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.

Nothing in this world is harder than speaking the truth,nothing easier than flattery.— Fyodor DostoevskyFyodor Dostoevsky, whose 200th birthday we celebrated in 2021, is perhaps one of the most emi...

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)

The first part of this book contains essays on Dostoevski's Christian insights, Marxism compared to Christianity as a religion, and the Christian significance of Sartre's "ontological" interpretation of sexuality. A second group of essays develops the author's concern with Christian social ethics and modern interpretations of the concept of natural law, in the writings of Brunner, Cahn, Maritain, Tillich, H. R. Niebuhr, and Reinhold Niebuhr. Ramsey's treatment of these writers is generally sympathetic and sensitive.--P. F. L.

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 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)

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 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 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)

Introduction. The technocratization that a person faces in the current reality, along with increased life comfort, has also brought with it a clear threat to changing the status of a person in the world irrevocably. In the discourse of modern posthumanistic philosophy, attempts are being made not to annul the privileges of a person, but to extend them to the whole world, that is, to make suffering, the ability to question, subjectivity and other characteristics of a person belong to everyone. (...) The Russian philosophical tradition of questioning about man throughout its existence denied and continues to deny the deanthropologization of the world and seeks to conduct a discourse about man as one who is ontologically not equal to the world and cannot be forced out of the privileged position he occupies. -/- The purpose of the article is to touch upon the most interesting, in the author’s opinion, works existing in the world research field concerning the philosophical understanding of the “Legend of the Grand Inquisitor”, as well as to develop her own idea, which is based on an attempt to philosophically and anthropologically refract the “Legend” and to show that it bears the features of precisely Russian philosophical thought and radically denies the deanthropological tendencies of Western thought, arising from its internal logic and naturally leading it to nullify the privileged position of man in the world, and to demonstrate the possibilities that the Russian philosophical tradition provides for overcoming the anthropological catastrophe, which is so widely discussed today. -/- Methods. The main method of the research is a comparative philosophical and literary analysis of the works of F. M. Dostoevsky, V. V. Rozanov, N. A. Berdyaev, S. L. Frank, A. Camus, Z. Freud, I. Neifeld, G. Hesse, as well as a point reference to the works of K. N. Leontiev, S. N. Bulgakov, N. O. Lossky and V. S. Solovyov. These types of analysis are aimed at identifying connotations and discrepancies in the philosophical systems of the studied thinkers, both at the level of textual analysis of their works, and at the level of studying their concepts. Textual analysis is used as an additional method. The author of the article gives a conscious preference to the comparative method, as such, which serves to achieve the purpose of the article. -/- Scientific novelty of the research. The paper focuses on comparing attempts to conceptualize a person in the discourse of Russian and European thought. As exemplified by a number of representatives of the Russian and Western intellectual traditions, as well as a comparative analysis of their concepts. The article attempts to reflect the deep difference between the two anthropologies. In addition, the author makes an attempt to find in the philosophy of F. M. Dostoevsky those deep anthropological problems that are of a universal nature, and have found their understanding, both in the Russian and in the European philosophical tradition. -/- Results. The author explores the anthropological configurations of the philosophies of the chosen thinkers. The article analyzes both Russian and European attempts to ask about a person, focusing their attention on interpreting the “Legend of the Grand Inquisitor”, which is part of the last novel by the Russian writer and thinker F. M. Dostoevsky. -/- Conclusions. Russian philosophical thought, which is rooted in the Gospel tradition of comprehending man, is characterized by attempts to see person as finite, which contains the infinite. Russian philosophy in its ideas continues to defend man, his existential uniqueness and subjectivity, guaranteed by God. At the same time, European philosophy is on the path of development, in the process of which a person risks losing the privileges of existence, a posthuman, a superhuman is conceptualized, and a tendency is outlined to blur the border between a human and non-human entities. (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)

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 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)

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

The problem of the impact of traditions of romantic literature on Dostoevsky’s novel ‘The Idiot‘ is examined in the article. The author points out that the attitude of Russian novelist towards the phenomena of the outgoing culture was essentially devoid of dogmatism: the very approach to different cultural trends and styles was always notable for amazing flexibility and diversity. A novel by Charles Nodier, ‘Jean Sbogar‘, is considered as one of the precedent texts. Its motivic repertoire is reproduced in (...) full in the novel by F. Dostoevsky. A comparison of the protagonist of the French novel, Jean Sbogar, which is depicted in two masks, with the main characters of the novel ‘The Idiot‘ Prince Myshkin and Rogozhin, suggests that, starting from a given source, Dostoevsky developed Nodier’s art idea. Russian writer abandoned the principle of a split personality in favor of representation of two heroes that are fighting and, at the same time, there is a mystical connection between them. Comparison between Myshkin and angel-like Lothario and between Rogozhin and the rogue Jean Sbogar once again confirms the idea that in Dostoevsky’s novel there is an introduction of high philosophical symbolism in realism: ‘splitting‘ a romantic image sends a thoughtful reader to the Gospel legend about Christ and the robber. Thus, reading of the images of "The Idiot" through the prism of romantic novels of Charles Nodier detects correlation not only between the plot of the novel and literary tradition, but also between the plot and the Christian symbolism. Someone else’s text not only becomes Dostoevsky’s material for improvisation, but also serves as a secret pointer to the reader and reconstructs his cultural memory. (shrink)

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)

This landmark work provides a systematic introduction to systems of modal logic and stands as the first presentation of what have become central ideas in philosophy of language and metaphysics, from the "new theory of reference" and non-linguistic necessity and essentialism to "Kripke semantics.".

Appearing in English for the first time, Schelling’s 1842 lectures develop the idea that many philosophical concepts are born of religious-mythological notions.

With precision and profundity born of 30 years of devoted study, John Boyle offers an essential introduction to St. Thomas Aquinas on Scripture, shedding helpful light on the goals, methods, and commitments that animate the Angelic Doctor's engagement with the sacred page. Because the genius of St. Thomas's approach to the Bible lies not so much in its novelty but rather in the fidelity and clarity with which he recapitulates the riches of the preceding interpretive Tradition, this initiation into St. (...) Thomas's vision of Scripture is itself an orientation to the Church's vision of Scripture, from the Fathers through and beyond the Middle Ages. St. Thomas's embeddedness within the Church's Tradition and his own historical context is integral to his approach to Scripture, yet it sets him at some distance from modern readers, for whom his interpretive vision may seem perplexing or even impenetrable. In this Primer, Boyle first provides an acclimation to this medieval context through a survey and explanation of pertinent technical terminology used by St. Thomas and characteristic of the scholastic theology of the time. With an eye to the medieval practice of considering Scripture according to the fourfold division of causes, Boyle builds on this initial foundation by exploring in turn St. Thomas's accounts of the end or use of Scripture (final cause), its divine and human authorship (efficient cause), its order and division (material cause), and its literary styles or genres (formal cause). Drawing on writings from across St. Thomas's corpus, but especially his work On the Commendation and Division of Sacred Scripture and the prologues to his biblical commentaries, Boyle masterfully elucidates both the hermeneutical principles and deep wisdom of the Angelic Doctor's approach to Scripture, imparting invaluable guidance not only for reading and understanding St. Thomas and other great masters of the Tradition, but also-and ultimately-for understanding Scripture in light of this Tradition and reading it with greater benefit and joy. (shrink)

SUFFERING, ANUISH, DISTRESS: THE DESTRUCTIVE EROS IN THE WORK OF FYODOR DOSTOEVSKY My paper discusses the idea of destructive eroticism in the work of Fyodor Dostoevsky. Eros is posited here as manifesting in two, opposite forms: the Christian virtue of agape consisting in a humble service to a beloved person, and the Greek eros which in Dostoevsky is transformed into destructive love, one steeped in egoism and sadistic-masochistic impulses. I want to argue that destructive eroticism is for (...) Dostoevsky of greatest interest, while love conceived as agape serves in his work only as a minor, normative projection, a tribute paid to the Russian Orthodox worldview. In my analysis I refer to Georges Bataille’s philosophical thought to combine the pattern of unfulfilled and ruinous love in Dostoevsky with his conviction that irrational aspects of man, his penchant to evil and transgression can be seen as a measure of the intensity and authenticity of one’s spiritual life. Contrary to religious interpretations of Dostoevsky, I argue that the author of Crime and Punishment prefers to cast his protagonists into the limbo of suffering, anguish and distress and therefore he ultimately rejects the possibility that human beings can content themselves with a mediocre life in which existential complacency is bought at a price of resignation from dangerous passions of which one could say that were “worth a life”. (shrink)

"The chief business of twentieth-century philosophy” is “to reckon with twentieth-century history," claimed R. G. Collingwood. In this remarkable collection of essays, Frank Ankersmit demonstrates the prescience of that remark and goes a long way toward meeting its challenge. Responding to the work of Hayden White, Arthur Danto, and Hans-Georg Gadamer, he examines such issues as the difference between historical representation and artistic expression, the status of metaphor in historical description, and the relation of postmodernism to historicism. Ankersmit's fluent grasp (...) of European thought and his ability to incorporate concepts from literary theory, art history, the philosophy of science, and political thought into his analyses assure that this collection will interest readers throughout the humanities. (shrink)