Este artículo explora los principios éticos del cristianismo social de Feodor Dostoievski enfatizando en los pensamientos y actitudes de sus personajes novelísticos. Pretende evidenciar la posibilidad de leer a Dostoievski más allá de los cánones religiosos para entender su idea del amor verdadero y la fuerza de éste para la transformación del ser humano. Palabras clave: Dostoievski, cristianismo ortodoxo, amor verdadero, Dios, Cristo.

For the last two centuries the novel has been the predominant literary genre; but the generic identity of the novel is far from established. Attempts to define the novel have focussed on formal features of particular types of texts, with the result that definitions of “the” novel have merely canonized one or another of the innumerable novelistic manifestations—Bildungsroman, eighteenth-century English novels, novels of the kind George Eliot or Henry James or Marcel Proust or Feodor Dostoevsky wrote, etc. By basing (...) themselves upon such formal attributes, such definitions exclude a vast number of potential texts on essentially normative grounds. Further, the history of the novel has outgrown and contradicted those conceptions; no sooner than a theory has been formulated, the novel itself has moved forward, adapting to changing conditions and substituting for those formal properties a set of new ones, thus rendering the theories obsolete and revealing the inadequacy of formalist categories to define the genre. This predicament is certainly not unique to the theory of the novel but rather a necessary concomitant of any theoretical project; what makes any attempt to theorize about the novel particularly vulnerable is the genre's resistence to formalist analysis, its lack of precisely those organizing categories upon which a formalist theory of any genre can be built. (shrink)

The body of almost every Roman or Byzantine emperor has been lost. This piece draws attention to two skeletons, recovered from a Muslim türbe at Trabzon during World War I by the Russian excavator Feodor Uspensky. Using local oral tradition, Uspensky identified the two bodies he recovered as the Byzantine emperor of Trebizond Alexios IV (1417-1429) and a local Turkish hero Hoşoğlan. Since Uspensky, his identifications have not been challenged nor scientifically examined. This paper argues that Uspensky did not (...) recover just one but two imperial skeletons. It first dissects his identifications, showing how competition for sacred space between Greeks and Turks in the Ottoman period led each community to identify the tomb’s occupants with foundational figures in their communities. After dissecting Uspensky’s identifications, this paper then makes the case that both occupants of this tomb were unidentified members of the Grand Komnenoi family, urging for scientific examination of what may be the only bones of a Byzantine emperor. (shrink)

This essay argues for the efficacy of teaching Feodor Dostoyevsky’s Crime and Punishment as a hedge against cultural predispositions to legitimize violence in history, contemporary society, and popular entertainment. Describing how high school students have been conditioned to accept certain kinds of violence, the essay also shows how a class of high school students responds to four key scenes from the novel. The essay asserts that both the historical context of Crime and Punishment and Dostoyevsky’s creative brilliance make this (...) novel a particularly potent work for encouraging students to rethink casual acceptance and uses of violence. (shrink)

This essay argues for the efficacy of teaching Feodor Dostoyevsky’s Crime and Punishment as a hedge against cultural predispositions to legitimize violence in history, contemporary society, and popular entertainment. Describing how high school students have been conditioned to accept certain kinds of violence, the essay also shows how a class of high school students responds to four key scenes from the novel. The essay asserts that both the historical context of Crime and Punishment and Dostoyevsky’s creative brilliance make this (...) novel a particularly potent work for encouraging students to rethink casual acceptance and uses of violence. (shrink)

The article is devoted to almost unknown monastery of the Russian Orthodox Church, a Holy Trinity Zosimo-Savvatievskaya Novo-Solovetskaya Krasnokholmskaya poustinia that was one of the important pilgrimage places of the royal family in the 17th century. Despite the fact that the monastery was founded in the reign of Tsar Alexei Mikhailovich, it is an important link in the historical and cultural development of our Fatherland, primarily because the extant architectural monuments of outstanding artistic qualities. That is why the architectural ensemble (...) of the monastery occupies a prominent place in the history of Russian culture. In addition, Novo-Solovetskaya poustinia is an important historical object providing data on the development of Russian spiritual and artistic culture of the late seventeenth century. The question of cultural-historical and social roles that Orthodox monasteries played in the history of Russia is still not sufficiently studied is. The modern development of the Russian state cannot be complete without the restoration of the positive legacy that has been lost in our culture and morality. In this regard, the study of development and formation of the Orthodox monastic culture may fill this gap. Historical development of the Zosimo-Savvatievskaya Novo-Solovetskaya Krasnokholmskaya poustinia, its architecture can contribute to the restoration of our historical memory, which is an important factor in the revival of our national identity. The author of the article also tells about the history of monastery in tough years of godless power and about the people, who died for their faith and who are called now the new martyrs. (shrink)