (trans. from English by T. Grosheva). The author of the review concentrates on the structure, style and original research methodology consisting in the synthesis of the ideas of M. M. Bakhtin, deconstructivism and “the model of Epstein.” The book by M. Jones offers his own concept of the evolution of Dostoevsky’s and his heroes’ “religious experience,” genetically determined in the tradition of apophatic theology and ascending through doubts and tossing between unconditional faith and nihilistic atheism to a new form of religious consciousness, called “minimal religion” (Epstein’s term). The book under review reveals non-trivial, bold conclusions, sometimes unexpected for Russian literary criticism, about the nature of Dostoevsky’s religious searches, their genesis, evolution and artistic embodiment in later novels.

The article analyzes a little-known literary work by D. N. Mamin-Sibiryak – his Christmas fantasy “The Last Lights” (1897). This work is considered in a broad context of the “Christmas” narrative of the writer, covering, in total, about three dozen texts, most of which have characteristic genre nominations: “Christmas story”, “Christmas tale”, “Christmas fantasy”, and “legend”. At the same time, special attention is paid to the context of the author’s collection-cycle “Christmas Stories” (1898) and the text of the Christmas fantasy “Iyi” (1902). It is noted that in connection with the stable genre stereotype, in most of the Christmas stories of Mamin-Sibiryak (“Kum”, “Christmas Eve”, “The Cunning German”, “The Song of Mister Kal”, etc.), it is the utopian mode of the historical future that is emphasized, which implies the triumph of moral and religious values inherent in Christianity. In contrast to the dominant utopian beginning of the Christmas story, the writer in “The Last Lights” creates a kind of “inside-out utopia” (N. K. Mikhailovsky), following a pronounced anti-utopian course. A variant of his Christmas fantasy is regarded as an individual authored experience of artistic futurology, containing a spiritual and religious justification for the reasons of the decline of the European civilization – up to the ideas of national disunity, the destructive power of militarism and panmongolism, as well as the degeneration of the European race, the consequences of birth control and the use of the principles of Eugenics social practice. The genre-compositional form of “The Last Lights” is defined as a philosophical fragment that serves to express clearly stated anti-utopian content. In this regard, the article draws intertextual parallels with the anti-utopias “The Last Suicide” and “Cecilia” by V. F. Odoevsky, “A Brief Tale of the Antichrist” by V. S. Solovyov, as well as pictures of dreams about the “golden age” in the works of F. M. Dostoevsky (“Crime and Punishment”, “Idiot”, “Dream of a Ridiculous Man”). At the end of the article, it is concluded that Mamin-Sibiryak’s “Christmas” narrative actively developed the method of “inspired realism” designated by the writer himself, which involved the use of certain neo-romantic and symbolist tendencies, including a creative focus on the genre of parables, fairy tales and legends.

In the 1840s F. M. Dostoevsky became famous in literary circles thanks to his story Poor Folk, but was widely criticized by the Slavophiles, namely by the Aksakov brothers for his creative approach and political ideology. In the 1860s heated disputes between Vremenya and Den’ confirmed Dostoevsky’s ideological disagreements with the Slavophiles. In the 1880s, as the author of the article shows, begins a convergence of Dostoevsky’s position, his artistic ideas and the views of the Aksakov brothers, which is especially noticeable in Dostoevsky’s speech at the Pushkin holiday. The article comprehends the main ideological differences and points of contact between pochvennichestvo and Slavophilism, traces the difficult relationship between Dostoevsky and the Aksakov brothers, which lasted more than 40 years. Numerous disagreements in the beliefs of these contemporaries concerned the issue of creative style, the purpose of literature and ideological currents. Dostoevsky believed in Slavophile thought, but was more progressive; he developed and deepened the ideals of fundamentalism in the second half of the 19th century.

Discusses the Russian-language edition of Donna Orwin’s book about Turgenev, Dostoevsky, and Tolstoy, which came out this year with Academic Studies Press / Bibliorossika. The reviewer considers this book’s publication in Russian a significant scholarly contribution as well as an important reminder of the cultural entanglements among Russia, Europe, and North America. Orwin’s Consequences of Consciousness provides its readers with a comprehensive account of the cultural and philosophical circumstances that gave rise to Russian psychological realism, and offers innovative readings of key literary texts that demonstrate the dynamic dialogue among the three authors who established the genre.

The review contains a description of the book published in the jubilee series dedicated to the 200th anniversary of the writer, named “Sources and methods in the study of F. M. Dostoevsky’s legacy in Russian and world culture.” The collective monograph “Problems of the textual journalism of Dostoevsky (1873–1881)” edited by T. V. Panyukova presents the results of a study of “A Writer’s Diary” and the materials of the newspaper-magazine “The Citizen.” The research is based on archival work, which determines the nature of the results obtained by the compilers: new archival documents have been introduced into scientific circulation, in some cases the history of already known and published materials, their attribution has been clarified. Additions to the book have independent value. In the first of them, materials from A. G. Dostoevskaya’s business books are published for the first time. In conjunction with other materials, they can be useful for attribution and commenting on sources. The second addition contains a chronological attributed description of the “Citizen” for the period of Dostoevsky’s editorship, prepared on the supplemented material of the “Chronicles of the Life and Work of F. M. Dostoevsky”.

The article is devoted to the peculiarity of artistic expression of the theme of money in “A Writer’s Diary” by F. M. Dostoevsky. The article indicates that Dostoevsky’s journalistic style is characterized by the use of metaphor as an artistic term that can accurately designate the phenomena of current reality and give them a social, cultural or philosophical interpretation. Such metaphorical concepts (“soil,” “earth,” “roots,” “golden age,” “golden bag,” etc.) in the writer’s journalism usually grow out of stable ideologemes, idioms or mythologemes universal for Russian culture, but acquire new meanings. The author of the article determines that the metaphor “golden bag” is used in those essays of “A Writer’s Diary” which discuss the problem of the cult of material goods, which penetrated all strata of Russian society of the 1870s. Dostoevsky, appealing to the well-known idiom “golden bag,” starts from its fixed definition of a “very rich man,” creates a metaphorical image of money, profit and greed, gaining power over modern man, then synonymously brings us closer to the idiom of the “golden calf,” which is not represented in “A Writer’s Diary.”

The article is written on the basis of the author’s report at the International Symposium “Visual Theology. Themes and Horizons”, held in Yaroslav-the-Wise Novgorod State University on September 29–30, 2021. The problem of a human visual image is actualized, considering it in aesthetic, sensual-perceived, philosophical and anthropological and religious and anthropological contexts. The author refers to the work of F. M. Dostoevsky, whose memorable dates – 200 years since the birth and 140 years since death – are widely famous events in Russia and all over the world in 2021. The main problem of the article is to disclose and justify the importance of a holistic visual image from the point of view of the Orthodox theological, ascetic and mystical (hesychast) thought of the heroes of the novels “Idiot”, “Demons”, “Teenager” and “Brothers Karamazov”, like Prince Myshkin, Monk Tikhon, Wanderer Makar Ivanovich and Elder Zosima. The article begins with the critical analysis of the position of M. M. Bakhtin, who in his interpretation of Dostoevsky’s heroes absolutized the importance of the dialogue as a form of personal self-consciousness and thereby obviously underestimated the importance of the visual image. The author strives to show that for Dostoevsky, not only in what the main characters say, but also in how they look, in their visual, holistic, aesthetic image, there is a way of manifesting human personality in her phenomenal form. Each character identifies both specific and general features of the visual image, determined by the spirit of the ancient, ascetic Russian Orthodox anthropology. The basis for understanding such image is the aesthetics of the beauty of Russian elders, permeated by honoring the divine beauty and mystery of the world, the expiration of light in their image, the joy of life, prayer, compassion, openness to people and love for them and God. The image of such people is leading to God not only and not only through words, but also by example of personal visual-orthodox communication. The article shows by the example of the heroes of Dostoevsky’s novels the relevance of Orthodox visual anthropology to modern visual personalism and aesthetics of the human image. Статья написана на материале выступления автора на международном симпозиуме «Визуальная теология: темы и горизонты», проходившем в Новгородском государственном университете имени Ярослава Мудрого 29–30 сентября 2021 года. В исследовании актуализируется проблема визуального образа человека в эстетическом, чувственно-воспринимаемом, философско-антропологическом и религиозно-антропологическом контекстах. Автор обращается к творчеству Ф. М. Достоевского, 200 лет со дня рождения и 140 лет со дня смерти которого широко отмечаются в России и во всём мире. Основная задача статьи заключается в раскрытии и обосновании значимости целостного визуального образа таких героев романов «Идиот», «Бесы», «Подросток» и «Братья Карамазовы», как князь Мышкин, монах Тихон, странник Макар Иванович и старец Зосима. Образы этих персонажей имеют большое значение с точки зрения православной богословской, аскетической и мистической (исихастской) мысли. Статья начинается с критического анализа позиции М. М. Бахтина, который в своей интерпретации героев Достоевского абсолютизировал значение их устного диалогического слова как формы личного самосознания и тем самым очевидно недооценил значение визуального образа. Автор стремится показать, что для Достоевского важно не только то, как говорят его главные герои, но и то, как они выглядят, каков их целостный визуальный, эстетический образ, который, по мнению автора статьи, является непроизвольным способом проявления человеческой личности в её феноменальной форме. В дальнейшем автор подробно останавливается на каждом из указанных персонажей, выявляя как специфические черты их визуального образа, так и общие характеристики, которые определяются духом святоотеческой, аскетической и русской православной антропологии. Основой для понимания такого образа в статье выступает эстетика благообразной красоты русских старцев, пронизанной почитанием божественной красоты и тайны мира, истечением света, радостью жизни, молитвой, состраданием, открытостью людям и любовью к ним и к Богу. Образ таких людей приобщает к Богу не только и не столько словами, сколько уже одним своим видом, являя пример личностной визуально-православной коммуникации. Автор статьи предполагает на примере героев романов Достоевского раскрыть актуальность православной визуальной антропологии для современного визуального персонализма и эстетики человеческого образа.

In F. M. Dostoevsky’s works and working notes there are medical terms and expressions written in Latin. The article provides a textual description of these foreign language inserts and analyzes their stylistic and ideologically meaningful functions. The Latin names of diseases used by Dostoevsky denote fever, feverish states and act more as stylistic means. Terminological inserts are also used in relation to the image of a doctorresident from the story “Notes from the House of the Dead”. On one hand, the inserts mark the hero’s professional affiliation, and on the other, they graphically mark the boundaries of the prisoner’s “rest” in the hospital. The use of a Latin aphorism, which goes back to the dictum of Hippocrates, in the novel “The Adolescent” is noteworthy. It is known that Dostoevsky relied on the published protocols of the trial of N. A. Dolgushin’s secret society. One of the protocols contained the saying of Hippocrates written on the wall of Dolgushin’s room, but in Russian translation. In his working notes, Dostoevsky always writes an aphorism in Latin. This gives grounds to assume that through an appeal to the Latin primary source, the writer shows the transformation of humanistic values in modern society at the substantive and stylistic levels.

The article deals with the art reviews of F. M. Dostoevsky. Based on the analysis of the articles “Exhibition at the Academy of Arts for 1860–61” and “About the Exhibition” published in “A Writer’s Diary” for 1873, the aesthetic criteria for Dostoevsky’s assessment of genre, historical, portrait and landscape Russian painting are determined. The author of the article reveals the most important criteria outlined by Dostoevsky: the expression of the author’s ideal that distinguishes a painting from mirror reflection and photography; the artist’s independence from direction, excessive naturalness, theatricality and “excessive showiness”. Particular attention is paid to Dostoevsky’s analysis of paintings by V. N. Jacobi, V. G. Perov, V. E. Makovsky, N. G. Sсhilder, M. P. Klodt, I. E. Repin, A. I. Kuindzhi, N. N. Ge, whose work aroused genuine interest of the writer and prompted reflections on artistic truth in art. The characters of the paintings as presented by Dostoevsky come to life, acquire a “history of feelings”, a psychological appearance and a voice. The work distinguishes between such concepts used by Dostoevsky to analyze contemporary painting for the writer in the light of “realism in the highest sense”, such as “natural truth”, “real truth”, “stage truth”, “artistic truth”, “higher truth”.

The article analyzes the nature of the interaction between first-line literature and fiction in the 1860–1870s as dynamic, versatile and dialogical. It is argued that the historical novel by E. A. Salias “The Pugachevites” (1874), based on the discoveries of the epic novel “War and Peace” by L. N. Tolstoy, testified to the process of strengthening the epic tendency in Russian literature of the 19th century. The novel by E. A. Salias was not exclusively secondary, the portrayal of the “predatory type” hero became innovative, but not deeply understood by the fiction writer. It is noted that further development was undertaken by F. M. Dostoevsky at the first stage of the creation of the novel “The Adolescent”. Its distinctive feature was the consideration of the “predatory type” in the context of the Russian history of spiritual quests of the 17th–19th centuries. The description of the stages of development of the type by F. M. Dostoevsky made it possible to come to the conclusion that the process of cognition of the Russian character, the identification of the laws of the historical development of Russia presupposed a versatile comprehension of the national foundations of life, which predetermined the epic character as the leading feature of the Russian novel of the second half of the 19th century.

The article attempts to identify the key moments of F. Dostoevsky’s presence in the context of the literary and critical declarations of the journal Zavety, primarily, by its co-editors, V. Chernov, and especially by Ivanov-Razumnik. His attitude towards the writer as a “world genius”, “the apogee of ethical individualism”, expressed in a number of articles, should be considered programmatic for this journal. A. Dolinin’s critical reception and reviews in the bibliographic department are in line with this attitude.

We consider in this work linguostatistical methods that were used for attribution (establishing authorship) of publicistic articles of the XIX century. At that time, F. M. Dostoevsky edited and headed three journals: ""Time"", ""Epoch"" and ""Citizen"", where there are about 500 unattributed texts. Samples from texts were compiled, their characteristics were studied, and a comparative analysis of the classification results based on various machine learning methods (decision trees, recurrent networks, parallel recurrent networks, transformer model) was carried out. The input of texts, their processing and the calculation of linguostatistical parameters were carried out using an updated version of the SMALT information system.

The article considers novels The Life and Adventures of Tikhon Trostnikov (1843) by N. A. Nekrasov and Humiliated and Insulted (1861) by F. M. Dostoevsky as experimental works in which the authors sought to combine European and national traditions. The reference to biographical material, the use of the structural method allowed to discover the similarity in genre content of the works and the difference of ideological attitudes of the authors. Both novels were created as autobiographical works, adventurous and satiric, included elements of “natural essay”, but each of the authors sought to use national genre content: Nekrasov's is a folk drama, and Dostoevsky refers to the traditions of Old Russian calendar literature, a literary story that shows the verification of the Holy Scriptures. Nekrasov failed to create a complete work, largely due to the narrative form, in which in some cases the parody begins to appear. But Dostoevsky managed to bring the novel to a new level, especially in his last works The Raw Youth and The Brothers Karamazov. Performing the task of “restoring the lost man”, Dostoevsky turns to the church calendar, Gospel allusions and parable plot.

One of the urgent issues of modern Russian studies is the study of letters to the power of Russian writers. It is legitimate to single out these addresses in a special genre, which, in contrast to the genre of friendly writing, has practically not been studied. Fedor Dostoevsky wrote letters to Alexander I, V. A. Dolgorukov, A. E. Timashev, A. A. Suvorov, heir to the throne A. A. Romanov, and Grand Duke K. K. Romanov. Of particular note is the voluminous correspondence between Dostoevsky and K.P. Pobedonostsev – correspondence between a writer and an official of such a high rank is very rare (it should be noted that the addresser and the addressee were connected not only by business, but also by personal relations). The subjects of Dostoevsky’s letters to the authorities are very diverse – requests to move to the capital, creativity, literary and social life in Russia and Europe, the publication of “Citizen” and others. On the basis of F.M. Dostoevsky’s letters to the Emperor, the Tsareviches and their confidants of various ranks, one can trace the relationship with the authorities and clarify a number of already obtained facts and assessments. The messages of Russian writers to power are a special kind of epistolary genre that has both aesthetic value and is a historical document – evidence of the relationship between power and literature in our country. Obviously, the authorities were interested in cooperation with writers, and specific rulers showed interest in the work and in the personality of Dostoevsky.

The triad: Orthodoxy, autocracy, people form the basis of the conservative views of F.M.Dostoevsky and A.I. Solzhenitsyn. Based on common worldview constants, thinkers build concepts of a national-conservative persuasion. Their creative heritage is broader than “soil culture”, nevertheless, the ideas of this direction are developing in their journalism. The article presents a comparative analysis of the views of the authors concerning their views on the land, the Russian people and the intelligentsia. An analysis of the texts of Dostoevsky’s “Diary of a Writer”, Solzhenitsyn’s artistic and publicistic miniatures “Krohotki” and his other publicistic works allows us to understand why many of the “soil” issues raised in the 19th century were actualized a century later. The continuity of ideas of authors of different centuries in the context of social and political transformations in society is considered. A significant time period separating Dostoevsky and Solzhenitsyn makes it possible to see not only coincidences and consonances in their work, but also divergences.

Crime fiction originated in the mid-nineteenth century, at a time of great positivistic confidence in thepotential of human knowledge. Edgar Allan Poe’s short stories are considered as the beginning of thegenre, and his character Auguste Dupin is the first modern literary detective. F. M. Dostoevsky did notwrite crime novels because the elements of the genre present in his novels participate in the constructionof a different kind. However, this paper will try to look in more details at the key differences betweenDostoevsky and the classical rules of crime fiction, on the example of the novel “Crime and Punishment”.A deeper understanding of these differences reveals the limits of the genre, while in Dostoevsky onecan recognize one of the early critiques of the fundamental principles and world picture that the genrerepresents.

The article examines the plot of guilt in refraction to the event of a dream from the early story of Fedor Dostoevsky “Mister Prokharchin” to “Brothers Karamazov”. The author of the article proceeds from the idea of the specific features of the writer’s work, characterized by the dynamics of comprehending the main problems for him and the relative stability of their figurative, motivational, plot-plot expression. It is emphasized that the development of the plot was determined by the increased in the 1840–1870s. public interest in the problems of the correlation of the general as a national and individual, the moral transformation of a person, in the peculiarities of folk life and the Russian national character. The constituent parts of the historical and cultural context of Dmitry Karamazov’s dream picture are commented: they determine the thematic structure of this dream, testify to the decisive concretization of the universal human image of “God’s people” (“Mister Prokharchin”) as national. The author of the article comes to the conclusion that in “Brothers Karamazov”, the writer’s reflections on the historical fate and role of the Russian people formed the basis for the epic reversal of the “plot of guilt”: feeling individual guilt, Dmitry Karamazov opens up to a feeling of compassion as a nationwide one.

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Copyright of Yearbook of the Faculty of Political Sciences / Godisnjak Fakultet Politickih Nauka Beograd is the property of University of Belgrade, Faculty of Political Sciences and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Yearbook of the Faculty of Political Sciences / Godisnjak Fakultet Politickih Nauka Beograd is the property of University of Belgrade, Faculty of Political Sciences and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Yearbook of the Faculty of Political Sciences / Godisnjak Fakultet Politickih Nauka Beograd is the property of University of Belgrade, Faculty of Political Sciences and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article examines the dialogue in A. Slapovsky’s works of the late 1990s–2000s with F. Dostoevsky. The article highlights forms and functions of this dialogue: the mention of the writer's name, the reinterpretation of his works perform the function of an ironic, often parodic, reflection on the changed status of the author, the nature of the readership, the perception of literature during a crisis of literary centrism; the value deformations occurring in society are emphasized with the help of a literary prism. “Dostoevsky's context” reflects the writer's reflection on his own work and allows us to judge the direction of Slapovsky's creative evolution.

The aim of the paper is to define more closely the model of theological thinking of the current Pope Francis on the example of his interpretation and communication of the religious thought of the Russian novelist F. M. Dostoevsky. In the theological thinking of Pope Francis, this concept has a mediating role between the cultural form of religion and its meaning and role for theology. Next, the study reviews the sources and cultural influences of his approach to theology. Finally, through an analysis of his texts, it presents specific systematic insights into the nature of the interconnectedness of Russian religious thought, including implications for the content and mode of mediating salvation to people today. [ABSTRACT FROM AUTHOR]

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Copyright of Journal of Language & Literary Studies / Folia Linguistica & Litteraria is the property of Journal of Language & Literary Studies / Folia Linguistica & Litteraria and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The reception of the novel by F. M. Dostoevsky “Notes from the Underground” in the works and correspondence of D. H. Lawrence is analyzed in the article. The novelty of the study is in the fact that the influence of this story on Lawrence’s prose is being studied for the first time. Particular attention is paid to Lawrence’s letters to the translator S. S. Kotelyansky, with whom the English writer shared his impressions of reading the works of Russian classics, especially Dostoevsky, as well as to one of the letters addressed to the writer G. Campbell, which contains the only direct reference to “Notes from the Underground” in Lawrence. This letter reveals an individual interpretation of the story by Lawrence. It is proved that this interpretation turns out to be close to the reading of the Notes by L. Shestov. The question is raised about the existing parallels between the text of Dostoevsky and the novels of D. G. Lawrence (“Women in Love”, “The Lost Girl”, “Rainbow” and “Aaron’s Rod”). The similarity is seen in the peculiar interpretation of the Underground concept by Lawrence. It is shown that the image of the Underground in the works of the English writer (usually expressed by the words “underworld”, “subterranean”) is always somehow connected with the irrational principle and is involved in the formation of Lawrence sensualism.

The analysis of the unfinished novel “The Life of a Great Sinner” is presented. It is proved that the religious ideas of Tikhon of Zadonsk about freedom, nobility, humility formed the basis of image of protagonist of the work. The author emphasizes that the novelist outlined a complex structure of image of the hero, whose aspirations are multidirectional: on the one hand, to freedom as power over people and worldly greatness, and on the other - to Christian freedom and humility. Attention is paid to the issue of conditions for finding the Orthodox-Christian faith by the young hero. The author shows that in the process of its consideration the novelist included the figure of the mentor in the system of characters of the work, his the prototype being Tikhon of Zadonsk. The problem-thematic core of the idea is revealed: the literary Tikhon calls the character to humility (to conquer himself with God’s help), but the character does not penetrate the essence of the doctrine and follows the path of false humility, distorting what he heard from the mentor and arming himself with the formula “conquer yourself and you conquer the world” in its exclusively mundane understanding. The author comes to the conclusion that Dostoevsky does not remove the prospect of spiritual transformation of the young hero, but, experiencing difficulties in its artistic disclosure, leaves the idea. The author believes that the plot situation “mentor - student” retains its importance in the problem-thematic aspect in the future work of the novelist (“Demons” and “The Brothers Karamazov”).

Copyright of RumeliDE Journal of Language & Literature Research / RumeliDE Dil ve Edebiyat Araştırmaları Dergisi is the property of RumeliDE Uluslararasi Hakemli Dil & Edebiyat Arastirmalari Dergisi and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Literature / Literatura is the property of Vilnius University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

В либретто оперы Д. Д. Шостаковича «Нос» в партии Ивана использованы первые два куплета Смердякова из романа Ф. М. Достоевского «Братья Карамазовы». В статье исследуются истоки образа Ивана в свете семантики и философского образа Смердякова и других персонажей Н. В. Гоголя, как и самого облика Гоголя в восприятии Достоевского. Использование куплетов Смердякова в опере на гоголевскую тему предстает крайне органичным: Гоголь и Достоевский оказываются сближенными в эволюции художественных идей. В романе Достоевского Смердяков излагает свои исторические сентенции, ставшие основными маркерами этого образа. В опере Шостаковича лакей Иван обрисован, как приверженец тех же идей, заостренно выраженных в интонационной сфере брутальности, воплощенной собственно музыкальными средствами. Стилистические истоки куплетов Смердякова находятся в песенных жанрах XVIII- XIX вв., содержащих элементы «романса» Смердякова. Но ни в одном фрагменте они не совпадают с «романсом» текстуально. Комический абсурдизм оперы «Нос» гротескно сгущает фантастический комизм гоголевской повести, выводя наше восприятие на новый уровень оценки ее художественного содержания по сравнению с уровнем фантастического реализма.

Although Poor Folk, the first novel by Fyodor Dostoyevsky, has been thoroughly studied, the correlation between its characters’ epistolary styles is not yet clarified. Varvara Dobroselova’s language usually escapes critical attention, albeit her “verbal” function in the novel might even exceed her “plot” function. Makar Alekseyevich’s style develops itself in the endless dialogue with “pattern” style and can be only understood in comparison. The article focuses on the major differences in the narrative strategies of the characters. It reveals the opposition of Varvara Alekseyevna’s “ready-made” word deeply enrooted in the sentimental tradition and Devushkin’s language which is intensely forming at the moment of writing and shifts constantly from one level of discourse to another. The topics selected by the characters, time orientation of their letters, and their style are closely analyzed in comparative perspective. The analysis reveals an important regularity: the expressiveness in Varvara Alekseyevna’s letters is attained through paralipsis, while Devushkin’s letters are expressive precisely as they speak even the most obscure and painful things. Devushkin’s language, as the article shows, tends to appropriate and combine diverse elements of the style of the other and to explore new thematic and stylistic spheres. As a result, the problems and techniques of the Natural School emerge in his letters. The study of Devushkin’s speech strategy with its effusive and even aggressive nature allows us to conclude that the character not only “unbosoms his feelings,” but also tries to assert himself in the new word, as it were, when arguing with Varvara Alekseyevna (read: old literature).