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The article examines the influence of Plato’s Republic on Dostoevsky’s late novels. The role of the dialogue in the ideological discourse of Europe and Russia in the mid-nineteenth century is noted, and references to the work in Dostoevsky’s f ive major novels and draft notes are traced, indicating the writer’s acquaintance with it. The main part of the article draws parallels between the socio-philosophical presentation of the concept of justice in the dialogue The Republic and Dostoevsky’s novel Crime and Punishment. Thus, at the beginning of the dialogue, Socrates’ opponent Frasimachus puts forward the thesis of the harm and uselessness of justice for ordinary citizens, and in the process of substantiating it almost completely anticipates the main provisions of Raskolnikov’s theory. Socrates, in turn, refutes Frasimachus with arguments like those addressed to Raskolnikov. The common vector of Dostoevsky’s and Plato’s interpretation of the theme of justice is revealed. However, there is also an important difference: for Dostoevsky, there is a higher, divine standard of justice by which social justice is also understood. Dostoevsky’s characters seem to be constantly arguing with God, who admits actual injustice and can draw different conclusions from this situation, including fighting with God. For Plato, justice is the harmony of good human will that everyone should strive for in the real world, building a good society with their own hands: it is perfectly intellectually comprehensible and reasonable.

Friedrich Schiller was one of the most important Western authors for Dostoevsky. The importance lay both in being inspired by Schiller’s ideas and their creative development, and in direct controversy to the point of ironic criticism. In the novel Crime and Punishment frequent appeals to Schiller are not followed by precise quotations or recognizable allusions, and as a result they require decoding and commenting. This article attempts to do this. The influence of Schiller’s heritage in the novel can be traced on different levels: common ideological motives (the polemic with the concept of schöne Seele; a theodicy based on the philosophical concepts of love and beauty); aesthetic positions (an aestheticization of suffering and crime as “sublime”); anthropology (the creation of an ideological hero; the judgment about the deep disharmony in the nature of the contemporary man, which leads to an unlimited “largeness of the soul” to the point of a terrible moral ambivalence), and innovative methods of psychologism (a depiction of a criminal’s psychology from the inside, with an effect of empathy). Of particular importance for the ideological content of the novel Crime and Punishment was Schiller’s drama The Robbers; in terms of psychological analysis, the dramatic passages of The Misanthrope and the story The Criminal of Lost Honour also played a significant role. The latter are first introduced in academic commentary on Dostoevsky’s novel.

The article describes the phenomenon of silence in Dostoevskys later prose. Philosophical, plot-forming and psychological aspects of silence are looked at. A confessional type of monologue is defined as a discursive genre, with specific roles of the speaker and his silent listeners, whose predominance in Dostoevskys prose lets the author of the article adjust the notion of polyphony and dialogue within the context of Dostoevskys poetics. The conventionality of the other in the confessional type of monologue is proved by the absence of the completing functions in listeners. In most cases Dostoevskys later works retain some rudimental forms of frantic dialogue while the role of specific monologue discourse, caused and conditioned by silence, is increasing. By semantics and function types of silence in Dostoevsky fall into three groups: 1) the underground silence as expression of human disunity in the epoch of universal solitude; 2) role silence of listeners in the discursive genre of confessional monologue; 3) sacred silence of Christ indicating transition to a new higher level of communication

The relevance of the research is caused by the requirement for uniform filling of transport casks with uranium hexafluoride and for solution to stop filling it according to the degree of its fill up. This requirement can be achieved by the commissioning of an automated control system for deposition apparatus. The main aim of the research is to develop the algorithm for calculating the cooling interval of the deposition apparatus tube bundle, which ensures the accumulation of the given deposit layer thickness in an automated mode. Object of the research is uranium hexafluoride deposition apparatus. Methods: mathematical modeling of technological processes; full-factor experiments on the mathematical model; regression analysis; statistical analysis; field experiments on the deposition apparatus for uranium hexafluoride production. Results. Duration of cooling interval is used as a control action for implementation of stabilization system for a given deposit layer thickness on the cooled element (tube bundle). The mathematical model of the deposition apparatus is used to conduct numerical experiments and to find an analytical dependence for calculating the duration of the cooling interval. The mathematical model describes the heat exchange and mass transfer occurring in the apparatus. The adequacy of the model is confirmed by comparing the results of mathematical modeling and production data. The conclusion about the adequacy of the model is made by the magnitude of the reduced standard error of prediction by the model of production data. The equation for calculating the cooling interval was obtained using the developed mathematical model as a result of a full factorial experiment. The equation allows calculating the required duration of the cooling interval for the tube bundle, during which the operator-specified deposit layer will be accumulated.

The article looks at novels from Dostoevsky’s Pentateuch, focusing on peculiarities of love storyline and its role in the structure of the plot, which is considered as an established poetic system. The love storyline can never be the only basis of a plot construction, but it adds to the ideological line and the harmonization (matching) of the two lines was always a problem to Dostoevsky. The love storyline is always dramatic, even catastrophic, but since the characters’ feelings are not reciprocal over most of the story time, the development of any psychological confrontation is ruled out. The love story is discrete: it’s not a continuous line, but a series of culmination episodes, in which only a decisive tête-à-tête scene between protagonists is given in detail. Basing on social motives - an opposition of a glamorous-scandalous marriages - the love story line never assumes social forms: it results neither in marriage nor in cohabitation of the two characters. Characters either part or - in case of a harmonious, happy unit - its depiction always remains beyond the formal final of the plot.