Search results

1

Rediscovery of Fyodor Dostoevsky’s Philosophy [Джеймс Сканлан, Достоевский как мыслитель, Академический Проект, Санкт- Петербург 2006, s. 255, примечания, именной указатель, содержание]

100%

Kroczak J., Zielonogórski U.

Internetowy Magazyn Filozoficzny Hybris

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2012

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vol. 18

2

„Wielkie, ale niedokończone twory Opatrzności”. O jednym wątku teodycealnym w „Horsztyńskim” Juliusza Słowackiego i „Biesach” Fiodora Dostojewskiego

44%

Nowak M.

Pamiętnik Literacki

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2020

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vol. 111

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issue 3

5-20

PL

Artykuł jest próbą ukazania podobieństwa refleksji Juliusza Słowackiego i Fiodora Dostojewskiego nad zależnościami pomiędzy Bogiem, złem a człowiekiem, przejawiającego się w charakterystyce postaci wykreowanych przez pisarzy – Szczęsnego Kossakowskiego z „Horsztyńskiego” oraz Nikołaja Wsiewołodowicza Stawrogina z „Biesów”. Porównanie bohaterów jest przeprowadzone z perspektywy problemu teodycei rozpatrywanego w kontekście nowoczesności – zakwestionowania prerogatyw Boga i przyjęcia tezy o ateizmie „ad maiorem Dei gloriam” (M. Sarot, O. Marquard). Analiza tekstów obu utworów wydobywa analogie istniejące między Szczęsnym a Stawroginem na takich płaszczyznach jak motyw obłędu, piękno i metafory solarne, przewodzenie zbiorowości, transgresja oraz śmierć.

EN

The article attempts to present the similarities in reflection of Juliusz Słowacki and Fyodor Dostoyevsky over the dependency between God, evil and man, where the aforementioned similarities in reflection are manifested in the characteristics of protagonists developed by the writers―Szczęsny Kossakowski from “Horsztyński” and Nikolai Vsevolodovich Stavrogin from “Besy” (“The Possessed”). The comparison is drawn from the perspective of theodicy analysed in the context of modernity, namely questioning God’s prerogatives and adopting the thesis of “ad maiorem Dei gloriam” (M. Sarot, O. Marquard) atheism. Analysis of the two texts elicits such analogies between Szczęsny and Stavrogin found on such levels as the motif of madness, beauty and solar metaphors, community leadership, transgression, and death.

3

Głupi. Inny. Święty. Kategorie głupoty i świętości w „Idiocie” Fiodora Dostojewskiego i „Głuptasce” Swietłany Wasilenko

44%

Zambrzycka M.

Przegląd Wschodnioeuropejski

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2013

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vol. 4

431-439

EN

The text discusses the problem of foolishness and holiness in two Russian novels. In both of them, the great work by Dostoevsky and the modern novel by Svetlana Vasilenko, the concept of foolishness is combined with symbolism of sacrum, and connected with the categories of “otherness”, “difference”. In the two novels analyzed, character's foolishness is presented as a sign of belonging to the sacred reality. This understanding of the foolishness fits the characters into the context of “Foolishness for Christ” or “Holy Fools”, known in the Russian Eastern church as the yurodivy. The main characters in Dostoevsky’s and Vasilenko’s novels can be described with a few basic themes: the theme of foolishness, otherness/diffe- rence, homelessness, or “being not of this world”, and the theme of a disease. It seems that all these elements also serve as points for defining the semantics of a yurodivy.

4

„Noc jeanpaulowska” u Fiodora Dostojewskiego, Bolesława Prusa i Thomasa Manna

38%

Mazur A., Brzozowska S.

Pamiętnik Literacki

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2016

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vol. 107

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issue 1

61-80

PL

Fragment powieści „Siebenkäs” (1796–1797) Jean Paula, najbardziej znany w przekładzie francuskim pod tytułem „Un Songe (Sen)” (tytuł oryginalny: „Rede des toten Christus vom Weltgebäude herab, dass kein Gott sei ”), to jeden z ważniejszych nokturnów romantyzmu europejskiego: w planie metafizycznym ukazuje grozę apokalipsy bez Boga i zagładę lucyferycznego kosmosu materii, w planie estetycznym oznacza triumf wyzwolonej, fantasmagorycznej wyobraźni. Świadome lub mimowolne echa „jeanpaulowskiej nocy” można znaleźć w twórczości Fiodora Dostojewskiego (scena spowiedzi Hipolita w „Idiocie”, 1869; nowela „Bobok”, 1873), Bolesława Prusa (nowela „Pleśń świata”, 1884) oraz Thomasa Manna („śnieżna” wizja Castorpa w „Czarodziejskiej górze”, 1924). Eschatologiczne lub kosmiczne wizje bohaterów (narratorów) powstałe w wyniku demonicznego kuszenia wyobraźni, ukazują zdehumanizowany świat chaosu i śmierci, podległy przyrodniczemu determinizmowi – i podobnie jak u Jean Paula stanowią rodzaj wstrząsowej autoterapii światopoglądowej.

EN

The fragment of the novel by Jean Paul Richter Siebenkäs (Blumen-, Frucht- und Dornenstücke oder Ehestand, Tod und Hochzeit des Armenadvokaten F. St. Siebenkäs im Reichsmarktflecken Kuhschnappel ,1796–1797), known as “The Atheist’s Dream,” the full German original title being Rede des toten Christus vom Weltgebäude herab, dass kein Gott sei (Speech of the Dead Christ from the Universe that there is no God), presents one of the most important romantic night-visions: in metaphysical dimension it presents a terrifying Apocalypse without God, and a luciferic destruction of cosmic perpetual matter; in aesthetic dimension it indicates a triumph of liberated phantasmagorical imagination. Intentional or accidental traces of “Jean-Paulian night” are found in the works of Fyodor Dostoevsky (Ippolit’s “confession” from The Idiot, 1869; the short story Bobok, 1873), in the short story by Bolesław Prus (Pleśń świata , 1884) and in Thomas Mann’s (Castorp’s “snow” vision from Der Zauberberg , 1924). Eschatological or cosmic visions of the characters (narrators) produced as a result of demonic temptation of imagination present a dehumanised world of chaos and death subordinated to biological determinism and, as in Jean Paul Richter, constitute a kind of worldview shock autotherapy.

5

ALEKSANDER WAT I DOSTOJEWSKI: ETNOGRAFIA LITERACKIEJ FASCYNACJI

38%

Gryszkiewicz B.

Rocznik Przemyski

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2016

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vol. 52

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issue 2(20): Literatura i Język

79-112

EN

The early poetry of Aleksander Wat, a Polish poet of Jewish descent, is usually interpreted as an example of avant-garde changes in Polish and European literature. This paper suggests a different perspective, an ethnic and cultural one, which views Wat’s early work as a testimony to the phenomena that the discourse on the Jewish assimilation in the first quarter of the 20th century defines as the “marginal Jew” and “Jewish self-hatred”. It is thus in this context, and on the basis of literature read and favoured by Polish-Jewish members of the poetic avant-garde, that I analyse Wat’s fascination with Dostoyevsky’s prose, so characteristic of the former. Wat’s membership in the numerous group of intellectuals of Jewish origin, participating in the process of the cultural canonisation of that prose, makes me seek the source of their enthusiasm for the author of Demons and of their ability to reconcile it with their awareness of the Russian novelist’s anti-Semitism. My findings, taking into consideration sociological, psychological and specifically literary mechanisms, result in the hypothesis that Wat’s fascination with Dostoyevsky, as well as that of other Jewish enthusiasts, could have had its major source also in the novelist’s “psychology”, which could be interpreted as a literary model of a personality crisis, analogous to the Grenzjude’s experiences.

6

Сюжетные функции мотива смерти в романах Федора Достоевского

32%

Romanova G.

Slavica Wratislaviensia

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2018

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vol. 167

161-169

EN

The plot functions of the motivе of deathin the novels of Fyodor Dostoevsky The article deals with а meaningful functions of one of the most frequent plot in the works by Fyodor Dostoevsky — death of a character. The narrative role of the image of death is analyzed. Philosophical meaning of this plot and its connection with the theodicy in Dostoevsky’s novels are revealed.

UK

Сюжетні функції мотиву смертів романах Федіра Достоєвського У статті розглянуто змістове значення однієї з найбільш поширених сюжетних ситуацій у творах Федіра Достоєвського — смерті персонажа. Аналізуються розповідні функції зображення смерті героїв. Розглядається філософський сенс даної сюжетної ситуації та її зв’язок з теодицією у романах Достоєвського.

7

On Compassion: The Good Beyond Values

32%

Heikkerö T.

Dialogue and Universalism

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2017

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issue 4

189-201

EN

This paper is a dialogue that considers compassion as a grounding for ethics. Its ap-proach is thematic but it draws significantly from Arthur Schopenhauer’s account of compassion (Mitleid). In Schopenhauer’s thought, values (Werthe) are functions of a subject’s willing and therefore inevitably tied to an ego-centric viewpoint. Real ethics needs to find a good beyond subjective valuations. Schopenhauer finds an ethical phe-nomenon beyond values in Mitleid, “suffering-together,” compassion. Compassion is a pre-reflective benevolent feeling toward another’s suffering. Compassion can occur only if the ego-world duality is overcome at least to some extent. In this way compas-sion is a metaphysical sentiment.

8

Wątki ofiarnicze

32%

Etkind A.

ER(R)GO: Teoria – Literatura – Kultura

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2015

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issue 31

EN

Treating the imperial experience as its departure point, the article identifies a parallel relationship between the empire and the people reflected by the relationship between a man and a woman, the former presented as a noble savage the latter as a victim of the imperialist situation. The space outlined between them is however further complicated by the counter-character of the “man of culture” who interrupts the purity of the idyllic environment and contaminates it with historical and ideological dilemmas illustrated, among other works, in Dostoyevsky’s novels.

PL

Wychodząc od dyskusji nad doświadczeniami imperialnymi, niniejszy artykuł dostrzega paralelę pomiędzy relacją imperium - lud a relacją mężczyzna kobieta, w której jedno z nich przedstawione jest jako szlachetny dzikus a drugie jako ofiara imperializmu. Tak nakreślona sytuacja zostaje jednak zaburzona przez trzeci czynnik: "człowieka kultury", który zaburza czystość idylicznego porządku i zartuwa go historycznymi i ideologicznymi dylematami, opisanymi, między innymi, w powieściach Dostojewskiego.

9

Cyprian Norwid w Crystal Palace albo czy istnieje światopogląd modernistyczny Norwida?

32%

Samsel K., Uniwersytet Warszawski W. P., lewks@wp.pl

Acta Universitatis Lodziensis. Folia Litteraria Polonica

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2016

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vol. 33

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issue 3

EN

The author of the article aims to add his voice to the debate (fundamental for the studies of Norwid) on the tangled historical and literary origin of Cyprian Norwid and methods of legitimising it: the romantic and modernist. Although the text is clearly seeking a new language to talk about Norwid’s association with the subsequent modernist era (to describe Norwid’s case the author uses the term “fuzzy modernism,” while calling the poet himself “ an eschatologist of modernism,” distinct in this respect from the apparently similar Fyodor Dostoyevsky – modernist eschatologist), the ultimate conclusion is the Polish poet should be placed in the contaminated trend. Also suggested is a need for a study of his literary works that would provide a double model of the nineteenth background of Norwid’s text: as romantic, and at the same time modernist. As a symbol of Norwid’s modernity’s the author chooses London’s Crystal Palace, a place that Norwid (like Dostoyevsky) visited between 3 and 13 December 1852.

10

Cierpienie, rozdarcie, niespełnienie: destrukcyjny Eros w dziele F. Dostojewskiego

32%

Kruszelnicki M.

Internetowy Magazyn Filozoficzny Hybris

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2015

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vol. 28

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issue 1

12-44

EN

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”.

11

Еврейский вопрос Федора Достоевского через роман Леонидa Цыпкина Лето в Бадене

26%

Padsasonny S.

Iudaica Russica

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2022

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issue 1(8)

1-13

EN

The author analyses the Fyodor Dostoevsky’s approach to the Jewish question through the Leonid Tsypkin’s novel Summer in Baden-Baden. According to the principle of the postmodern text, the narration is conducted in several dimensions. The Jewish question is comprehended in the context of Dostoevsky’s corpus of texts. Next to that, the diary of the writer’s wife - Anna Dostoevskaya becomes an attribute of expression. Attention is drawn to the subjective approach of Tsypkin, who periodically goes into the genre of a literary essay, and also experiences an internal conflict of his origin. The paradox here is Dostoevsky’s humanism and anti-Semitism. The love for the literature wins, but the Jewish question remains an insurmountable trauma. The raising of the Jewish question determines the peculiarities of the novel’s poetics.

PL

W artykule analizowane jest podejście do kwestii żydowskiej Fiodora Dostojewskiego w powieści Leonida Cypkina Lato w Baden. Zgodnie z zasadą tekstu ponowoczesnego narracja prowadzona jest w kilku wymiarach. Kwestia żydowska rozumiana jest w kontekście korpusu tekstów Dostojewskiego, ale jednocześnie atrybutem ekspresji staje się pamiętnik żony pisarza - Anny Dostojewskiej. Zauważalne jest subiektywne podejście Cypkina, który od czasu do czasu wchodzi w gatunek eseju literackiego, a także przeżywa wewnętrzny konflikt swojego pochodzenia. Paradoksem jest tu humanizm i antysemityzm Dostojewskiego. Wygrywa miłość do literatury, ale kwestia żydowska pozostaje traumą nie do przezwyciężenia. Odwołanie się do kwestii żydowskiej określa specyfikę poetyki powieści.

12

Cyprian Norwid w Crystal Palace albo czy istnieje światopogląd modernistyczny Norwida?

26%

Samsel K.

Acta Universitatis Lodziensis. Folia Litteraria Polonica

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2016

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vol. 33

|

issue 3

331-343

EN

The author of the article aims to add his voice to the debate (fundamental for the studies of Norwid) on the tangled historical and literary origin of Cyprian Norwid and methods of legitimising it: the romantic and modernist. Although the text is clearly seeking a new language to talk about Norwid’s association with the subsequent modernist era (to describe Norwid’s case the author uses the term “fuzzy modernism,” while calling the poet himself “ an eschatologist of modernism,” distinct in this respect from the apparently similar Fyodor Dostoyevsky – modernist eschatologist), the ultimate conclusion is the Polish poet should be placed in the contaminated trend. Also suggested is a need for a study of his literary works that would provide a double model of the nineteenth background of Norwid’s text: as romantic, and at the same time modernist. As a symbol of Norwid’s modernity’s the author chooses London’s Crystal Palace, a place that Norwid (like Dostoyevsky) visited between 3 and 13 December 1852.

13

„Глядеть не умеем, понимать не умеем”, или сенситивный код к роману Федора Достоевского Идиот

20%

Waganowa O.

Slavica Wratislaviensia

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2014

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vol. 158

113 - 123

EN

The novel The Idiot by F.M. Dostoyevsky is considered from the point of view of its composite communication with sensory motifs (visual, acoustical, tactile, olfactory). The understanding of the functioning of these motifs underlies the analysis of figurative and thematic structure, and some artistic details of the writer’s poetics. In the article it is shown that the sensory perception in Dostoevsky connects with the cognitive through the relations of symbiotic continuity. We showed connections between the areas of human activity — perception and understanding — and their interference in the text. Sight and hearing are understood by us as the key elements of a linear creation of a plot, touch and smell, in turn — as factors facilitating studying of some features of the author’s poetics. Organizing this material with a purpose to present various receptive fields (sight, hearing, tactile and olfactory perceptions) taking into account their mutual relations and dynamics, allows to reveal the author’s idea on a deeper and motivated level.

Refine search results

Rediscovery of Fyodor Dostoevsky’s Philosophy [Джеймс Сканлан, Достоевский как мыслитель, Академический Проект, Санкт- Петербург 2006, s. 255, примечания, именной указатель, содержание]

„Wielkie, ale niedokończone twory Opatrzności”. O jednym wątku teodycealnym w „Horsztyńskim” Juliusza Słowackiego i „Biesach” Fiodora Dostojewskiego

Głupi. Inny. Święty. Kategorie głupoty i świętości w „Idiocie” Fiodora Dostojewskiego i „Głuptasce” Swietłany Wasilenko

„Noc jeanpaulowska” u Fiodora Dostojewskiego, Bolesława Prusa i Thomasa Manna

ALEKSANDER WAT I DOSTOJEWSKI: ETNOGRAFIA LITERACKIEJ FASCYNACJI

Сюжетные функции мотива смерти в романах Федора Достоевского

On Compassion: The Good Beyond Values

Wątki ofiarnicze

Cyprian Norwid w Crystal Palace albo czy istnieje światopogląd modernistyczny Norwida?

Cierpienie, rozdarcie, niespełnienie: destrukcyjny Eros w dziele F. Dostojewskiego

Еврейский вопрос Федора Достоевского через роман Леонидa Цыпкина Лето в Бадене

Cyprian Norwid w Crystal Palace albo czy istnieje światopogląd modernistyczny Norwida?

„Глядеть не умеем, понимать не умеем”, или сенситивный код к роману Федора Достоевского Идиот