It is not by chance that the title of this article paraphrases Gustav Gustavovich Shpet’s article “The Skeptic and His Soul”. Is Stavrogin a skeptic? Yes, and the novel Demons is a narrative...

This paper examines the relationship between the generation and suspension of meaning in Dostoevsky’s Demons with reference to Bakhtin’s thesis that one’s meaning is defined by someone else’s answer. By generation I mean both the generational conflict between fathers and children and the generative power of language. It is the division between what one says and what one means that troubles Stavrogin. He has his authorship usurped by others and is not in control of his own discourse. Although the (...) document headed “From Stavrogin” in the unpublished chapter “At Tikhon’s” has traditionally been called a confession by critics, that is misleading, for, as the narrator points, the pages look very much like a political tract, and what is at stake in his dialogue with Tikhon is the very question: is it a confession or not? This document also raises questions about the authenticity of signatures, as does Prince Myshkin’s counterfeiting of someone else’s signature in The Idiot. (shrink)

The article provides a summary of “Fyodor Mikhailovich Dostoevsky and European Culture” International Scientific Online Conference, held by the International Laboratory for the Study of Russian-European Intellectual Dialogue of the National Research University Higher School of Economics in cooperation with the Dostoevsky’s Moscow House Museum Center. At the conference, leading experts in various fields of the humanities presented various reports on the mutual influence of Dostoevsky and European culture. Research attention was paid to the problem of the influence of the (...) Russian writer on the creative development of European philosophical and artistic thought. The speakers demonstrated the history of translations of Dostoevsky’s novels into foreign languages. The participants of the conference also reflected the influence of the concepts of Western European philosophy, literature, and culture on the fiction and religious thought of the writer. A number of conference reports were devoted to the cultural and philosophical problems of Dostoevsky’s works. The researchers examined the religious and philosophical dialogues of the novel Demons, paying special attention to the controversial image of the protagonist of the novel – Nikolai Stavrogin. Leading Dostoyevsky specialists turned to the littlestudied aspects of his journalism, defining the role of the “Jewish question.” The conference presented literary critics’ interpretations of Dostoevsky’s novels, the history of screen and musical adaptations of his works in European and Russian art. (shrink)

This study is an attempt to reconstruct and sum up philosophical interpretations of Stavrogin, the main hero of the classic Dostoevsky’s novel “The Devils”, given by the outstanding Russian religious thinkers in the twentieth century. The author emphasizes that, however different can be their philosophical premises, the discussed interpretations of Dostoevsky’s hero are compatible and complementary. Confronting and, above all, synthesizing different points of view, he tries to grasp the basic historiosophical, anthropological and religious ideas of Russian renaissance.

From the perspective of the television series Breaking Bad (2008–2013), Walter White, its antihero, is not just an “angry middle-aged white guy”. He represents the repressed rage of countless ill-used Ph.Ds. This is why “he is the danger.” The cultural moment of Breaking Bad may serve for us in Siegfried Kracauer’s term as a “close-up shot or establishing shot.” The series is an index of Kracauer’s “law of levels.” White has lived his life according to what he thought was standard (...) and decent conduct. His life has been adequate. He echoes Tolstoy’s Ivan Ilyich whose life “was most ordinary and therefore most terrible.” White also recalls Stavrogin from Dostoevsky’s The Possessed. Stavrogin condemns himself because he can only have been satisfied by himself (in both senses). He is more Mephistopheles than Faust; he is never out of hell because he will not accept the possibility of anything outside himself. Breaking Bad also reifies Carlo Ginzburg’s “estrangement.” The screens that we carry with us transmit endless meaninglessness. We are consumed by consumerism. Therefore, Walter White is not an antihero: He is the perfect hero for a world in which the marketplace alone determines value. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Dostoevsky and Schiller:National Renewal Through Aesthetic EducationSusan McReynoldsDostoevsky's novels pivot upon scenes of spiritual transformation, moments of revelation that resolve dilemmas for which no logical solution can be found. Raskolnikov, for example, analyzes his crime from philosophical and sociological angles until he almost dies; he is saved by his dream of the plague and by the image of Sonia's face. When insight and progress come to Dostoevsky's fictional characters, (...) they come as dream, memory, and rapture before images of beauty and suffering. The choice between spiritual and logical solutions confronting Dostoevsky's characters is also a choice between Russia and the West. The rationalism and corollary doctrine of egoism that drives characters like Svidrigailov, Stavrogin, and Ivan Karamazov to madness and death are clearly associated in Dostoevsky's novels with Western philosophy. The ability to surrender to the beneficial power of images is associated with characters like Dmitry Karamazov, who is able to accept the primacy of spiritual truth—the truth of his need for expiation—over the fact of his legal innocence of his father's murder. The breadth of spirit that renders Dmitry receptive to the truth revealed in his dream image of the suffering child is clearly identified in The Brothers Karamazov as a distinctively Russian national trait.The contrast between reason, death, and the West, on the one hand, and receptiveness to imagistic truth, salvation, and Russia, on the other, [End Page 353] drives the plots of Dostoevsky's novels. This familiar feature of Dostoevsky's art is first articulated in texts unfamiliar to most readers; the historical essays of the early 1860s that were among his first published works after his return from exile. In 1849, Dostoevsky was arrested as a member of the Petrashevsky Circle, an association dedicated to disseminating the tenets of Western socialism in Russia. For his participation in the Circle, Dostoevsky was initially condemned to death; the sentence was commuted to four years of hard labor in Siberian prison camp, to be followed by an indefinite period of military service in Siberian exile.When Dostoevsky returned to St. Petersburg and public life in 1860, he and his older brother Mikhail launched the journal Time. Mikhail served as editor. Dostoevsky would publish The Insulted and Injured and Notes from the House of the Dead in its pages, in addition to numerous essays dedicated to contemporary literature and events. The essays on Russia and Europe published in Time were a creative workshop in which some basic features of his later novels—most notably the contrast between Western positivism and Russian spirituality, conceived as the capacity to embrace imagistic revelations of the truth—were first developed. The pressure of Dostoevsky's developing artistic craft is clearly apparent in these non-fictional texts from the early 1860s, which narrate modern Russian and European history as a story structured by a dual plot of death and redemption.Before Dostoevsky wrote novels structured around the contrast between characters like Dmitry and Ivan Karamazov, he wrote essays structured around the contrast between Russia and Western nations like France and England. Before Crime and Punishment portrayed Raskolnikov's resurrection as the surrender to images offering glimpses of something that eludes rational analysis, Dostoevsky's essays in Time predicted national renewal for Russia through her embrace of the truths conveyed by the images of fine art. Some essays in Time compose a plot of national rebirth through the effects of artistic images for Russia, but others admonish readers with what Dostoevsky believed would be the terrible consequences of positivism for the West. Winter Notes on Summer Impressions, published in Time in 1863, casts France and England as mortally ill victims of a materialist worldview that can only grasp the challenges of modernity as scientific and political problems. The spiritual solutions that will be revealed to Russia through images of beauty, Dostoevsky warns, will elude nations ensnared in rational approaches to their problems. [End Page 354]Throughout his post-exile life, Dostoevsky believed that political improvement results from changes in the moral condition of individuals, inner changes that are catalyzed by images, not reached through rational deliberation. In 1861, he writes of the Imperial edict... (shrink)

The article introduces to the domestic reader an unknown French work of Romain Nazirov titled ‘Trois duels ‘. Nazirov compares the variations of the theme ‘barren omnipotence‘ in the novel ‘The magic skin‘, ‘A Hero of Our Time‘ and ‘Demons‘, considering the episode of ‘predetermined duel‘ as the climax of the of the theme development. Comparative analysis gives the author a reason to believe that Lermontov describing duel in the ‘Hero of Our Time‘ was under the influence of a similar (...) episode of the novel ‘The magic skin‘ by Balzac. However, according Nazirov, in the novel by Lermontov duel becomes a philosophical experiment of the hero. This observation naturally leads the author to Dostoevsky’s novels in which such experiments directly determine the fate of tragic ideologists, the central figures of these texts. Stavrogin’s duel Nazirov interprets as a result of creative debate of Dostoevsky with Balzac and Lermontov. ‘The magic skin‘ and ‘A Hero of Our Time‘ emphasized the inability to find a goal worthy of omnipotence of hero. ‘Demons‘ accentuate the motive of personal guilt, which renders meaningless all further goals and actions of the hero. However Nazirov’s interpretation of ‘Demons‘ is determined not only by moral issues. For the soviet literary scholarship in 1970s social the context of moral conflict of ‘Demons‘ is also important. This context defined by process of breakdown of traditional Russian society structures during the second half of the XIX century. Thus, the article presents a historical and literary-historical comment of the topic ‘barren omnipotence‘ of Balzac to Dostoevsky. In this work, there are all the typical characteristics of a mature scientific style of Nazirov: attention to the social aspects of the history of literature, historical approach to the actual literary phenomena, moral sharpening of artistic perspective. (shrink)