Vol 26, No 3 (2021): F.M. DOSTOEVSKY: MODERN RECEPTIONS AND INTERPRETATIONS

The article is devoted to the study of the specifics of the receptive influence of the moral and psychological novel by F. Dostoevsky’s on the development of the Russian historiosophical novel of the XXth century. The relevance of the problem is in the identification of an ideological dominant connected with the key problems associated with the moral attitudes of Dostoevsky's novelistics. The novelty of this study lies in considering, taking into account new ideological assessments of the role and status of a historical person, a historical novel about the narodovoltsy of the 50-60s of the ХХth century. The novels about the narodovoltsy of the 50-60s of ХХth century were chosen as an object of research to reflect the ideological concept of F. Dostoevsky in the receptive field of the searches of the XXth century writers and as a determinant of the moral coordinates of modern phenomena of reality. It is proved that the development of the moral and psychological historical novel in the 60-70s takes place under the strongest influence of the tradition of F. Dostoevsky. The receptive correlation of the genre coordinate system, subjective organization, historiosophical ideologism of the XXth century with the traditions of the moral and psychological historiosophy of Dostoevsky’s “contextual field”, on the one hand, forms a new Tynyanov-Forsh tradition, and on the other, develops the traditions of the writer's polyphonic ideological novel on a new level and determines the expansion of the moral polyphonism of the historical novel in its value and psychoanalytic orientation, when the principle of “internal ethics” begins to dominate the ideological and political fields.

The well-known historical and literary paradox is considered again: the contemporaries F.M. Dostoevsky and L.N. Tolstoy were not personally acquainted, although they had the opportunity to do so more than once. The assumption is substantiated that the main reason for such a “non-meeting” was not only a combination of random circumstances, but also the incredible intuition of both writers: constantly reading each other, feeling the deepest spiritual closeness and understanding the mutual significance for literature and society, both avoided everyday meetings even on literary occasions, because they were afraid that a possible verbal discussion would lead to an involuntary, even temporary profanation of their views.

The article is devoted to the analysis of the Semipalatinsk and Kuznetsk periods in the life and work of F.M. Dostoevsky. The purpose of the study is to reveal the Kazakh-Siberian periods in the fate of the Russian writer, their reflection in the letters and works of art by F.M. Dostoevsky. In the year of the 200th anniversary of the birth of the Russian writer, we cannot talk about the complete study of the indicated periods of the life of the prose writer, which, of course, to one degree or another, were reflected in his prose. This determines the degree of novelty of this article. Dostoevsky is dear to Kazakhstan. He not only served his exile, but also found a friend here, sincere and quivering - the historian, orientalist, ethnographer Ch. Valikhanov. The stories “Uncle's Dream” and “The Village of Stepanchikovo and Its Inhabitant”, the first chapters of Notes from the Dead House were written in Semipalatinsk. The story “The village of Stepanchikovo and its inhabitants” (1857-1859) has the author's clarification: “From the notes of the unknown”. Many works of fiction in world literature are the result of travel notes, diaries. Undoubtedly, the restoration of the history of the Kazakh-Siberian period of the life and work of F.M. Dostoevsky is of great value, because the greatest Russian writer experienced spiritual revival there, in Kazahstan. The works of F.M. Dostoevsky were included in the literature program of secondary schools in Kazakhstan, translated into Kazakh ( The Idiot, The Brothers Karamazov translated by N. Syzdykov). Dostoevsky scholars of Kazakhstan in the XXI century continue to study the writer’s works.

The article is devoted to the issue of reception of the poems about Catholic Church written by A.N. Maykov, a close friend of F.M. Dostoevsky, in his novel The Brothers Karamazov and, above all, in “The Legend of the Grand Inquisitor”. We are talking about the poems - “The Queen’s Confessions. The Legend of the Spanish Inquisition”, “Sentence. The Legend of the Constance Council” and “The Legend of the Clermont Council”. It is “The Queen’s Confessions” which led Dostoevsky to make Seville the setting for the “Legend of the Grand Inquisitor”. The main character of the “Sentence”, Cardinal Hermit, became the prototype of the Grand Inquisitor in Dostoevsky’s novel, and the main character of “The Legend of Clermont Council”, the Pilgrim Hermit, in many ways became the prototype of the unrecognized Christ from the “Legend of the Grand Inquisitor”. The article presents significant textual parallels between Maykov’s poems and The Brothers Karamazov .

The article examines one of the possible parallels between the protagonists of the novels Oblomov and The Idiot , which was formulated by Dostoevsky himself. He pointed out both the similarities between Myshkin and Oblomov and the differences between the two. The purpose of the article is to explain the special status of the characters of Dostoevsky and Goncharov, which is linked to their explicit or implicit desire to save the world. The task is to systematize various views of scholars on the issue of Dostoevsky and Goncharov, especially in the light of their relation to the Russian spiritual tradition. The thesis is put forward that the similarity between the two protagonists may be explained by the similarity of the two authors’ views on the problem of secular holiness. In both novels similar versions of the “plot of salvation” are realized, in which the protagonist claims to be the savior of others, although another motif, that of personal salvation, is emphasized by Goncharov in Oblomov and has Dante origins. While in the case of Myshkin his wish to be Christ-alike lead him to a personal catastrophe, and the destruction of his inner circle, in Oblomov’s case there are no such losses, there are even some advantages in the form of the emerging life of Shtolz and Olga, in the form of awakening to a new life of Agafia Matveevna Pshenitsyna. The author of the article comes to the conclusion that both Dostoevsky and Goncharov did not forget about the human nature of their characters, but the former, as Goncharov put it, allowed his Myshkin, “Prince Christ”, to wear a “divine robe” and thus largely predetermined his failure as a savior, while the latter alleviated the traits of holiness in his Oblomov, leaving only traces of them, which attract people to the character making them and their small world better.

The article is devoted to the issue of the critical reception of F.M. Dostoevsky’s Notes from Underground in the XXth century. Some letters, as well as books on philosophy and literary criticism by such writers as D.H. Lawrence, J.M. Murry, C. Wilson and I. Murdoch are analysed. The reviews by the given authors correspond to two waves of interest in Dostoevsky - the first one took place at the turn of the XXth century followed by the second one in the middle of the century. The writers name the key characteristics of the Underground Man: vanity, egoism, self-division, desire for suffering and inability to act. Some critics of Dostoevsky’s Notes see the Underground Man as recurrent image and note his relevance to the ideas of existentialism, especially the one about inability to apprehend truth in a rational way.

The substantiation of the methodological viability and hermeneutic potential of the category “conflict” is given. The role of conflict as a category of world modeling in fiction is pointed out. Consideration of the conflict in the aspect of dialogism is suggested. Conflict in fiction is a special kind of communicative act arising from the antagonism of “misunderstanding” of the opposing sides, but providing a new level of understanding to the perceiving consciousness of the reader, making it “intellectually armed” (R. Jacobson) in the face of conflicting structures. Analytical strategies for the study of conflict are presented in the semantic aspect (conflict as an object of artistic depiction) and the aspect of structure (conflict as a fundamental structural principle). It is proved that the dual nature of the conflict presupposes taking into account in research practice the possibilities of textocentric and anthropological approaches to the study of conflict, understood as antagonistic relations of oppositional units. The development of epistemology, axiology and poetics of conflict in fiction is seen in the way of studying all levels of “conflict dialogue”.

This paper deals with using the Rabelaisian “cultural code”, which the author of the article suggests to be applied to the reading and interpreting of some novels by E. Zola. From the author’s point of view, such an experiment allows us to look at French naturalism from a new point of view, as a variant of a typologically recurring phenomenon in the history of literature. For the French naturalistic novel Rabelaisianism is considered as a kind of meaning-generating model, as “appropriated communication” or as an element of traditional literary discourse. The latter is actualized in a period when the cultural conditions and the nature of the main ideological and aesthetic conflicts became similar to the time of the French Renaissance. The author attempts to apply the theory of the “carnival chronotope”, which is developed by M.M. Bakhtin, to the interpretation of some of E. Zola’s texts. Meanwhile, the concept of the chronotope is considered more widely than that of M.M. Bakhtin: it is proposed to understand the chronotope as a universal model of space-time relations in the novel. The author also views the poetics of the “real” in the naturalistic novel through the prism of the carnival (i. e. extremely detailed material world); as examples, the motives of food and wine, as well as the motive of rebellion and war as a variant of the “war for food” and the carnival battle of Shrovetide (pancake week) and Lent are analyzed in the article. The main material used for the analysis is taken from the novels Le Ventre de Paris , 1873 ( The Belly of Paris ), L’Assommoir , 1877 ( The Trap ), and Germinal , 1885, by E. Zola.

This article is devoted to the analysis of the links between the novels The Joke of the Patron by A. Averchenko and The Goat in Milk by Yu. Polyakov. The purpose of the article is to explain the aspects that bring the two works together, as well as to reveal the characteristics that distinguish Yu. Polyakov from his predecessor. The task is to clarify the traditions of Russian literature and novelty in the novel The Goat in Milk by Yu. Polyakov. In the article, the author examines the similarity of the two works on the plot level, finds similar artistic techniques and motives for the actions of the characters. In addition, the article focuses on the gallery of Soviet writers created by Yu. Polyakov, as well as the important role of the historical event-the collapse of the USSR - in the life of the main characters. In his novel The Goat in Milk , Yu. Polyakov reflects the late Soviet and post-Soviet life in the literary circle. Attention to social phenomena and the development of history in the work of Yu. Polyakov is of great social and historical significance. We can say that Yu. Polyakov did not just borrow the plot of Averchenko, but on its basis he improved the original and gave a peculiar interpretation of the era of change from the point of view of the writer from the Soviet Union.

The theatre magazine “Artist” has repeatedly become an object of scientific research. However, despite the wealth of works with a focus on structure of the magazine, the bibliographic section of “Artist” remains insufficiently studied. The bibliographic information of the journal has not yet become an object of subject-specific research. The empirical basis of the study is a complete set of publications of the theater magazine “Artist” for the entire period of its existence. Primary attention is paid to the bibliographic section of the journal and the appendix. Research methods are theoretical and historical analysis, generalization and systematization of the results obtained. In the proposed article, the author describes and comprehends the main forms of latent bibliographic information in the theatrical magazine “Artist”, first of all, the independent section “Bibliography”. The study defines main thematic areas of the section, its structure and main genres. The author also analyzes the types of bibliographic advertising in the journal: alphabetical directories of plays allowed to be performed, index of plays suitable for amateur shows, announcements on subscription from magazine editors, advertising of new books, ads for subscriptions to other print media. The author comes to the conclusion that along with educational intentions, the magazine staff solved specific selling tasks (sale of the magazine and books distributed through the publisher’s office). The latent bibliographic information of “Artist” can be useful for specialists interested in history of literature, journalism and theatre.

The goal of this study is to identify gaming slang terms in the news articles of highly rated Russian media. Three online newspapers of various types were used as an empirical material: Kommersant (the first private business newspaper in Russia), RBC (a socio-political analytical newspaper) and Rossiyskaya Gazeta (agency of the Russian Federation government). With help of the content analysis of the media texts, all cases of using the slang gaming terms such as “achievement”, “noob”, “easter eggs” etc. have been discovered and described. The results of the study show that over the past five years the popularity of the gaming terms usage in the media has been growing; this increase can be described as a linear progressive growth: gaming slang is becoming an integral part of the Runet online resources and is gradually entering common vocabulary. It can be assumed that with the increase in the number of media managers from the generation of digital natives and their transition to the category of “decision makers”, the growth of gaming slang terms in online media will become exponential.