Man is a mystery. It must be unraveled and if you spend your whole life unraveling it, do not say that this was a waste of time; I am preoccupied with this mystery because I want to be a human being.

The autor investigates a special aspect of a fundamental and immediate problem for Russian literary science, namely ‘F. M. Dostoevsky and literary tradition in the XVIII century‘. ‘The Old Man‘, a novella by French writer P. J. B. Nougaret from his prose cycle ‘Les passions differents ages, ou le tableau des folies du siecle‘ , is seen as an important element of the paradigmatic context in F. M. Dostoevsky’s novella ‘Dyadushkin son‘ . A parralel character analysis, ‘Baron Osbrun (...) - Prince K.‘, reveals significant differences in the autors’ strategies to foreground the archetypal images of a youthy and smart old man, so firmly entrenched in antiquity. The apparent similarity in the satiric portrayal of elderly characters, based on the combination of Aristophanes grotesque, gallant and anacreontic codes, emphasizes a striking difference in the behavior of Baron Osbrun and Prince Gavrila in the same situation - ‘public disclosure of the secrets of a youthy old man‘. This character parallel gives a clear-cut idea of how Dostoevsky transformed the archetypal image of a youthy old man, shows notional depth and esthetic complexity of the tragicomic character of Prince-‘dyadushka‘. (shrink)

The relevance of the article is due to the authors attempt to apply some of the philosophical concepts of F.M. Dostoevsky to the comprehension of contemporary sociocultural reality. The purpose of this study is to clarify the reasons for the historically unfriendly attitude of Europe towards Russia by analyzing the works of F.M. Dostoevsky dedicated to this problem. In the process of writing the article, the published Diaries of the writer were used; diary entries unpublished during the writer's (...) life; philosophical reflections contained in works of art, as well as applied modern scientific and popular science literature dedicated to the work of F.M. Dostoevsky. In the course of the analysis, it was found that the writer considered historical, confessional and moral reasons to be the main factors in the rejection of Russia by Europe, while he especially singled out disinterestedness incomprehensible to Europe as a characteristic of the Russian people. The authors draws attention to the fact that all the reasons for Europe's "remarkable dislike" for Russia, about which F.M. Dostoevsky, directly or indirectly associated with the Orthodox faith. Therefore, an attempt to actualize the worldview heritage of the great writer will certainly lead us to a dilemma: either to move from thoughts and words to actions, to religiously enlighten both ourselves and Europe; or to enclose our Orthodox heritage in a historical and cultural framework, eliminating the source of the reasons for our rejection by the European public, with all the ensuing consequences. (shrink)

The subject of the study is the problem of the integrity of the development of national culture and the spiritual continuity of historical epochs, which raises the question of how the same philosophical and ideological concepts pass from one century to another, influencing artists of different generations. The purpose of the work is to study to what extent the ideas and artistic images of F. M. Dostoevsky acted for M. M. Prishvin as a context for comprehending the essence of (...) Soviet reality, as well as his philosophical and ideological assessment of the ideology and policy of the ruling Bolshevik party. The article uses the method of historical reconstruction of the ideological and political context of the life of Soviet society and the state. The method of hermeneutics is used, the application of which directly follows from the specifics of the writers' artistic discourse. The comparative study of texts and worldview views recorded in the diaries of Dostoevsky and Prishvin acts as a kind of hermeneutic circle, i.e. the analysis of the worldview makes it possible to better understand the text, and the text, in turn, makes it possible to clarify the features of the author's conceptual worldview ideas. The novelty of the research lies in the introduction into scientific circulation of new facts from the 18-volume Prishvinsky Diary (1905-1954), published only in the post-Soviet period, hidden for many years, allowing to discover additional facets of the artist's work. The study revealed the main determinants of the evolution of Prishvin's worldview from categorical rejection of the October Revolution and Bolshevism to reconciliation with the Soviet state. The results obtained contribute to the development of Russian studies, allowing us to better understand the patterns of the evolution of the worldview and the features of the writer's artistic world, as well as his place and role in the history of Russian and Soviet culture of the XX century. (shrink)

The article deals with the symbolic meanings that the images of America and Switzerland have in the works of F.M. Dostoevsky. It is shown that the meanings of these two images are interconnected and constitute a dialectical contradiction, and each image, in turn, has two contradictory meanings - positive and negative. America acts, on the one hand, as a symbol of the openness and freedom of man, his desire to build the future on his own, but, on the other (...) hand, it expresses a dead-end path of development based only on material values. Switzerland embodies the ideal of spiritual development, which is the inner essence of European civilization, but at the same time it symbolizes the patriarchal, sinless state of man, which does not correspond to real earthly life. Switzerland is the ideal of the heavenly state of an earthly person, but this ideal is impossible in real life. The tragedy of the impracticability of this ideal is most clearly demonstrated by Dostoevsky through the story of Prince Myshkin in the novel The Idiot. (shrink)

The aesthetic and spiritual problems of a heritage of F. Dostoevsky in connection with the perception of his works in Russian culture of beginning of XXth century are considered in the article. N. Berdjaev’s estimation of value of Dostoevsky’s works for Russian Renaissance, when was active discussions the problems of the humanism and further development of the literature and culture, is given in the work. The author has paid attention to Dostoevsky’s activity in search of new opportunities (...) of the literature for the direct image of a human ideal. The remarkable examples of such works were found by the writer in art of the European Renaissance. The opinion that humanism of Renaissance was formed by special type of the self-made man of art and spirit on the basis of the Renaissance myth of person is supported in the article. The author established a connection with humanistic ideas and aesthetic searches of Dostoevsky, Renaissance and Russian Renaissance of beginning of XXth century through the interpretation of a category ‘the Renaissance myth of man‘. In Russian culture Dostoevsky can be estimated as the type of the artist corresponding late European Renaissance Typological aspects of a human myth in F. Dostoevsky’s prose can explain fixed attention to his works in beginning of XXth century. Constant and deep interest for a person and spiritual life ensured the high degree and important features of influence of his works on formation of views of Russian Renaissance on art, art creativity and understanding of the world and the person in terms of tragical humanism. As a result, Dostoevsky’s creative heritage with his humanistic myth of the Renaissance type became the important part of art and Russian spiritual culture of beginning of XXth century. (shrink)

The researcher scrutinizes one peculiar historical and philosophical fact which has been generally overlooked when studying Dostoevsky. The analysis of the writer's works was carried out by the outstanding Russian philosopher Aleksei Losev at the Russian Academy of Artistic Sciences. The article also provides further information on Losev's work at the Academy in the 1920s. Special regard is paid to the Russian philosopher's activities in the Literary Section in 1927-1929. The author provides ample evidence of the special treatment Losev (...) paid to Dostoevsky, including numerous discussions of reports on the Russian writer's oeuvre. The article draws attention to the fact that the main focus of Losev's analysis of Dostoevsky was the writer's symbolism. It is noted that Losev turned to the study of such as early as in the 1920s. However, the philosopher managed to publish his findings much later. According to Losev, symbolic images pervade all of Dostoevsky's works. Based on the comprehensive evaluation of archival sources and their comparison, the article unveils a picture of the Russian philosopher's activity and agenda. That helps us better grasp the range of his scholarly interests, significantly expands the opportunities for further research into this period of Losev's life and provides new data for the GAKhN history. (shrink)

An outline of Dostoevsky's moral and metaphysical orientations. Characters from most of Dostoevsky's works are discussed; many are juxtaposed in an attempt to establish a rough systematization of Dostoevsky's moral hierarchy. Dostoevsky's metaphysical beliefs are shown to be coordinate with this hierarchy. Neither beliefs nor hierarchy are subjected to a philosophical critique. Inconsistencies and problematic notions are offered without apology. The possibilities of comparison with other thinkers, e.g., Kierkegaard, are left untouched. The more circumscribed project of (...) merely sketching Dostoevsky's ideas is, however, gracefully executed.--G. D. D. (shrink)

The author reveals Fyodor Dostoevsky's works main features, his importance for Russian and world philosophy. The researcher analyzes the concept of "Russian Idea" introduced by Dostoyevsky, which became a study subject in Russian philosophy's subsequent history. The polemics that arose regarding the characteristics of Dostoevsky's soilness ideology and his interpretation of the Russian Idea in his Pushkin Speech and subsequent comments in A Writer's Diary are unveiled. The author concludes that Dostoevsky overcomes the limitations of soilness and (...) comes to universalism. The universal for him does not have a rootless cosmopolitan character but is born from the national's heyday. Diversity adorns the truth, and national diversity enamels humankind. People's real unity is in that all-human value that is found in the highest examples of each national culture. The truth is not in rootless cosmopolitanism or nationalism - it is in the "golden mean," which, in our opinion, the writer-philosopher sought to express. Dostoevsky wanted to rise above the dispute, to recognize the points of view of the Slavophiles and Westernizers as one-sided, to get out of any particularity to universality. (shrink)

The article analyzes the types of "meek" and "proud" female images in the works of F.M. Dostoevsky in connection with the typologies of the images of the writer among the literary critics N.A. Dobrolyubov, V.F. Pereverzev and A.A. Gizetti. The article refers to the classical authors of the early critical understanding of Dostoevsky's works, who divided female images into two opposite types of the "meek" and "proud". At the same time, the article emphasizes the idea that in (...) class='Hi'>Dostoevsky's polyphonic world every literary hero has a multidimensional consciousness, which is why the direct dichotomous division into the "proud" and "meek" can only be a rough generalization. The first part of the article examines the typologies of N.A. Dobrolyubov, as well as one of V.F. Pereverzev, who creates the most ambitious and significant typology, considering female images. He sensitively notices the ambiguity and tragedy of Dostoevsky's heroines and introduces the term "the doppelgngerwoman" into the typology of female images, on the basis of which each heroine somehow contains a certain internal conflict, the solution of which in the course of a novel allows her character to develop towards one of the indicated subtypes. The second part of the article analyzes the typology of A.A. Gizetti, who in his research focuses on such type of Dostoevsky's female images as the "proud", highlighting a new, "mysterious" subtype of the Dostoevsky's proud heroine. In the performed comparison of "meek" and "proud" types of female images it is considered to distinguish positive and negative ethical meanings of them. The article formulates conclusions about the various subtypes of "meek" and "proud" characters in the writer's artistic world, and outlines the grounds for further system of understanding of meekness and pride on a scale of correlation with vice and virtue. (shrink)

The article presents the reconstruction of the views of F.M. Dostoevsky and Vl.S. Solovyov on the nature of relations between church and state. A line of mutual influence of thinkers in the context of the perception of Christian truth is drawn. It is shown that Dostoevsky was impressed by a series of lectures by Solovyov's "Readings on God-manhood" and adopted from them the idea of the possibility of religious and moral improvement not only of an individual, but of (...) society as a whole. The article shows that not without the Solovyov's influence Dostoevsky arrives at the Slavophil idea of sobornost and the impossibility of salvation outside of church communion, while speaking of the Church as an ecclesia, that is, an assembly of believers. The author of the article shows that the sophistic and mystical moments in the novel "The Brothers Karamazov" appear under direct influence on Dostoevsky's "Readings on God-manhood" and a joint trip of thinkers to the Optina Pustyn monastery. It is also noted that in the novel "The Brothers Karamazov" the idea was expressed about the gradual growth of the state into the truth of the Church. Solovyov continued this line within the framework of his project of free theocracy in the 1880s, developing the thought of F.M. Dostoevsky - about the Church as the best social order. At the same time, the article shows the principled position of both thinkers on opposing the ideal of socialism and the idea of the Christian community, within which the term "Russian socialism", formulated in the "Diary of a writer". The author shows that Solovyov in his work "Three speeches in memory of Dostoevsky" was the first to explain the term "Russian socialism" precisely through the concept of the Christian community. (shrink)

Above mentioned article was funded by a grant from the Russian Science Foundation (RSF).

The purpose of the study is to consider the concept of "philosopheme", which allows analyzing such basic categories of philosophical and legal reflections of the writer and thinker F.M. Dostoevsky as crime and punishment and correlating their interpretation with his personal life experience. The scientific novelty of the work lies in the fact that through the disclosure of the content of the philosophems "crime" and "punishment", the existential aspects of F.M. Dostoevsky's anthropological and philosophical-legal reflections are revealed. As (...) a result of the analysis of Dostoevsky's novel "Crime and Punishment", his other works, the writer's letters, autobiographical testimonies, it becomes clear that the core of these philosophies for Dostoevsky is a moral code that allows a person to overcome the" disconnection "and" disconnection " of modern man's being both with himself and with society. (shrink)

The two-fold image as Dostoevsky’s creative principle has been repeatedly observed and described from different perspectives in accordance with different research tasks. In this article, attention will be focused on the description of the two-fold image, its structure and functions, by Dostoevsky himself within the framework of his reflection on his creative method, as part of what can be called his own theory of creativity. In 1876, Dostoevsky describes the structure of a two-fold image from three different (...) angles on three occasions over a short period of time: from the point of view of the structure as such; from the point of view of its manifestation and revelation in a work of fiction; from the point of view of its application as a working construct in a particular case for a particular person. Dostoevsky understands the two-fold image as a profound insight about the world and man, a fundamental philosophy of personality that provides the reader with clues to a personal transformation. At the same time, he always speaks about the second component of the image absolutely transparently to himself—but covertly to the reader, assuming that it is the enigmatic nature of its deep core that compels the reader to look at and listen to the implicit concept, making the image a working, transforming tool. (shrink)

The article deals with the human, aesthetic and spiritual problems of Russian symbolism in connection with development of a creative heritage of F. Dostoevsky. In the article N. Berdjaev’s point of view on development of humanism of the Renaissance type in Russia of the late 19th and early 20th centuries is given and a problem of the person in F. Dostoevsky’s prose is appointed. The author discusses a question on a degree and character of influence of problems of (...) the person and features of a genre of the novel of Dostoevsky’s type on the formation of Russian symbolism. A. Volynsky, leading Russian symbolists, Viach. Ivanov, A. Belyj, D. Merezhkovsky have arranged mysticism, subjectivity and tragic element concerning to art and proclaimed art as the aesthetic and religious act. In Dostoevsky’s art Russian symbolists recognized their own important theme: the understanding of the world and the person in terms of a tragical category and revealing the dramatic position of the person facing unspirital and meaningless practice of modern society as the main thing in the literature. The author is arrived at a conclusion that Russian symbolists have connected Dostoevsky’s art with the newest tendencies in Russian art and culture of beginning of 20th century and have created the original tragical and symbolic concept of Dostoevsky’s creative works. (shrink)

The article discusses the criteria for authentic humanity within the moral paradigm of Russian philosophy. In Russian philosophy, the disciplines of ethics and anthropology are intertwined, as the question of human nature is primarily addressed from a moral perspective. The article primarily focuses on the interplay between faith and conscience, a topic that is approached and resolved differently within the context of Russian philosophy compared to Western European philosophy. For instance, the concept of “elimination of the ethical,” a fundamental aspect (...) of S. Kierkegaard’s existential philosophy, is discussed. The transcendence of ethical rationalism through a leap of faith, exemplified by Abraham’s act, forms the essence of authentic Christian ethics. It explores how faith is challenged by ethics, which requires not blind faith, but rational behavior in accordance with the widely accepted norms of social morality. The article highlights the conflict between existential faith and social ethics as the primary contradiction identified by S. Kierkegaard. The author revisits the ideas of F.M. Dostoevsky, N.A. Berdyaev, and others to illustrate that within the context of Russian philosophy, the critical situation is less about the anticipation of death and more about the moral anguish of conscience arising from the evil and falsehood prevalent in the world, a sentiment shared by diverse individuals like V.S. Solovyov and V.M. Shukshin. This perspective significantly redefines the concept of the existential in Russian philosophy, equating it with profound moral reflection. In discussing philosophical and anthropological issues under the “post-human threat,” the author introduces the concept of “conscientious faith.” This concept, serving as a fundamental anthropological unit, posits that it is the conscience, with its appeal to personal moral responsibility, that reveals the moral essence of an individual, thereby establishing human uniqueness. (shrink)

The spiritual geography of Russian cosmism. General characteristics ; Recent definitions of cosmism -- Forerunners of Russian cosmism. Vasily Nazarovich Karazin (1773-1842) ; Alexander Nikolaevich Radishchev (1749-1802) ; Poets: Mikhail Vasilyevich Lomonosov, (1711-1765) and Gavriila Romanovich Derzhavin (1743-1816) ; Prince Vladimir Fedorovich Odoevsky (1803-1869) ; Aleksander Vasilyevich Sukhovo-Kobylin (1817-1903) -- The Russian philosophical context. Philosophy as a passion ; The destiny of Russia ; Thought as a call for action ; The totalitarian cast of mind -- The religious and spiritual (...) context. The kingdom of god on earth ; Hesychasm: two great Russian saints ; The Third Rome ; Pre-Christian antecedents -- The Russian esoteric context. Early searches for "deep wisdom" ; Popular magic ; Higher magic in the time of Peter the Great ; Esotericism after Peter the Great ; Theosophy and anthroposophy -- Nikolai Fedorovich Fedorov (1829-1903), the philosopher of the common task ; The one idea ; The unacknowledged prince ; The village teacher ; First disciple: Dostoevsky and Tolstoy ; The Moscow librarian ; Last years: Askhabad: the only portrait -- The "common task" ; Esoteric dimensions of the "common task" ; Fedorov's legacy: projectivism, delo, regulation -- The religious cosmists. Vladimir Sergeevich Solovyov (1853-1900) ; Sergei Nikolaevich Bulgakov (1871-1944) ; Pavel Aleksandrovich Florensky (1882-1937) ; Nikolai Aleksandrovich Berdyaev (1874-1948) -- The scientific cosmists. Konstantin Edouardovich Tsiolkovsky (1857-1935) ; Vladimir Ivanovich Vernadsky (1863-1945) ; Alexander Leonidovich Chizhevsky (1897-1964) ; Vasily Feofilovich Kuprevich (1897-1969) -- Promethean theurgy. Life-creation ; Cultural immortalism ; God-building ; Re-aiming the arrows of Eros ; Technological utopianism ; Occultism -- Fedorov's twentieth century followers. Nikolai Pavlovich Peterson (1844-1919) and Vladimir Aleksandrovich Kozhevnikov (1852-1917) ; Svyatogor and the biocosmists ; New wine and the universal task ; Alexander Konstantinovich Gorsky (1886-1943) and Nikolai Alexandrovich Setnitsky (1888-1937) ; Valerian Nikolaevich Muravyov (1885-1932) ; Vasily Nikolaevich Chekrygin (1897-1922) -- Cosmism and its offshoots today. The N.F. Fedorov museum-library ; The Tsiolkovsky museum and Chizhevsky center ; ISRICA - Institute for Scientific Research in Cosmic Anthropoecology ; Lev Nikolaevich Gumilev (1912-1992) and neo-eurasianism ; The hyperboreans ; Scientific immortalism: Igor Vishev, Danila Medvedev ; Conclusions about the Russian cosmists. (shrink)

Some of the commentators on Intricate Ethics complain of my method. One finds the main ideas ‘Kammouflaged’ because the relevant causal distinctions are so fine-grained and the cases that illustrate them so numerous. Some say that they do not have the intuitions about many cases that I have, that I concoct dubious and ad hoc distinctions and invest them with moral significance; I am Ptolemaic in that new crystalline spheres and epicycles are constantly being added in an attempt to fix (...) the appearances. (shrink)

Temporal Logic: From Ancient Ideas to Artificial Intelligence deals with the history of temporal logic as well as the crucial systematic questions within the field. The book studies the rich contributions from ancient and medieval philosophy up to the downfall of temporal logic in the Renaissance. The modern rediscovery of the subject, which is especially due to the work of A. N. Prior, is described, leading into a thorough discussion of the use of temporal logic in computer science and the (...) understanding of natural language. Temporal Logic: From Ancient Ideas to Artificial Intelligence thus interweaves linguistic, philosophical and computational aspects into an informative and inspiring whole. (shrink)

The article considers the approaches to theodicy’s problem of Russian and German philosophers with clear religious orientation: Nikolai Alexandrovich Berdyaev and Max Scheler. However, for more explicit insight into our topic we found, the article provides the general overview of theodicy tradition. Standpoints of these thinkers living in different epochs are linked by the steady belief in a reasonability of the world created by God. The main obstacle to acceptance of this argumentation is the problem of evil’s existence. The way (...) of thinking that has the goal to demonstrate the world’s perfectness presumes either necessity of evil as a mean or the evil’s insignificance or even its illusiveness, which is the result of “too human” perspective. Such ways of thought have become impossible since the second half of 19th century, when the concrete person’s experience had been recognized as a main source of philosophy. In Russian culture, this attitude became widespread after F.M. Dostoevsky, in German culture – after F. Nietzsche. Berdyaev and Scheler inherit the impulse of their thought. Distinctive feature of religious philosophies of Berdyaev and Scheler is conceptualization of the assertion of God’s need in human being, for God is in the process of becoming, is in the inner move toward full self-realization. And human being, who is capable to adopt or to reject the God’s “call,” is the crucial stage of God’s formation. For this tradition of theodicy, exactly human creative act and the direction of this act have the main role in world history. (shrink)

Bioethical Prescriptions collects F.M. Kamm's articles on bioethics -- revised for publication in book form -- which have appeared over the last 25 years and which have made her among the most widely-respected philosophers working in this field.

I begin by reconsidering the arguments of John Taurek and Elizabeth Anscombe on whether the number of people we can help counts morally. I then consider arguments that numbers should count given by F. M. Kamm and Thomas Scanlon, and criticism of them by Michael Otsuka. I examine how different conceptions of the moral method known as pairwise comparison are at work in these different arguments and what the ideas of balancing and tie-breaking signify for decision-making in various types of (...) cases. I conclude by considering how another moral method that I call virtual divisibility functions and what it helps reveal about an argument by Otsuka against those who do not think numbers count. (shrink)

Zeller argued that the ‘innumerable worlds’ mentioned in accounts of Anaximander's system must be an endless succession of single worlds, not an unlimited number of coexistent worlds scattered through infinite space, some always coming into being while others are passing away. Zeller pointed out that a succession of single worlds is grounded in the principles of the system. ‘Things perish into that from which they had their birth… according to the order of Time,’ a cycle of birth, existence, and destruction. (...) A world ends, and the living divine stuff begets a new world to take its place. On the other hand, there is much in the system to contradict the idea of coexistent worlds. Anaximander's successors, Anaximenes, Anaxagoras, and Diogenes, show that this idea is not a necessary consequence of the unlimitedness of the original world-stuff. Nothing in the appearances of Nature suggests it. Anaximander is a monistic hylozoist, whereas Democritus is a pluralist with his innumerable independent atoms producing, by similar processes, independent world-systems in different parts of an infinite void. (shrink)

Ethics for Enemies comprises three original philosophical essays on torture, terrorism, and war. F. M. Kamm deploys ethical theory in her challenging new treatments of these most controversial practical issues. First she considers the nature of torture and the various occasions on which it could occur, in order to determine why it might be wrong to torture a wrongdoer held captive, even if this were necessary to save his victims. In the second essay she considers what makes terrorism wrong--whether it (...) is the intention to harm civilians, rather than harm to them being 'collateral damage,' or something else--and whether terrorism is always wrong. The third essay discusses whether having a right reason, in the sense of a right intention, is necessary in order for a war to be just. Kamm then examines ways in which the harms of war can be proportional to the achievement of the just cause and other goods that war can bring about, so as to make the declaration of war permissible. (shrink)