scholarly journals Intertekstualiteit en die Bose in Kroniek van Perdepoort (Anna M. Louw)

Literator ◽  
1986 ◽  
Vol 7 (2) ◽  
pp. 20-38
Author(s):  
E. Linde ◽  
D. H. Steenberg
Keyword(s):  
World Literature ◽  
Thomas Mann ◽  
Religious Literature ◽  
Sound And The Fury ◽  
The Brothers Karamazov ◽  
Constituent Element ◽  
Similar Theme ◽  
Brothers Karamazov ◽  
Good And Evil ◽  
The Devil

In Anna M. Louw’s novel Kroniek van Perdepoort the primal conflict between good and evil is an important constituent element. Well-known authors in world literature have been fascinated by this problem, and it is an enriching experience to bring together allusions and to investigate points of contact with authors such as Feodor Dostoyevsky, Thomas Mann. William Faulkner and Patrick White. In Kroniek van Perdepoort there is a meeting between Klaas Kamer and the devil. Similarities between this meeting and similar meetings in Dr Faustus (Thomas Mann) and The Brothers Karamazov (Dostoyevsky) are pointed out.Subsequently the portrayal of sin in Kroniek van Perdepoort is compared with Faulkner’s novels The Sound and the Fury and Absalom, Absalom!, in which a similar theme is represented.Patrick White is also an author of religious literature to whom Anna M. Louw is attracted by her own admission. His novels. The solid Mandala and Riders in the Chariot are studied, and similarities with Kroniek van Perdepoort indicated.

scholarly journals ANTHROPOLOGICAL IDEAL IN THE NOVEL BY DOSTOYEVSKY “THE BROTHERS KARAMAZOV” IN THE RECEPTIONS OF RUSSIAN RELIGIOUS PHILOSOPHERS OF THE FRONTIER

2021 ◽  
pp. 87-94
Author(s):  
Анастасия Николаевна Кошечко ◽  
Алина Сергеевна Шилова
Keyword(s):  
The Novel ◽  
Philosophical Thought ◽  
Research Material ◽  
The Brothers Karamazov ◽  
Christian Worldview ◽  
Grand Inquisitor ◽  
Brothers Karamazov ◽  
Historical Comparative ◽  
Good And Evil ◽  
Further Development

Введение. Предпринята попытка исследования рецепции антропологического идеала в романе Ф. М. Достоевского «Братья Карамазовы» русскими религиозными философами порубежной эпохи XIX–XX вв. Аутентичное понимание и интерпретация ключевых идей писателя о человеческом идеале, его ценностях и смысле жизни возможны только в контексте православной антропологии. Важность этого материала не ограничивается осмыслением проблемы антропологического идеала и его влияния на дальнейшее развитие русской религиозно-философской мысли, позволяет исследовать особенности художественного мира романа, в том числе специфику репрезентации в идейном поле произведения авторского начала, мировоззрения писателя. Материал и методы. Материалом исследования послужили работы В. С. Соловьева «Три речи в память Достоевского», В. В. Розанова «Легенда о Великом инквизиторе», Н. А. Бердяева «Миросозерцание Достоевского», Н. О. Лосского «Достоевский и его христианское миропонимание», канонический текст романа Ф. М. Достоевского «Братья Карамазовы». Используются культурно-исторический, сравнительно-сопоставительный, структурно-типологический методы. Результаты и обсуждение. Наука о Достоевском начинается именно с трудов русских религиозных философов и мыслителей конца XIX – начала XX в., которые идеи о сущности человека, его предназначении, идеале делают содержательным ядром своих размышлений. Итоговый роман Великого Пятикнижия «Братья Карамазовы» как квинтэссенция жизненного и творческого пути Достоевского, неразрывно связанный с духовными и аксиологическими императивами православной антропологии, наиболее часто привлекается религиозными философами для рефлексии ключевых доминант собственных философских концепций, анализа и аргументации идей. Этот материал позволяет исследовать особенности художественного мира романа, специфику репрезентации в идейном поле произведения мировоззрения писателя и авторского начала, антропологического идеала, неразрывно связанного для Достоевского с такими духовными и ценностными доминантами, как Христос, Православие, святость, народность, добро и зло, и выявить его влияние на дальнейшее развитие русской религиозно-философской мысли. Заключение. Антропологический идеал Достоевского, по мысли религиозных философов, опирается на православное учение о человеке, раскрывающее как антиномичность человеческой природы (pro et contra в терминологии писателя), так и бытийную ее устремленность к Богу, Истине, потребность в добре, вне которых личность осознает свое не-бытие. Доминантами антропологического идеала писателя, которые находят отражение в трудах религиозных философов, становятся святость, красота как этическая доминанта личности, укорененность в ценностях и смыслах христоцентричной в своих основаниях русской культуры. Introduction. This article attempts to study the reception of the anthropological ideal in the novel by F. M. Dostoevsky “The Brothers Karamazov” by Russian religious philosophers of the late 19th–20th centuries. Authentic understanding and interpretation of the writer’s key ideas about the human ideal, its values and the meaning of life is possible only in the context of Orthodox anthropology. The importance of this material is not limited to comprehending the problem of the anthropological ideal and its influence on the further development of Russian religious and philosophical thought; moreover, it allows one to explore the peculiarities of the artistic world of the novel, including the specifics of the representation of the author’s principle in the ideological field of the work, the peculiarities of the writer’s worldview. Material and methods. The research material was the work of V. S. Solovyov “Three Speeches in memory of Dostoevsky”, V. V. Rozanov “The Legend of the Grand Inquisitor”, N. А. Berdyaeva “Dostoevsky’s worldview”, N. O. Lossky “Dostoevsky and his Christian worldview”, the canonical text of the novel by F. M. Dostoevsky “The Brothers Karamazov”. The work uses cultural and historical, comparative, structural and typological methods. Results and discussion. The science of Dostoevsky begins precisely with the works of Russian religious philosophers and thinkers of the late XIX – early XX centuries, which ideas about the essence of man, his purpose, ideally make him a meaningful core of his thoughts. The final novel of the Great Pentateuch “The Brothers Karamazov” as a quintessence of Dostoevsky’s life and creative path, inextricably connected with the spiritual and axiological imperatives of Orthodox anthropology, is most often attracted by religious philosophers to reflect key dominants of their own philosophical concepts, analyze and argue ideas. This material allows us to explore the features of the artistic world of the novel, the specifics of representation in the ideological field of the work of the writer’s worldview and author’s beginning, the features of the anthropological ideal, inextricably linked for Dostoevsky with such spiritual and value dominants as Christ, Orthodoxy, holiness, nationality, good and evil, and to identify its influence on the further development of Russian religious and philosophical thought. Conclusion. Dostoevsky’s anthropological ideal, according to religious philosophers, is based on the Orthodox doctrine of man, revealing both the antinomy of human nature («pro et contra» in the writer’s terminology) and its previous striving for God, Truth, the need for good, outside of which the person is aware of his non-existence. The dominants of the anthropological ideal of the writer, which are reflected in the works of religious philosophers, are holiness, beauty as the ethical dominant of the person, and reproach in the values and meanings of Christ-centered Russian culture in their foundations.

The Devil Is in the Details: Neurological Diseases Presenting as Religious Hallucinations in Two Literary Works

2020 ◽  
Vol 83 (2) ◽  
pp. 228-231
Author(s):  
Matheus Kahakura Franco Pedro ◽  
Thiago Ferreira Simões De Souza ◽  
Francisco Manoel Branco Germiniani
Keyword(s):  
Fyodor Dostoyevsky ◽  
Neurological Diseases ◽  
Delirium Tremens ◽  
Thomas Mann ◽  
Main Character ◽  
Literary Works ◽  
Western Literature ◽  
Doctor Faustus ◽  
Brothers Karamazov ◽  
The Devil

Few authors in the Western literature have acquired such a monumental reputation as Thomas Mann and Fyodor Dostoyevsky; although with different backgrounds and aesthetic peculiarities, their writings converge thematically in their frequent relationship with disease. From Dostoyevsky’s struggle with epilepsy to Mann’s descriptions of tuberculosis and cholera, many are the examples found in their body of work describing medical afflictions. One noteworthy similarity in their works is the presence of hallucinations with Mephistopheles-like devilish entities, possibly caused by neurological diseases: in Mann’s case, concerning the main character of Doctor Faustus, caused by neurosyphilis, while for Dostoyevsky, concerning one of the titular Brothers Karamazov, by delirium tremens. In both cases, the authors leave room for ambiguity, with the characters themselves casting doubts on whether their experiences were indeed caused by their disease or by an actual supernatural being. In this, we may find an interesting intersection between neurology and the literature.

scholarly journals The Vision of an Axe. Dostoevsky and Astronautics

2021 ◽  
pp. 124-152
Author(s):  
Ilya Yu. Vinitsky
Keyword(s):  
Science Fiction ◽  
Artificial Satellite ◽  
Outer Space ◽  
The Novel ◽  
Creative Imagination ◽  
The Earth ◽  
The Brothers Karamazov ◽  
Brothers Karamazov ◽  
The Devil ◽  
Literary Origins

This essay explores the scientific and literary origins of the image of an axe thrown into outer space to orbit the earth, as it appears in the chapter “The Devil. The Vision of Ivan Fyodorovich” in Dostoevsky’s The Brothers Karamazov. Did Dostoevsky anticipate the idea of an artificial satellite, as many critics and journalists argue? How were science (in this case astronomy) and literature connected in his mind? How did Dostoevsky’s scientific and creative imagination work in general? The author shows that Dostoevsky’s “prophetic” reference to a sputnik was rooted in popular articles and textbooks about Newton’s mechanics and in Marko Vovchok’s (Maria Vilinskaya’s) translation of Jules Verne’s science fiction novel Around the Moon (“Autour de la Lune”), published in The Russian Herald (Russkii vestnik) in 1869. The novel relates the chronicle of a voyage of brave researchers inside a cannonball that was fired out of a giant space gun. The essay reconstructs the trajectory of Verne’s image of a manmade satellite in Russian literature of the late nineteenth and early twentieth century.

scholarly journals The Vision of an Axe. Dostoevsky and Astronautics

2021 ◽  
pp. 124-152
Author(s):  
Ilya Yu. Vinitsky
Keyword(s):  
Science Fiction ◽  
Artificial Satellite ◽  
Outer Space ◽  
The Novel ◽  
Creative Imagination ◽  
The Earth ◽  
The Brothers Karamazov ◽  
Brothers Karamazov ◽  
The Devil ◽  
Literary Origins

This essay explores the scientific and literary origins of the image of an axe thrown into outer space to orbit the earth, as it appears in the chapter “The Devil. The Vision of Ivan Fyodorovich” in Dostoevsky’s The Brothers Karamazov. Did Dostoevsky anticipate the idea of an artificial satellite, as many critics and journalists argue? How were science (in this case astronomy) and literature connected in his mind? How did Dostoevsky’s scientific and creative imagination work in general? The author shows that Dostoevsky’s “prophetic” reference to a sputnik was rooted in popular articles and textbooks about Newton’s mechanics and in Marko Vovchok’s (Maria Vilinskaya’s) translation of Jules Verne’s science fiction novel Around the Moon (“Autour de la Lune”), published in The Russian Herald (Russkii vestnik) in 1869. The novel relates the chronicle of a voyage of brave researchers inside a cannonball that was fired out of a giant space gun. The essay reconstructs the trajectory of Verne’s image of a manmade satellite in Russian literature of the late nineteenth and early twentieth century.

Dostoevsky, Confession, and the Evolutionary Origins of Conscience

2020 ◽  
Vol 4 (2) ◽  
pp. 19-32
Author(s):  
Tom Dolack
Keyword(s):  
World Literature ◽  
Human Mind ◽  
Human Condition ◽  
Late Nineteenth Century ◽  
Group Norms ◽  
Fyodor Dostoevsky ◽  
Crime And Punishment ◽  
Evolutionary Origins ◽  
The Brothers Karamazov ◽  
Brothers Karamazov

Abstract Fyodor Dostoevsky is renowned as one of the greatest psychologists in world literature, but what we know about the origins and the workings of the human mind has changed drastically since the late nineteenth century. If Dostoevsky was such a sensitive reader of the human condition, do his insights hold up to modern research? To judge just by the issue of the psychology of confession, the answer appears to be: yes. The work of Michael Tomasello indicates that the human conscience evolved in order to make people obey group norms. From this I draw the proposition that confession should be best directed to the group as a whole, and not to an individual. Judging by Raskolnikov in Crime and Punishment and an assortment of characters in The Brothers Karamazov, this appears to be exactly how confession works in Dostoevsky's novels: sin is against all, so forgiveness must be from all.

scholarly journals “Hysterical Shrieks of the Cherubim” (Concerning a Textual Incident in the History of the Text of The Brothers Karamazov)

2020 ◽  
Vol 7 (3) ◽  
pp. 166-174
Author(s):  
Boris Tikhomirov
Keyword(s):  
Editorial Staff ◽  
The Novel ◽  
Cover Letter ◽  
The Brothers Karamazov ◽  
History Of ◽  
The Absolute ◽  
Brothers Karamazov ◽  
The Devil

The article deals with a textual incident that occurred in the history of the publication of the chapter “Hell. Ivan Fedorovich’s nightmare” from the novel The Brothers Karamazov. When sending the manuscript of the chapter to “Russkiy Vestnik” (“Russian Bulletin”) for publication, in the cover letter to N. A. Lyubimov Dostoevsky expressed concern that the journal’s editorial staff might find the words “hysterical shrieks of the cherubim,” pronounced by the devil, obscene. The writer insisted on the absolute artistic justification of such an expression coming from the lips of his infernal character, begging Lyubimov to leave this version in print. However, he foresaw censorship difficulties and offered a backup version to replace the line (“if you can’t”): “joyous cries of the cherubim,” adding with regret that it will sound stylistically dissonant. As a result, the journal published the compromise version devised by N. A. Lyubimov, namely “joyful shrieks of the cherubim.” Although Dostoevsky’s letter clearly expressed his attitude to the “backup” versions, in a separate edition, which was published immediately after the magazine, he reproduced the devil’s remark exactly as it was printed in the “Russkiy Vestnik”. In the academic Complete Works of Dostoevsky, the printed version was “canonized” as an expression of the last author’s will of the writer. The article challenges this textual decision and justifies the need to revert to the version contained in the typeset manuscript, as it is reconstructed from Dostoevsky’s letter to Lyubimov: “hysterical shrieks of the cherubim”.

scholarly journals Screen Metamorphoses of Ivan Pyryev

2018 ◽  
Vol 10 (2) ◽  
pp. 38-48
Author(s):  
Natalia B Kirillova
Keyword(s):  
Film Studies ◽  
Russian Literature ◽  
Close Attention ◽  
The Brothers Karamazov ◽  
Historical Figure ◽  
Soviet Cinema ◽  
Screen Reading ◽  
Great Patriotic War ◽  
Brothers Karamazov ◽  
Good And Evil

Ivan Aleksandrovich Pyryev passed away fifty years ago. However, for all these years he did not become a purely historical figure, his films have not gone into nothingness, disputes about his personality and creation have not ceased. The director, screenwriter, organizer of film production, he left a rich creative heritage. Having not received a special education and actually a dilettante in art, Pyryev, nevertheless, for half a century of work in the cinema has reached the highest professionalism, having traveled from the actor and the assistant to the screenwriter, helmer, director of Mosfilm, initiator and the first head of the Union of Filmmakers of the USSR. Ivan Pyryev's creation is known to many millions of viewers of different generations for those lyrical, musical comedies with which the heyday of Soviet cinema of the socialist realism period is identified: The Country Bride, Tractor Drivers, They Met in Moscow, Symphony of Life, Cossacks of the Kuban. Analyzing the era of the Stalin Renaissance, it should be noted that Pyryev filmed, in fact, always in demand, a movie about the struggle between good and evil, about the desire of heroes to go through any obstacles to reach happiness. And this means that I.A. Pyryev created genuinely national films in the 1930s and 1940s. These same tendencies became the basis of the pictures set by him during the Great Patriotic War, the heroic drama Secretary of the Communist Party District Committee and the lyrical comedy Six O'Clock in the Evening After the War, each of which inspired the audience with faith in victory and gave hope for happiness. The appeal of Pyryev in the late 1950s to the adaptation of F.M. Dostoevsky was unexpected and paradoxical. The explanation here is one: the turbulent, reeking talent of the artist pushed him to new creative searches in order to escape from stereotypes of the Soviet theme. His best screen interpretations of Dostoevsky's novels are the films Idiot and The Brothers Karamazov. Not all succeeded Pyryevs screen reading of the most complicated works of Russian literature was not absolutely efficient. However, he did a lot to passionately, persuasively and passionately told about the tragic fate not only of Dostoevsky's heroes, but of Russia itself. He created films about love, its immense power, condemning nihilism, cynicism and lack of spirituality. That is why the phenomenon of Pyryev, as a unique phenomenon of domestic cinema, remains an object of close attention and research of modern film studies.

scholarly journals PRECEDENTIAL INTERTEXT IN THE POEM “THE GRAND INQUISITOR”

2021 ◽  
Vol 19 (2) ◽  
pp. 125-140
Author(s):  
Irina Dergacheva
Keyword(s):  
World Literature ◽  
The Novel ◽  
Eternal Truths ◽  
Black Rhetoric ◽  
The New Testament ◽  
Grand Inquisitor ◽  
Brothers Karamazov ◽  
Correct Understanding ◽  
Spiritual Freedom ◽  
Good And Evil

The poem "The Grand Inquisitor" is part of the novel "The Brothers Karamazov," written by Ivan Karamazov about Christian freedom of will and told by him to his brother Alyosha, who rightly perceived it as an Orthodox theodicy. The article presents an intertextual analysis of the precedent texts used by F. M. Dostoevsky in the poem "The Grand Inquisitor". In particular, the meanings of direct quotations from the New Testament, especially its last book, the Revelation of John the Theologian, and the translated apocrypha "The Walking of the Virgin in Torment" are interpreted; medieval Western European mysteries in the paraphrase of V. Hugo; poetic quotations from the works of A. S. Pushkin, V. A. Zhukovsky, F. I. Tyutchev, which linked together the axiological concepts of the narrative text. Appeals to the precedent texts of world literature contribute to the disclosure of the multifaceted symbolism of the poem, which glorifies the spiritual freedom of humanity as an act of faith, and help to generalize and deepen its axiological discourse. The author analyzes the speech and behavioral tactics of the Grand Inquisitor, based on the substitution of concepts characteristic of the techniques of "black rhetoric". In contrast to the Grand Inquisitor's distortion of cause-and-effect relations and the concepts of good and evil, and his denial of the idea of Christian freedom, direct and indirect quoting of texts that have become part of the heritage of world culture creates a text rich in axiological meanings, designed to influence the spiritual space of the reader, enriching it and orienting it to the correct understanding of eternal truths.

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