Why Dostoevsky called his method fantastic realism. F.M. Dostoevsky in Russian literature

The question of what creative method F.M. Dostoevsky still remains unresolved. Contemporary criticism of Dostoevsky excluded him from the sphere of realism, denying him artistry and even psychologism: the author “does not know how to capture and describe the soul of a character in its objective manifestations” Markov E. Critical conversations // Russian Speech. In addition, researchers, including N. Strakhov, noted the absence of substantive details characteristic of the realistic method. They compared Dostoevsky's novels with Russian and Western European prose. In Dostoevsky's novels, the details are single, and they serve not so much to revive the picture and the character, but to something else, acting as an independent semantic element, significant for the entire artistic integrity of the work (Raskolnikov's ax or a knife with deer handles in The Idiot), or reinforcing the emotional tone of the episode (Katerina Ivanovna's kerchief and stockings, which Marmeladov drank away).

In this regard, they argued that Dostoevsky is none other than a romantic (or partly romantic), arguing that the action in his works does not develop slowly and calmly, but “is carried out feverishly, zigzag ... unexpectedly for the characters” Friedlander G. M. Dostoevsky's realism, by the fact that the central images of the novel and their actions for a long time remain a mystery to the reader, and, finally, by the fact that “fantastic”, “fatal” passions and crimes are put forward in a central place, which is very typical for novelists - romantics. Dostoevsky commented on such statements as follows: “I have completely different ideas about reality and realism than our realists and critics. My idealism is more real than theirs. God! To sensibly tell what all of us, Russians, have experienced in the last 10 years in our spiritual development - wouldn't the realists cry out that this is a fantasy! And meanwhile it is primordial, real realism!<…>Their realism cannot explain a hundredth of the real, happened facts. And we even prophesied the facts with our idealism. Happened!” Letter to A.N. Maikov from Florence, One way or another, but the majority of literary critics still attributed Dostoevsky's work to the realistic method, although noting the “speciality” of his realism. To determine the originality of the writer's work, researchers even introduced new terminology: “ideal-realism” (Vyacheslav Ivanov), “Experimental” or “experimental realism” (D.N. Ovsyaniko- Kulikovsky) and, finally, “ fantastic realism”

Dostoevsky's goal was to bring the sphere of the subconscious, where vague emotions and instincts rule, into the world of life action. The author of "Crime and Punishment" called it "fantastic". The fantastic realism of Dostoevsky appears in two terms. "Realism" - because it correctly corresponds to the psychology of human being. “Fantastic” because Dostoevsky presented the moving shadows in the current life as reality.

In life, people speak and behave differently than they speak and act in Dostoevsky's novels. But they think so in private, instinctively feel so. And the writer brings this world of secret emotions to light as an undeniable reality. And it’s as if it’s not people who are talking, but their souls are communicating, their ideas are arguing. In the future, it turned out that these conversations were not invented by Dostoevsky: ideas, thoughts, instincts and emotions began to resonate more clearly and sharply in the reality of the 20th century - in the way of life, social conflicts, excesses of the criminal chronicle.

Another important feature of Dostoevsky's fantastic realism- this is a displacement of the boundaries of the real and the fantastic, the impossibility at times to separate reality from “dreams, fantasies, the state of half-asleep, letters, articles, books, theories, true, false and distorted statements, Holy Scripture, conflicting and dissonant voices of others, all echoes ...”

Dostoevsky in fact asserted the right of the realist artist to create works of fantastic genres. He himself created fantastic works - the stories "Double", "Crocodile", the stories "Bobok", "The Dream of a Funny Man", "Vlas", "The Boy at Christ on the Christmas Tree". Their high aesthetic merits prove the fruitfulness of these artistic experiences. Just as actively Dostoevsky uses fantastic images and motifs in his strictly realistic works, tragedy novels. And this was undertaken not as a whim or caprice of the artist, but with a far-reaching goal - creation of a second plot plan of content that interacts with the first, main one. Such a complicated structure of the work determined a fundamentally new quality of the writer's prose, which he refers to as "realism in the highest sense."

Such a well-founded approach to artistic imagery allows us to realize the fantastic as a natural and equal category of aesthetics.

The forms of the fantastic in Dostoevsky's work are varied. The main ones should be the following:

1. Fantastic genre of prose. The story “The Double” and a number of short stories created by the writer belong to him. genre nature of these works is contaminated. It includes essential elements of traditional realism. This kind of fantasy in the writer's work was not particularly productive. The explanation for this can be seen in the excessively sharp rejection by the critics of these works, which the author could not ignore.

2. Fantastic dreams occupy a particularly large place in Dostoevsky's poetics. These are the four dreams of Raskolnikov, the dreams of Svidrigailov, Stavrogin, Versilov, "The Dream of a Ridiculous Man" and others. Usually, fantastic dreams are the second plan of the main content and are in a complex plot interaction with it, explaining or strengthening it. This kind of fantasy can be defined as psychological in terms of its content function.

3. A poem composed by Ivan Karamazov, The Grand Inquisitor, can be classified as philosophical fiction, revealing one of the most important components of the problematic of the novel The Brothers Karamazov.

4. The types of fantastic imagery can also include nightmares, delirium of some characters, evangelical and legendary stories and episodes.

Dostoevsky - writer and philosopher In his socio-political quest, Dostoevsky went through several periods. After being carried away by the ideas of utopian socialism (participation in the circle of Petrashevists), a turning point occurred, connected with the assimilation of religious and moral ideas by him. Since the 60s. he professed the ideas of pochvennichestvo, which was characterized by a religious orientation of the philosophical understanding of the fate of Russian history. From this point of view, the entire history of mankind was presented as the history of the struggle for the triumph of Christianity.

The original way of Russia in this movement was that the messianic role of the bearer of the highest spiritual truth fell to the lot of the Russian people. It is called upon to save humanity through "new forms of life, art" due to the breadth of its "moral grip". Describing this significant cut in the worldview of Dostoevsky, Vl. Solovyov writes that a positive public view was not yet completely clear to Dostoevsky's mind upon his return from Siberia. But three truths in this case "were completely clear to him: he understood first of all that individuals, even the best people, have no right to violate society in the name of their personal superiority; he also understood that public truth is not invented by individual minds but is rooted in popular feeling, and, finally, he understood that this truth has a religious meaning and is necessarily connected with the faith of Christ, with the ideal of Christ. Dostoevsky, as noted by his researchers, in particular Ya.E. Golosovker, there was a "frantic sense of personality." Through F. Schiller and directly, he acutely felt something deep in I. Kant: they are, as it were, merged in the comprehension of Christian ethics. Dostoevsky, like Kant, was worried about the "false service to God" by the Catholic Church. These thinkers agreed that the religion of Christ is the embodiment of the highest moral ideal personality. Everyone calls Dostoevsky's legend "On the Grand Inquisitor" a masterpiece, the plot of which goes back to the cruel times of the Inquisition (Ivan Karamazov fantasizes what would happen if Christ descended to Earth - he would be crucified and burned by hundreds of heretics).

Dostoevsky is one of the most typical speakers those principles that are called upon to become the basis of our peculiar national moral philosophy. He was a seeker of the spark of God in all people, even bad and criminal ones. Peacefulness and meekness, love for the ideal and the discovery of the image of God even under the cover of temporary abomination and shame - this is the ideal of this great thinker, who was the subtlest psychologist-artist. Dostoevsky emphasized " Russian decision"social problems associated with the denial of revolutionary methods of social struggle, with the development of the theme of the special historical vocation of Russia, capable of uniting peoples on the basis of Christian brotherhood.

The philosophical views of Dostoevsky have an unprecedented moral and aesthetic depth. For Dostoevsky, "truth is good, conceivable by the human mind; beauty is the same good and the same truth, bodily embodied in a living concrete form. And its full embodiment is already in everything the end and goal and perfection, and that is why Dostoevsky said that beauty will save the world"

In the understanding of man, Dostoevsky acted as a thinker of an existential-religious plan, trying through the prism of individual human life to solve the "last questions" of being. He developed a specific dialectic of the idea and living life, while the idea for him has an existential-energy power, and in the end living life man is nothing but the embodiment, the realization of an idea (the "ideological heroes" of Dostoevsky's novels). Strong religious motives in the philosophical work of Dostoevsky were sometimes combined in a contradictory way with partly even God-fighting motives and religious doubts. In the field of philosophy, Dostoevsky was more of a great seer than a strictly logical and consistent thinker. He had a strong influence on the religious-existential trend in Russian philosophy at the beginning of the 20th century, and also stimulated the development of existential and personalist philosophy in the West..

The image of St. Petersburg in the works of F.M. Dostoevsky

Petersburg of Dostoevsky is a different city: with unclean lanes, gloomy tenement houses, dark courtyards-wells.

Of course, Dostoevsky remembered the palaces of the nobility, created by famous architects, about the lovely parks with their patterned cast-iron fences. But his heroes did not see all this! The inhabitants of squalid apartments and corners in the slums of St. Petersburg cautiously walked past the luxurious front entrances, shunned the Nevsky, looked at the palaces - and did not see their beauty. They huddled in their back streets - and the splendor of rich mansions only reminded them of their deprivation.

The action of the novel flutters from April 8 to September 30 - spring, summer, early autumn. But Dostoevsky's heroes did not see the flowering of lilacs, jasmine and lindens, did not feel the magical charm of the white nights, did not breathe in the fresh wind from the bay, and crimson-golden autumn did not please their eyes. In fact, they are deprived of everything, they are destitute - such a conclusion is inevitably born in the reader as Dostoevsky unfolds the urban landscape in time and space.

Now some kind of vile frost is falling from the sky, now a gray, dirty fog envelops passers-by, now dirty puddles are on the way, then the gaze stops at the garbage floating through the dirty water of the canals ... and against this gloomy background the life of the St. Petersburg poor is drawn with its rare, miserable joys and constant, stupefying concern for daily bread.

With no less skill, the story "White Nights" was written, to which Dostoevsky gave the subtitle "sentimental novel." The subtitle indicates the originality of the content, and not the genre, the writer had in mind the barely begun and immediately formed love-psychological story, which at that time was often called a love story. This novel really turned out to be sentimental: the characters met, barely got to know each other, affection for each other barely captured them - and life instantly, irrevocably, forever divorced them. Dostoevsky raised the problem of enormous, universal importance, but presented it in a romantic form, eliminating the exact signs of its social and typical essence. comments, the true meaning of what is happening, did not reveal the origins of the romantic mood of his hero. Any attentive reader immediately sees that Dostoevsky's novel "Crime and Punishment" is strikingly different from the books of Turgenev, Tolstoy, Goncharov born next to him. It is neither better nor worse, it's just a completely different book, it is written about something else. The author of Crime and Punishment contrasted their poetry, clarity, harmony, lyricism and epic calmness with darkness, chaos, general decay in society, anxiety and anger, terrible, convulsive tension of thoughts and feelings, their morbidity, the fall of a person, worldly dirt, poverty, drunkenness, everyday cruelty, vices and crimes, murders and suicides, St. Petersburg attics and disgusting taverns, the bottom of life and the human "underground", flaws and diseases of the suffering and offended soul. In the novel, Dr. Zosimov ingenuously testifies to the results of his medical practice: “And it’s true that there is almost no harmonious person at all.” Where can such a thing come from scary world ghostly Petersburg? And the name of the protagonist of the book “talking” is Raskolnikov, this former nobleman and former student lives in a divided society and contributes to its further disintegration with his crime and inhumane “progressive” ideas. Even in its colors, Dostoevsky’s novel is black and white with rotten Petersburg yellowness , the brightest spot in it is blood. The very plot of the book is dramatic and bloody, and at the same time quite ordinary, taken directly from the then police newspaper sheets and court reports: a beggar St. Petersburg student beat an old woman - a usurer and her sister with an ax for money. Ordinary story ... Then the arrest inevitably follows, court, sentence, deprivation of all rights and status, hard labor, deletion of a former person from the world of living people. He fell to the bottom of life, crushed, destroyed, perished, condemned by society forever. This is where all court reports and detective stories usually end. Dostoevsky's novel only begins with this. Dostoevsky discovered in the city an invisible world full of fantasy. This world was already foreshadowed by Gogol. The image of St. Petersburg is extremely wide and significant, it embraces many features of the previous era of the image of Northern Palmyra and predetermines, basically and in many details, Dostoevsky's approach to it.

Dostoevsky's work made a huge contribution to the development of literature, both Russian and foreign. Dostoevsky was the founder of a new creative method in depicting a person. D. first showed that human consciousness is ambivalent (it is based on opposite principles, the principles of good and evil), contradictory.

Dostoevsky was the founder of a new creative method in depicting a person. D. first showed that human consciousness is ambivalent (it is based on opposite principles, the principles of good and evil), contradictory.

D. stands at the origins of a new philosophical consciousness, the consciousness of religious existentialism (this theory rejects the theory of rational knowledge of the world and affirms an intuitive comprehension of the world). D. defended the position that a person sees his essence in borderline situations.

Glory to Dostoevsky was brought by his novels - his "Pentateuch":

"Crime and Punishment" (1866);

"Idiot" (1868);

"Demons" (1871);

"Teenager" (1875);

"The Brothers Karamazov" (1880-188).

Features of Dostoevsky's realism:

1. Dialogism of the narrative. There is always a dispute and defense of one's position (Ivan and Alyosha Karamazov in The Brothers Karamazov, Shatov and Verkhovensky in Possessed, Raskolnikov and Sonya Marmeladova in Crime and Punishment, Prince Lev Nikolaevich Myshkin and the rest of society in The Idiot)

2. Connection of the philosophical basis with the detective. Everywhere there is murder (old pawnbrokers in Crime and Punishment, Nastasya Filippovna in The Idiot, Shatov in Possessed, Fyodor Pavlovich Karamazov in The Brothers Karamazov). For this, critics always reproached the writer.

3. Regarding Dostoevsky's realism, they said that he had "fantastic realism." D. believes that in exceptional, unusual situations, the most typical appears. The writer noticed that all his stories were not invented, but taken from somewhere. All these incredible facts- these are facts from reality, from newspaper chronicles, from hard labor, where Dostoevsky spent a total of 9 years (1850-1859, from 1854-59 he served as a private in Semipalatinsk) and where he was exiled for participating in Petrashevsky's circle. (The plot of The Brothers Karamazov is based on real events related to litigation over the imaginary "parricide" of the Omsk prison lieutenant Ilyinsky)

4. In The Writer's Diary, Dostoevsky himself defined his method as "realism in the highest degree". D. depicts all the depths of the human soul. The most interesting thing is to find a person in a person with full realism. To show the true nature of a person, it is necessary to depict him in borderline situations, on the edge of the abyss. Before us appears a shaken consciousness, lost souls (Shatov in "Demons", Raskolnikov in "Crime and Punishment"). In borderline situations, all the depths of the human "I" are revealed. Man is in a world hostile to him, but without him he cannot live.

5. Engelhardt proposed to call Dostoevsky's novel an ideological novel, because there is a conflict of ideas in his novels. D. himself called this conflict "pro et contra", meaning "for" or "against" faith. In the artistic space of D.'s novels, there is usually a conflict of 2 ideas: Raskolnikov - Sonya Marmeladova; Elder Zosima - Ivan Karamazov.

6. Vyacheslav Ivanov, defining a new genre originality Dostoevsky's novel, called his works a novel - a tragedy, because. his novels show the tragedy of personality, loneliness, alienation. The hero always faces the problem of choice, and he himself must decide which path he will take.

7. Mikhail Mikhailovich Bakhtin, defining the structural feature of Dostoevsky's novels, speaks of polyphony (polyphony). D.'s polyphonic novel now opposes the monologue novel that previously dominated Russian literature, where the author's voice predominated.

Principle "I am" - monologue novel

Hero World

But in Dostoevsky the voice of the author is not heard, he is on a par with his characters. Only the voices of the characters are heard, the author allows them to speak to the end. The position of the author himself is seen through the statements of his favorite heroes (Alyosha Karamazov, Prince Myshkin). We will not meet any author's digressions, as in Leo Tolstoy's.

World Hero principle "You are" - polyphonic novel

D. depicts not just a person, but his self-consciousness, he is interested in the hero as one of the points of view on the world and on himself. In D., the hero himself says everything about himself.

According to Bakhtin, Dostoevsky's heroes are internally incomplete. There is something in man that only he himself can discover in a free act of self-knowledge. Note that Dostoevsky's favorite form was the form of confession.

Oscar Wilde said that "Dostoevsky's main merit is that he never fully explains his characters, and Dostoevsky's heroes always amaze with what they do or do, and conceal in themselves the eternal mystery of being to the end." This just corresponds to what D. called "realism in the highest degree."

Noteworthy is the work of the prominent Russian writer and scientist Leonid Petrovich Grossman about Dostoevsky, which was published in 1059 in the collection of the Academy of Sciences "Dostoevsky's Creativity". Continuing to develop the ideas of Vyach Ivanov and M. Bakhtin on the constructive principle of polyphony, which is the basis for the composition of Dostoevsky's novels, Gorossman managed to identify many more new things. Three parts of Grossman's work reveal three aspects of D.'s narrative system: genre specificity, laws of composition, and creative method.

Grossman argues that a special type of novel arose for the young writer as early as the 1840s, "when Russian criticism began to develop the theory of narrative genres in depth." Grossman connects the theory of the genre of the novel primarily with Belinsky: the genre is the latest epic, combining the realism of "the event with the disclosure of its drama and the expression of the author's lyrical attitude towards it."

For example, already from the first pages of Crime and Punishment, we plunge into the hopeless horror of modernity, which strengthens Raskolnikov in his decision to start fighting this world. Drawn before us conversation piece dirty drinking still life of a miserable counter: black crackers, crumbled cucumbers, a flooded and sticky table. This is a real physiological essay with details of the St. Petersburg slum and the characters of an innkeeper in a greasy waistcoat and a shiny face, a drunkard official Marmeladov about a tattered tailcoat without buttons.

The description of the room of retired officer Snegirev from The Brothers Karamazov, who maintains a family of Invalids and drags out a miserable existence, can also be cited as an example of a typical genre scene.

The description of "hopeless poverty" in "Crime and Punishment" is sustained in the characteristic style of the natural school. The metropolitan statistics are outlined: the titular councilor, who was expelled from the department for constant drinking bouts; daughter living on a yellow ticket; small children languishing in a dark corner; wife with tuberculosis. Such is the latest physiology of post-reform Petersburg in the 1860s.

But from these gloomy daguerreotypes the human tragedy of Dostoevsky imperceptibly breaks through and grows. The unrequited Sonya agrees to dishonor in order to save minors from starvation. An old drapedam handkerchief barely hides the sobs of a disgraced girl. Katerina Ivanovna, who sold her stepdaughter, silently kneels before her, “and so she stood on her knees all evening, kissed her legs, did not want to get up ...”

It seems that the novelist has reached the heights of his tragic art, but he strives higher - to the final generalization. Out of the daily torments and sorrows of the corners of the capital grows the vision of world justice, the utopia of a wise judgment, the illusion of the final justification of man. Marmeladov's monologue ends with a poetic myth about a reborn sinner and a beautiful person, this favorite theme of painters and poets, which D. made the basis of his favorite novel, The Idiot. But already in the story of Raskolnikov, the journalistic theme of the "drunk" seems to develop into fairy theme about irresistible justice. The genre painter of the St. Petersburg slums hits the hearts with all the strength of a great poet.

In any novel by D., we will find the same principles for shaping the whole based on the contrast between the fall of a person and his spiritual beauty. The Idiot unfolds a hopeless biography of a gifted female nature (Nastasya Filippovna) and reveals the sad fate of an exalted dreamer (Prince Myshkin) among the moral dregs of society.

D. does not deviate from this compositional law in the pamphlet novel "Demons". But here the prose of life, its tragedy and poetry are compared not in organic fusion, but in sharp opposition. The background of Stravrogin's confession is the depressing vulgarity of life, debauchery and boredom. Let us recall the episode with the eleven-year-old Matryosha, who was raped by Stavrogin and then hanged herself, which was not included in the final text of the novel. The tragedy of the girl takes place in the miserable atmosphere of a petty-bourgeois apartment in St. Petersburg. According to the basic contrasting law of all his compositions, the terrible drama of vice, crime and the death of a child is replaced by a radiant vision of primitive innocence, purity and happiness. Stavroogin recalls in a dream the idyllic landscape of Claude Lorrain "Acis and Galatea" with carefree and beautiful people.

D.'s latest novel, The Brothers Karamazov, is subject to the same constructive laws. The image of Dmitry Karamazov is taken from life, the writer depicted in him the imaginary "paricide" of the Omsk jail, lieutenant Ilyinsky.

The fate of Dmitry is tragic. A man of high flights of soul, he is unable to escape from the pool of vices that have entangled him. Wrongly accused of parricide, he must atone for someone else's crime with 20 years of hard labor. But even at the moment of the catastrophe, there is, as it were, an inner enlightenment of his entire being. He sees in a dream a burnt village, emaciated women with children roaring in their arms, he wants to know why they are poor and they feel so bad, and he wants to join the fight against this evil, "so that there are no tears at all from this minute ...". Dmitry wants to become the protector of the inhabitants of the village.

Having established the connection of the epic with poetry and drama in the internal structure of D.'s novels, Grossman defines the genre of the writer's novels as a "philosophical poem." The definition is not new, because D. himself emphasized the connection artistic idea with poetry, in the "Diary of a Writer" and "Notebooks" D. more than once called his novels poems. And the writer himself called himself nothing more than “a poet in the original sense of the word, i.e. the creator of a high style, the singer of a great theme.

According to Grossman, D.'s novels show a two-dimensional composition. D.'s novels are "huge generalizations of his great novels, in which the harsh judgment on the terrible bourgeois modernity turns into peculiar ethical systems and paradoxical utopias of the coming harmony of mankind."

D.'s novels are characterized by a plurality of action. In "Prest. and nak." storylines of Raskolnikov and Sonya Marmeladova, Luzhin and Svidrigailov; in Possessed - storylines of Stavrogin, Pyotr Verkhovansky and his father Stepan Trofimovich, Shatov, Kirillov; in The Brothers Karamazov - the story of 3 brothers, like three fateful roads, the life story of the elder Zosima, the position of the old cardinal - the Grand Inquisitor. The development of each theme moves according to the musical law of counterpoint. Following D., Vyach. was the first to talk about the law of counterpoint. Ivanov in Dostoevsky and the Tragedy Romance (1914) and M. Bakhtin in the book Problems of D.'s Creativity. (1928). Such a constructive system was called polyphony by Bakhtin, and hence the term he proposed - polyphonic novel.

The compositional law of counterpoint, according to Grossman, largely dictates the features of the development of the plot action. D. does not have a smooth, measured and consistently fluttering story, he always gives a rapid movement of the plot, interrupted by unexpected events that break, explode the intended path of the narrative, sharply changing its direction and continuing its development, as it were, on a new plane and already with a different orientation. Sometimes the direction is maintained even after such an explosion, but on the other hand the tempo of movement is extremely increased, the conflict is sharpened, and the action continues in a heightened atmosphere until a new catastrophe introduces a number of unforeseen complications.

So, at the beginning of the novel, Raskolnikov is still only thinking about the possibility of a crime, hesitates and even renounces his “damned dream”. But acquaintance with the Marmeladov family, a letter from his mother about his sister's "happiness", a drunken girl pursued by a fat dandy on the boulevard, a conversation with an officer about saving a thousand young lives at the cost of killing one old money-lender - all these diverse events merge into one psychological thought of the hero. charge of extraordinary power. There is an “explosion” - the murder of two women by Raskolnikov, which radically changes the whole situation, transfers the action to a new plan of the hero’s most difficult internal struggle with his theory and conscience and - externally - with power in the person of a strong opponent - Porfiry Petrovich. There is a line of the "ideal" investigator, who leads the offender to the realization of his guilt. After that, the action rises to its highest plane - hard labor atonement for guilt and the search for new ways in life.

Graphically, the composition represents a horizontal line of a developing plot, which is intersected by vertical lines of turbulent episodes, throwing the action up and transferring it to a new plane, where the plot parallel to the first horizontal line soon explodes again. It turns out a stepped line of the composition, which elevates the idea to its resolution in the final catastrophe or catharsis.

According to Grossman. The compositional technique of the conclave is also inherent in D.. This Latin term denoted in the Vatican a plenary council of cardinals assembled to elect a pope. In D.'s novels, these are exceptional meetings with important tasks and unforeseen complications. In "Prest. and nak." a motley company is going to the memorial service for Marmeladov: the whole family of the deceased, headed by his wife Katerina Ivanovna, three unknown "Poles". A drunken food official, a German landlady, a deaf old man. The mood is anxious, everyone is waiting for a quarrel, there is a squabble between Marmeladova and Amalia Lipperwechsel, who mentioned the yellow ticket, there is an uproar. The screams and cries of children are heard, the general tension is discharged with a terrible blow: Luzhin accuses Sonya of stealing 100 rubles from him. The money was found in her pocket, where it had been cleverly slipped. The scandal has reached its climax.

But at this moment the vulgar episode passes into the highest pathos. The sobs of a tormented soul are heard. A monologue sounds that hits the hearts, Katerina Ivanovna, hugging Sonya to her, shouts that she does not believe. Everyone took pity on the unfortunate Katerina Ivanovna, with her weeping uncontrollably, with her consumptive face contorted with pain. Raskolnikov also stands up for Sonya. The slandered girl is justified by the general opinion. But a drunken scandal breaks out in flashes, Katerina Ivanovna runs out into the street in search of immediate and final justice and falls on the pavement with blood gushing from her mouth. Here she grows into a genuine tragic heroine.

The action in The Idiot is based on the same dynamic and complex law. The culmination of the first part is the birthday of Nastasya Filippovna. Here you can feel the hidden anxious expectation of a big event - the official engagement of the heroine with Ganya Ivolgin. In appearance, everything is calm, but the internal drama breaks through with unexpected episodes. The prince wants to marry Nastasya Filippovna. He is declared the owner of a millionth inheritance. Rogozhin brings a hundred thousand to his "queen", she throws money into the fire to test the disinterestedness and honor of her fiancé Gavrila Ardalionovich. He withstands the temptation, but faints. Conflicts and scenes are cut through by Nastasya Filippovna's feverish speech. Totsky's concubine, she does not want to destroy the righteous. He speaks. What does he need Aglaya Yepanchin, Totsky is sharply ridiculed. Everything ends with a high spiritual take-off: “Farewell, prince, I saw a person for the first time!” Among the motley crowd, the confession of the heroine sounds pathetic.

One of the strongest conclaves we see in "Demons". Part 1 ends with an extraordinary meeting at General Stavrogina's. The provincial salon suddenly turns into a trial of Stavrogin. The landowner's harsh question to her son, is the lame-foot really his lawful wife? Stavrogin leads the holy fool away, rejecting his marriage alliance with her. Tense episodes flash by: the mother's speech in defense of her son, Pyotr Stepanovich's denunciation of his father, the expulsion of old Verkhovensky from the house of his patroness. Everything ends with Shatov's slap in the face to Stavrogin. Such an abundance of unheard-of catastrophes reveals the complex nature of the hero and determines his future fate.

In "The Teenager" the action is extraordinarily swift, without speeches and without confessions. With Lambert's impudent extortion, Akhmakova's fainting, Versilov's attempted murder of a blackmailer, with an attempt to shoot the heroine, with the hero's sudden insanity, a revolver, blood, fights, spitting in the face. This is a whole bunch of criminality and outrages, which should serve as the denouement of a novel about one "random" family.

The Brothers Karamazov combines all compositional techniques. The novel is based on a sharp opposition of persons and events: on one extreme are moral freaks - Fyodor Pavlovich, Smerdyakov, on the other - "angels", Alyosha and Zosima. Skotopigonievsk is opposed by a monastery, and a Russian monk is opposed to a voluptuary. Antithesis remains to the end the main principle of D.

Meetings of all the heroes take on a new dimension here. The congress at the monastery of the father and sons of the Karamazov ends with a scandal in the cell of the elder, and then in the refectory of the abbot, Fyodor Pavlovich quarrels with Dmitry, the atmosphere heats up to the limit. But at this moment, a sudden turning point occurs - the elder Zosima kneels before Dmitry. This is the transition of a quarrel into a drama.

Episode in Wet. During the orgy, Grushenka confesses her love for Dmitry. A moral revival dawns on the hero, but then the authorities accuse him of killing his father.

And finally, everyone meets in court. The whole of Russia is watching the process. The dignified course of the process is immediately interrupted by the speech of Ivan, who declares. That Smerdyakov killed, and he taught him how to kill. Ivan in a fit is carried out of the hall, then Katerina, who imagined that her beloved Ivan had ruined himself with this testimony. Gives the court Mitya's letter incriminating him. Katerina Ivanovna is carried out in hysterics.

All components of the conclave have been observed, but on the scale of an all-Russian resonance, tragic upheavals and a psychological battle.

Regarding the philosophical views of the writer, it should be noted that Dostoevsky saw two ways to improve a person:

1) bloody revolutionary (Raskolnikov, Ivan Karamazov, Pyotr Verkhovensky). This is the path of the abyss, of atheism; Dostoevsky rejects it. Each of these heroes is a man-god, he assumes the function of God, they imagine themselves to be Napoleons (like the Grand Inquisitor in The Brothers Karamazov). This is a destructive path.

2) the path of love. To change the world, you must refuse to change the world. We need to change not the society, but the individual. People should become brothers. The world cannot be invaded with a sword and blood, a person must himself come to the need for love, but this is not an easy path. People must bow before God, become God-man (and not man-god) through humility and patience.

Many critics and literary critics paid attention to the study of Dostoevsky's work.

Dostoevsky's first "discovery" took place in the 1940s. XIX century, when the writer developed the theme of the "little man". Belinsky then said that a second Gogol had come into literature. In the 80s. 19th century Mikhailovsky noticed that D. had a "cruel talent", he was a brilliant psychopathologist.

In the beginning. 20s 20th century (in 1921 it was 100 years since the birth of D.) Dostoevsky was studied by Bulgakov, Berdyaev, Struev, Merezhkovsky, Volynsky, Rozanov, Vyach. Ivanov, Blok, Bely. It was then that the deep processes of psychology were discovered in the work of D. They began to talk about him as religious writer who managed to penetrate into the depths of human psychology.

Komarovich, Grossman. Chulkov, Vinogradov, Tynyanov studied D. as an artist in the historical and literary aspect.

These numerous studies helped to clarify the genesis (origin) and the law of construction of Dostoevsky's novels, the writer's poetics, technique and style of narration were studied, the reader was introduced to the aesthetic world of novels.

Crime and Punishment (Analysis Outline)

The novel is written in the form of a confession, the dialogism of the narrative, polyphony is clearly traced. Dialogism is already in the title + the dialogue of two ideas of Rodion Raskolnikov and Sonya Marmeladova.

Vyach. Ivanov called this novel a "tragedy novel".

The novel consists of 6 parts. 1st part - crime, 5 parts - punishment.

Raskolnikov is the compositional and spiritual center of the novel. Raskolnikov - split, Rodion - homeland, Romanovich - association with the Romanov dynasty, i.e. we have speaking surnames in front of us, which is a sign of classicism, plus 5 unities are observed.

The scene of action is “the most fantastic city in the world” - St. Petersburg. Raskolnikov is a typical offspring of this city, where all ideas from the West found ground.

The principle of contrast is being implemented - Raskolnikov commits a crime because of highest goal, he wants to test himself, to conduct an experiment (“I am a trembling creature or have a right”). His theory of two classes of people fails.

Bakhtin called the end of the novel "a monologue appendage".

Moron

A novel about the God-man, about a man - Christ. D. tried to create an image of an absolutely beautiful person. D. came to the image of Prince Myshkin through the image of Alei from Notes from the House of the Dead and Sonya Marmeladova.

Prince Lev Nikolaevich Myshkin. The surname is speaking, it reflects the type of hero of Russian literature, a hero with a sick mind. The name-patronymic refers to Tolstoy. The scene is Petersburg, but already as an aristocratic city.

The novel also raises the theme of money, usury, bargaining. The idea of ​​a “random family” is being developed. This is the first attempt to embody the image of a bourgeois-noble family, where family relationships and moral degradation reigns.

In the characters, the ambivalence of consciousness can be traced, in them there is a struggle between the dictates of the heart and the voice of reason.

The idea of ​​theomachism is expressed in the novel by Ippolit Terentyev (a young man who is ill with consumption). He rebels against God, says that a person is born in sin and is not asked if he wants to live in this world. Hippolyte is sure that he himself, when he wants, will then leave this world. But he couldn't kill himself, but Kirillov can in Possessed.

The idea of ​​desecrated beauty is embodied in the image of Nastasya Filippovna, who is supported by the landowner Totsky. (Everyone is in love with her).

The idea of ​​Christ is embodied in Prince Myshkin. The scene of his fraternization with Rogozhin in front of the body of the murdered Nastasya Filippovna is one of the main scenes of the novel, it implements the idea of ​​brotherhood. The described scene is deeply realistic, according to Dostoevsky.

The problem of a person cut off from his native soil is raised, the question arises of how to return to his native land.

Demons

The novel was based on real events. In 1869, the student Ivanov was murdered by members of the People's Reprisal circle, led by Sergei Nechaev, an anarchist revolutionary who wrote a "revolutionary's catechism", which states that "our cause is terrible, complete, widespread and merciless destruction." Nechaev is the embodiment of the ideas of the revolutionaries.

Nechaev became the prototype of Peter Verkhovensky, who comes from abroad to organize one of the cells (the so-called five) of the future secret society.

This is a monologue novel. D. criticizes revolutionary activity. On the example of the activities of Verkhovensky, his “five” and those who, voluntarily or involuntarily, help them, D. showed the nightmares that revolutionary movement: bloody terror, the extermination of millions of innocent people, general surveillance, merciless suppression of dissidents.

Teenager

The protagonist, Arkady Dolgoruky, chooses a different way of benefiting mankind: he will acquire a huge fortune through stubborn hoarding and a hermit life, enjoy the “solitary and calm consciousness of his strength” and power over the world, and then give his millions to people - let them “distribute”. Arkady himself proudly retires "to the desert." But the main thing for the hero is not a future gift to people, but namely strength, power and superiority over millions of "ordinary". However, under the influence of "living life", about which, in the purity of his heart, he cannot and does not want to fence himself off, under the spiritual influence of the elder Makar, Arkady abandons his idea. Those. the power of money is surmountable. For Russian teenagers, the denial of God is much more dangerous. You can truly accept and love God only by loving people, and those who do not love and despise those around them will inevitably come to rebellion against God.

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DOSTOYEVSKY Fedor Mikhailovich (1821-1881) - was born in a patriarchal-petty-bourgeois family of a pre-reform intelligent worker. In 1846, D.'s first work, the novel poor people”And Belinsky writes an article about him, as about the most outstanding work of his time. An unknown poor official immediately becomes a star of the first magnitude. They write about him, talk about him, flatter him, seek acquaintances with him, introduce him to high-society salons. A feeling of social discontent is ripening in D.'s soul, which brings him closer to the circle of the democratically and Protestant-minded intelligentsia closer to him, grouped around Petrashevsky. This rapprochement cost D. Arrested in 1849 along with all the Petrashevites, he, according to the brutal verdict of the tsar's court, having survived on the scaffold all the horror of the death penalty that was about to be carried out, was sent to hard labor in the Omsk prison. A short period of glory was followed by long years last humiliation. Whole 9 years. At the end of hard labor, still in Siberia, D. returns to literary work. Here, under the fresh impression of what he experienced, he began " Notes from the House of the Dead". Hardened by the harsh experience of life, a man who has matured in social sympathies and class hatred, he comes again to St. Petersburg to solve the problem of his youth, to fight for his dignity with poverty and humiliation and to say a new word, a new truth - the truth of poor people, the truth of "humiliated and insulted" . His journal seems to him the surest means for the realization of the intended goals. With feverish energy, D. takes up the chores of organizing his body, and since January 1861, the journal Vremya (Vremya) has been published under his editorship (see). Over the two and a half years of its existence, this publication has won wide sympathy in society, which D. himself contributes a lot to with his articles and novels. Here were printed Humiliated and Insulted" and "Notes from the House of the Dead”- works that again put forward D. in a number of first-class writers. The success of the magazine saved D. and from the need that weighed on him all the time. In 1963 the magazine was closed. By 1866 he was finishing his best novel « Crime and Punishment". In the same year, the first complete collection his writings in three volumes. In 1867, D. remarries and immediately goes abroad, this time for a long time - for as many as 4 years. D.'s life is not sweet abroad. A disorderly nomadic life, homesickness, where creditors do not let, chronic lack of money affect him in the most depressing way. Over the years, such capital things have been created as “ Idiot", "Eternal Husband" and "Demons", novel " Teenager". From 1876, Dostoevsky again began to publish his periodical, the "Diary of a Writer", which he personally maintained, which provided a large income. By the end of the 70s. D.'s financial situation becomes quite stable, and among writers he wins indisputably the first place. The Writer's Diary was very popular and sold like hot cakes. D. became something like a prophet, apostle and mentor of life. From all over Russia, he is bombarded with letters, expecting revelations and teachings from him. After the appearance of The Brothers Karamazov in 1880, he died in January 1881.

The social basis of D.'s creativity is philistinism, which is decomposing under the conditions of capitalist development. The nature of this community group imprinted in the distinctive features of the style of D. The style of D. bears the stamp of gloomy tragedy. And this is because the philistinism that gave birth to this style was in a truly tragic position. With the development of capitalism, philistinism came under double pressure. On the one hand, the press of class inferiority pressed, the press of belonging to a socially humiliated caste. On the other hand, the capitalist press pressed, turning the bourgeoisie into the petty bourgeoisie, an economically extremely unstable group, balancing between the moneyed bourgeois elite and the bottom of the city. Feelings of resentment, humiliation, insults seethe in the soul of the decaying philistinism, resolving in a hysterical struggle for honor, taking painful pathological forms, due to the obvious futility, hopelessness of the struggle, and it most often ends in disaster. It is this catastrophic nature that imposes the stamp of tragedy on all of D.'s work. The constant theme of D. is the hysterical, with a gloomy denouement, the struggle for the honor of the tradesman, humiliated in his human dignity. The motives of his work are made up of various manifestations of the pathological struggle for honor. This struggle takes on wild, absurd forms. In order to feel like a real full person, to whom no one dares to offend, the hero D. must dare to offend someone himself. If I can, if I dare to offend, offend, torment, then I am a man; if I do not dare to do this, I am not a man, but a nonentity. I am a humiliated and insulted martyr, until I myself humiliate, insult, torture - this is one of the pathological manifestations of the struggle for honor. But this is still only the beginning, the most innocent manifestation of a person who has fallen ill with a thirst for honor. It is not enough to be an offender, an insulter, so as not to be insulted and humiliated. Whoever can only offend, cheekily step on someone else's vanity, is still a shallow swimmer. A person in the full sense of the word is independent, stands above all insults and humiliations, when he can do everything, dares to cross all laws, all legal barriers and moral norms. And so, in order to prove that everything is allowed to him, that he can do anything, the hero D. will commit a crime. True, crime inevitably entails punishment, torment inevitably entails suffering, but this suffering is already justified. This is a legal retribution that does not offend the dignity of a person. It is not necessary to run away from such suffering, but to bear it humbly. Humiliated and insulted, eager to humiliate and insult, a martyr, eager to torment, tormentor, seeking suffering, offender and criminal, seeking insult and punishment - this is the pivotal image around which all of Dostoevsky's work revolves, the image of a tradesman writhing under the double pressure of class lawlessness and capitalist competition. The fate of this bourgeois, usually gloomy, resolved by psychopathology, crime, death, is the content of his works, starting with "Poor People" and ending with "The Brothers Karamazov". Already from the first work, an ensemble of images characteristic of D. was determined. This is, firstly, Makar Devushkin, whose being is divided equally between flashes of hysterical enthusiasm and equally hysterical humility; Varenka Dobroselova, who is corresponding with him with a pronounced hysteria of humility, and vaguely outlined Mr. Bykov, Varenka's insulter, in whom the traits of the offender clearly prevail. This ensemble of images passes from work to work, deepening psychologically and combining in different ways. The figure of the poor and dark Devushkin, hysterically rushing from enthusiasm to humility and back, evolving and becoming more complex psychologically, grows into Raskolnikov and Ivan Karamazov, these semi-criminals, semi-ascetics, with an extremely complex spiritual culture. This image, which occupies a central place in D.'s first work, in Poor People, turns out to be central to most of his works. The Double, The Village of Stepanchikovo, Notes from the Underground, The Gambler, Crime and Punishment, The Eternal Husband, The Teenager, The Brothers Karamazov have this double image as their central face. The obscure figure of the offender - Mr. Bykov - grows into principled torturers and criminals, Valkovsky, Svidrigailov, Verkhovensky, and in a number of works the role of the central image, the main character, recedes to him. This is precisely the situation in the early story "The Mistress", the novels "The Humiliated and Insulted" and "Demons", where the artist puts the criminal character in the center of attention. Finally, the humble Varenka reveals a whole string of martyrs, like Vasya Shumkov or Sonya Marmeladova, seekers of flour and ascetics, like Prince Myshkin or the elders - Makar Dolgorukov and Zosima. In the story "Weak Heart" and in the novel "The Idiot" D. put this image in a central place.

The hysterical tension, convulsive fussiness, and gloomy catastrophic nature of the social springs that nourished D.'s work created that whirlwind development of the plot, which is so characteristic of his works. Dynamism, tense eventfulness and, moreover, eventfulness chaotic, chaotic, stunning with all sorts of surprises, is the most characteristic feature of D.'s composition. This feature is expressed primarily in D.'s compositional use of time. from other classics of the Russian novel. What drags on for years with D. is tied up and resolved in a few days. Dynamism is emphasized by the escalation of events, the growth of events every day, their catastrophic disruption. The gloomy nature of the incidents is emphasized by their concentration on the twilight and night hours, the chaos is aggravated by the manner of narrating events not in chronological order, but immediately, introducing the reader into the middle of the action, into the hustle and bustle of unmotivated incidents that seem to be a heap of all sorts of accidents. D.'s intrigue is always complex, intricate, teasing curiosity and breathtaking speed of development. He does not like everything that slows down, slows down this development: author's digressions, detailed descriptions. Action, gestures, dialogue prevail over everything. Of the descriptions, he rarely uses landscape frames, since the landscape background does not fit at all with the philistine underground, the city bottom. More common are genre descriptions densely saturated with the unhealthy atmosphere of city nooks and crannies; spat-out "rooms with furniture", musty taverns, dirty lanes, mostly at dusk and at night, lit by the dim light of rare lanterns - these are Dostoevsky's favorite genre sketches.
Filling epithets, metaphors, comparisons D. draws in the gloomy, inhospitable world of urban nooks and crannies. His lanterns “flicker sullenly, flicker like torches at a funeral”, the clock wheezes “as if someone is strangling them”, “the closet looks like a closet or a chest”, the wind starts a song, “like a persistent beggar asking for alms” etc.

D. entered Russian literature with such a style, and his significance in the history of Russian literature was enormous. Deeply democratic in form and content, saturated with social protest, imbued with a deep understanding of the socially humiliated, offended person and deep sympathy for him, D.'s work carried a strong charge of socially progressive energy. No wonder the radical criticism of the 40s and 60s. in the person of Belinsky, Dobrolyubov, Pisareva met the works of D. with ardent sympathy as a strong ally in the fight against social inequality and oppression. “Honor and glory to the young poet, whose muse loves people in attics and basements,” exclaimed Belinsky in an article about Poor People. And Dobrolyubov highly valued D. precisely because he "with all the energy and freshness of a young talent began to analyze the anomalies of our poor reality that struck him and expressed his highly humane ideal in this analysis." But in the social democracy that permeates the work of D.

Brilliantly said by D. new, "not a landowner's word" had a great resonance in Russian literature. He occupies the same central place in it that Pushkin occupied in the literature of the noble period. All writers of the noble period are more or less akin to Pushkin; all writers of the bourgeois period of Russian literature are more or less akin to D.

F. M. Dostoevsky's novel "Crime and Punishment"- the greatest philosophical and psychological work. It's a crime novel, but the genre is not "detective" or "crime novel". The protagonist of the novel, Rodion Raskolnikov, cannot be called an ordinary criminal. This is a young man with a philosophical mindset, always ready to help, analyzing his thoughts and actions. Why did Raskolnikov commit a crime? The reasons for the crime are ambiguous.

Raskolnikov, young, talented, proud, thinking person, is put face to face with all the injustice and filth of those social relations that are determined by the power of money, condemn to suffering and death honest and noble people, poor workers, like the Marmeladov family, and give wealth and power to the successful cynical businessmen Luzhin. Dostoevsky mercilessly exposes these flagrant social contradictions, shows the injustice of a proprietary society, criminal at its core.

Law and morality protect the life and "sacred property" of the usurer and deny the right to a decent existence to the young student Raskolnikov. The libertine Svidrigailov has the opportunity to commit violence against defenseless people with impunity, because he is rich, and the honest and pure girl Sonya Marmeladova must sell herself, destroy her youth and honor, so that her family does not starve to death.

Crushed by poverty, embittered by his impotence to help loved ones. Raskolnikov decides to commit a crime, to kill a disgusting old money-lender who profits from human suffering.

Raskolnikov longs for revenge for the desecrated and destitute humanity, for the humiliation and suffering of Sonya Marmeladova, for all those who are brought by the Luzhins and Svidrigailovs to the limit of humiliation, moral torment and poverty.

Raskolnikov's protest and indignation against public order is combined with the "strong personality" theory. Contempt for society, for its laws, moral concepts, for slavish obedience leads Raskolnikov to assert the inevitability of a strong, dominant personality, to whom "everything is permitted." The crime was supposed to prove to Raskolnikov himself that he was not a "trembling creature", but "a real ruler, to whom everything is allowed."

Raskolnikov's mistake is that he sees the causes of social evil not in the structure of society, but in the very nature of man and the law that gives the right strong of the world this to do evil, considers eternal, unshakable. Instead of fighting against the immoral system and its laws, he follows them and acts according to these laws. It seemed to Raskolnikov that he was responsible for his actions only to himself and that the court of others was indifferent to him. But after the murder, Raskolnikov experiences a heavy, painful feeling of "openness and disconnection from humanity."

The reasons that made Raskolnikov "step over the blood" are revealed gradually, throughout the novel. The climactic scene, where the killer himself enumerates, reviews and ultimately rejects all the motives for the crime, is the scene of his confession to Sonya. Raskolnikov analyzes the reasons for his crime, and here his theory of "permission of blood according to conscience" for the first time collided with Sonya's denial of the right to kill a person. Both heroes, who transgressed the moral norms of the society in which they live, committed immoral acts from different motives, since each of them has his own understanding of the truth. Raskolnikov gives various explanations: “he wanted to become Napoleon”, to help his mother and sister; refers to madness, to bitterness, which drove him to madness; speaks of a rebellion against everyone and everything, about the assertion of one's personality ("whether I'm a louse, like everyone else, or a person"). But all the arguments of reason, which seemed so convincing to him, fall away one by one. If before he believed in his theory and did not find any objections to it, now, in front of Sonya's "truth", all his "arithmetic" crumbles to dust, as he feels the precariousness of these logical constructions, and, consequently, the absurdity of his monstrous experiment. .

The idea that Dostoevsky preaches in the novel "Crime and Punishment" is that it is impossible to come to good through crime, even if good is many times greater than evil. Dostoevsky was against violence, and in his novel he argues with the revolutionaries, who argued that the only way to universal happiness was to "call Russia to the ax."

Biography

Origin

The heyday of creativity

Family and environment

Poetics of Dostoevsky

Political views

Bibliography

Artworks

Novels and stories

Writer's Diary

Poems

Domestic research

Foreign research

English language

German

monuments

memorial plaques

In philately

Dostoevsky in culture

Films about Dostoevsky

The current events

Fedor Mikhailovich Dostoevsky(doref. Fyodor Mikhailovich Dostoevsky; October 30, 1821, Moscow, Russian Empire - January 28, 1881, St. Petersburg, Russian Empire) - one of the most significant and famous Russian writers and thinkers in the world.

Biography

Origin

On the father's side, the Dostoevskys are one of the branches of the Rtishchev family, which originates from Aslan-Chelebi-Murza, baptized by Moscow Prince Dmitry Donskoy. The Rtishchevs were part of the inner circle of Prince Ivan Vasilyevich of Serpukhov and Borovsky, who in 1456, having quarreled with Vasily the Dark, left for Pinsk, which at that time was part of the Grand Duchy of Lithuania. There Ivan Vasilyevich became Prince of Pinsky. He granted Stepan Rtishchev the villages of Kalechino and Lepovitsa. In 1506, the son of Ivan Vasilyevich, Fyodor, granted Danila Rtishchev a part of the village of Dostoeva in the Pinsk region. Hence the "Dostoevsky". Since 1577, the writer's paternal ancestors received the right to use the Radvan - the Polish noble coat of arms, the main element of which was the Golden Horde tamga (brand, seal). Dostoevsky's father drank heavily and was extremely cruel. “My grandfather Mikhail,” says Lyubov Dostoevskaya, “always treated his serfs very strictly. The more he drank, the more ferocious he became, until they eventually killed him."

Mother, Maria Fedorovna Nechaeva (1800-1837), daughter of the merchant of the III guild Fyodor Timofeevich Nechaev (1769-1832), who came from the old townspeople of the city of Borovsk, Kaluga province, was born in a Moscow raznochin family, where there were merchants, inmates in shops, doctors, university students , professors, artists, spiritual persons. Her maternal grandfather, Mikhail Fedorovich Kotelnitsky (1721-1798), was born into the family of the priest Fyodor Andreev, graduated from the Slavic-Greek-Latin Academy and took his place after the death of his father, becoming a priest of the Church of St. Nicholas the Wonderworker in Kotelniki.

Writer's youth

Fyodor Mikhailovich Dostoevsky was born on October 30 (November 11), 1821 in Moscow. He was the second of 7 children left alive.

When Dostoevsky was 16 years old, his mother died of consumption, and his father sent his eldest sons, Fyodor and Mikhail (later also a writer), to K. F. Kostomarov's boarding house in St. Petersburg.

1837 became important date for Dostoevsky. This is the year of his mother's death, the year of the death of Pushkin, whose works he (like his brother) read from childhood, the year of moving to St. Petersburg and entering the Main Engineering School. In 1839 his father was killed, possibly by his serfs. Dostoevsky participated in the work of Belinsky's circle. One year before leaving military service Dostoevsky first translated and published Balzac's Eugene Grande (1843). A year later, his first work, Poor People, was published, and he immediately became famous: V. G. Belinsky highly appreciated this work. But next book"Double" ran into a misunderstanding.

Shortly after the publication of White Nights, the writer was arrested (1849) in connection with the Petrashevsky case. Although Dostoevsky denied the charges against him, the court recognized him as "one of the most important criminals."

Hard labor and exile

The trial and the harsh sentence of death (December 22, 1849) on the Semyonovsky parade ground was staged as a mock execution. At the last moment, the convicts were pardoned, having been sentenced to hard labor. One of those sentenced to death, Nikolai Grigoriev, went mad. The feelings that he could experience before the execution, Dostoevsky conveyed the words of Prince Myshkin in one of the monologues in the novel The Idiot.

During a short stay in Tobolsk on the way to the place of hard labor (January 11-20, 1850), the writer met with the wives of the exiled Decembrists: Zh. A. Muravyova, P. E. Annenkova and N. D. Fonvizina. Women gave him the Gospel, which the writer kept all his life.

Dostoevsky spent the next four years in hard labor in Omsk. The memoirs of one of the eyewitnesses of the hard labor life of the writer have been preserved. Impressions from the stay in prison were later reflected in the story "Notes from the House of the Dead". In 1854, Dostoevsky was released and sent as a private to the seventh line Siberian battalion. While serving in Semipalatinsk, he became friends with Chokan Valikhanov, a future famous Kazakh traveler and ethnographer. Here he began an affair with Maria Dmitrievna Isaeva, who was married to a gymnasium teacher Alexander Isaev, a bitter drunkard. After some time, Isaev was transferred to the place of an assessor in Kuznetsk. On August 14, 1855, Fyodor Mikhailovich received a letter from Kuznetsk: the husband of M. D. Isaeva died after a long illness.

On February 18, 1855, Emperor Nicholas I died. Dostoevsky wrote a loyal poem dedicated to his widow, Empress Alexandra Feodorovna, and as a result became a non-commissioned officer. October 20, 1856 Dostoevsky was promoted to ensign.

On February 6, 1857, Dostoevsky married Maria Isaeva in Russian Orthodox Church in Kuznetsk. Immediately after the wedding, they went to Semipalatinsk, but on the way Dostoevsky had an epileptic seizure, and they stayed in Barnaul for four days. On February 20, 1857, Dostoevsky and his wife returned to Semipalatinsk.

The period of imprisonment and military service was a turning point in Dostoevsky's life: from a "seeker of truth in man" who had not yet decided in life, he turned into a deeply religious person, whose only ideal for the rest of his life was Christ.

In 1859 Dostoevsky published his novels The Village of Stepanchikovo and Its Inhabitants and Uncle's Dream in Otechestvennye Zapiski in 1859.

After the link

On June 30, 1859, Dostoevsky was given a temporary ticket number 2030, allowing him to travel to Tver, and on July 2, the writer left Semipalatinsk. In 1860, Dostoevsky, with his wife and adopted son Pavel, returned to St. Petersburg, but secret surveillance of him did not stop until the mid-1870s. From the beginning of 1861, Fyodor Mikhailovich helped his brother Mikhail publish his own magazine, Vremya, after which the brothers began publishing the Epoch magazine in 1863. On the pages of these magazines appeared such works by Dostoevsky as "Humiliated and Insulted", "Notes from the Dead House", "Winter Notes on Summer Impressions" and "Notes from the Underground".

Dostoevsky undertook a trip abroad with the young emancipated special Apollinaria Suslova, in Baden-Baden he became interested in a ruinous game of roulette, he was in constant need of money, and at the same time (1864) he lost his wife and brother. The unusual way of European life completed the destruction of the socialist illusions of youth, formed a critical perception of bourgeois values ​​and rejection of the West.

Six months after the death of his brother, the publication of The Epoch ceased (February 1865). In a hopeless financial situation, Dostoevsky wrote the chapters of Crime and Punishment, sending them to M. N. Katkov directly into the magazine set of the conservative Russky Vestnik, where they were printed from issue to issue. At the same time, under the threat of losing the rights to his publications for 9 years in favor of the publisher F. T. Stellovsky, he undertook to write him a novel, for which he would not have had the physical strength. On the advice of friends, Dostoevsky hired a young stenographer, Anna Snitkina, who helped him with this task. In October 1866, the novel The Gambler was written in twenty-six days and completed on the 25th.

The novel "Crime and Punishment" was paid by Katkov very well, but in order to prevent creditors from taking this money, the writer went abroad with his new wife Anna Snitkina. The trip is reflected in the diary, which Snitkina-Dostoevskaya began to keep in 1867. On the way to Germany, the couple stopped for a few days in Vilna.

The heyday of creativity

Snitkina arranged the life of the writer, took over all the economic issues of his activities, and since 1871 Dostoevsky gave up roulette forever.

From 1872 to 1878 the writer lived in the city of Staraya Russa, Novgorod province. These years of life were very fruitful: 1872 - "Demons", 1873 - the beginning of the "Diary of a Writer" (a series of feuilletons, essays, polemical notes and passionate journalistic notes on the topic of the day), 1875 - "Teenager", 1876 - "Meek".

In October 1878, Dostoevsky returned to St. Petersburg, where he settled in an apartment in a house on Kuznechny Lane, 5/2, in which he lived until the day of his death on January 28 (February 9), 1881. Here, in 1880, he finished writing his last novel, The Brothers Karamazov. At present, the Literary and Memorial Museum of F. M. Dostoevsky is located in the apartment.

In the last few years of his life, 2 events became especially significant for Dostoevsky. In 1878, Emperor Alexander II invited the writer to his place to introduce him to his family, and in 1880, just a year before his death, Dostoevsky delivered his famous speech at the opening of the Pushkin monument in Moscow. In the same years, the writer became close to conservative journalists, publicists and thinkers, corresponded with a prominent statesman K. P. Pobedonostsev.

Despite the fame that Dostoevsky gained at the end of his life, truly enduring, worldwide fame came to him after his death. In particular, Friedrich Nietzsche admitted that Dostoevsky was the only psychologist from whom he could learn something (Twilight of the Idols).

On January 26 (February 7), 1881, Dostoevsky's sister Vera Mikhailovna came to the Dostoevsky's house to ask her brother to give up his share of the Ryazan estate, inherited from his aunt A. F. Kumanina, in favor of the sisters. According to the story of Lyubov Fyodorovna Dostoevsky, there was a stormy scene with explanations and tears, after which Dostoevsky bled in his throat. Perhaps this unpleasant conversation was the impetus for the exacerbation of his illness (emphysema) - two days later the writer died.

He was buried at the Tikhvin cemetery of the Alexander Nevsky Lavra in St. Petersburg.

Family and environment

The writer's grandfather Andrei Grigorievich Dostoevsky (1756 - around 1819) served as a Greek Catholic, later - an Orthodox priest in the village of Voytovtsy near Nemyriv (now the Vinnitsa region of Ukraine) (according to his pedigree - the archpriest of the city of Bratslav, Podolsk province).

Father, Mikhail Andreevich (1787-1839), from October 14, 1809 he studied at the Moscow Department of the Imperial Medical and Surgical Academy, on August 15, 1812 he was sent to the Moscow Golovinsky Hospital for the use of the sick and wounded, on August 5, 1813 he was transferred to the headquarters of the healers of the Borodino Infantry Regiment, On April 29, 1819, he was transferred as an intern to the Moscow military hospital; on May 7, he was transferred to the salary of a senior physician. In 1828 he received the noble title of Nobleman of the Russian Empire, was included in the 3rd part of the Genealogical Book of the Moscow Nobility with the right to use the old Polish coat of arms "Radvan", which belonged to Dostoevsky since 1577. He was a doctor at the Mariinsky Hospital of the Moscow Orphanage (that is, in a hospital for the poor, also known as Bozhedomki). In 1831 he acquired the small village of Darovoye in the Kashirsky district of the Tula province, and in 1833 he also acquired the neighboring village of Cheremoshnya (Chermashnya), where in 1839 he was killed by his own serfs:

Dostoevsky's mother, Maria Fedorovna (1800-1837), was the daughter of a wealthy Moscow merchant of the 3rd guild, Fyodor Timofeevich Nechaev (born c. 1769) and Varvara Mikhailovna Kotelnitskaya (c. 1779 - died between 1811 and 1815), 7 th revision (1811), the Nechaev family lived in Moscow, on Syromyatnaya Sloboda, in the Basmannaya part, the parish of Peter and Paul, in their house; after the war of 1812, the family lost most of its wealth. At 19, she married Mikhail Dostoyevsky. She was, according to the recollections of the children, a kind mother and gave birth to four sons and four daughters in marriage (son Fedor was the second child). M. F. Dostoevskaya died of consumption. According to researchers of the great writer's work, certain features of Maria Feodorovna are reflected in the images of Sophia Andreevna Dolgoruky ("The Teenager") and Sophia Ivanovna Karamazov ("The Brothers Karamazov")

Dostoevsky's elder brother Mikhail also became a writer, his work was marked by the influence of his brother, and the work on the Vremya magazine was carried out by the brothers to a large extent jointly. The younger brother Andrei became an architect; Dostoevsky saw in his family a worthy example of family life. A. M. Dostoevsky left valuable memories of his brother.

Of the Dostoevsky sisters, the writer had the closest relationship with Varvara Mikhailovna (1822-1893), about whom he wrote to his brother Andrei: "I love her; she is a nice sister and a wonderful person…”(November 28, 1880).

Of the numerous nephews and nieces, Dostoevsky loved and singled out Maria Mikhailovna (1844-1888), who, according to the memoirs of L. F. Dostoevsky, “loved her like his own daughter, caressed and entertained her when she was still small, later was proud of her musical talent and her success with young people” However, after the death of Mikhail Dostoevsky, this closeness came to naught.

The second wife, Anna Snitkina, from a wealthy family, became the wife of the writer at the age of 20. At this time (the end of 1866) Dostoevsky experienced serious financial difficulties and signed a contract with a publisher on onerous terms. The novel "The Gambler" was composed by Dostoevsky and dictated by Snitkina, who worked as a stenographer, in 26 days and was submitted on time. Anna Dostoevskaya took all the financial affairs of the family into her own hands.

The descendants of Fyodor Mikhailovich continue to live in St. Petersburg.

Poetics of Dostoevsky

As O. M. Nogovitsyn showed in his work, Dostoevsky is the most prominent representative of "ontological", "reflexive" poetics, which, unlike traditional, descriptive poetics, leaves the character in a sense free in his relationship with the text that describes him (that is, the world for him), which is manifested in the fact that he is aware of his relationship with him and acts on the basis of it. Hence all the paradox, inconsistency and inconsistency of Dostoevsky's characters. If in traditional poetics the character always remains in the power of the author, always captured by the events happening to him (captured by the text), that is, he remains wholly descriptive, wholly included in the text, wholly understandable, subordinate to causes and effects, the movement of the narrative, then in ontological poetics we are for the first time we come across a character who tries to resist the textual elements, his subordination to the text, trying to “rewrite” it. With this approach, writing is not a description of a character in diverse situations and positions in the world, but empathy with his tragedy - his willful unwillingness to accept a text (world) that is inescapably redundant in relation to him, potentially infinite. First time for this special treatment Dostoevsky drew the attention of M. M. Bakhtin to his characters.

Political views

During the life of Dostoevsky, at least two political currents fought in the cultural strata of society - Slavophilism and Westernism, the essence of which is approximately as follows: adherents of the first argued that the future of Russia in nationality, Orthodoxy and autocracy, adherents of the second believed that Russians should take an example from Europeans. Both those and others reflected on the historical fate of Russia. Dostoevsky, on the other hand, had his own idea - “soilism”. He was and remained a Russian man, inextricably linked with the people, but at the same time he did not deny the achievements of the culture and civilization of the West. Over time, Dostoevsky's views developed: former member circle of Christian utopian socialists, he turned into a religious conservative, and during his third stay abroad he finally became a convinced monarchist.

Dostoevsky and the "Jewish question"

Dostoevsky's views on the role of Jews in the life of Russia are reflected in the writer's journalism. For example, discussing the further fate of the peasants liberated from serfdom, he writes in the Writer's Diary for 1873:

The Electronic Jewish Encyclopedia claims that anti-Semitism was an integral part of Dostoevsky's worldview and found expression both in novels and short stories, and in the writer's journalism. A clear confirmation of this, according to the compilers of the encyclopedia, is Dostoevsky's work "The Jewish Question". However, Dostoevsky himself in the "Jewish Question" stated: "... this hatred has never been in my heart ...".

On February 26, 1878, in a letter to Nikolai Epifanovich Grishchenko, a teacher at the Kozeletsky parish school in the Chernihiv province, who complained to the writer “that the Russian peasants are completely enslaved by the Jews, robbed by them, and the Russian press stands up for the Jews; Jews ... for Chernigov province ... more terrible than the Turks for the Bulgarians ... ”, Dostoevsky answered:

Dostoevsky's attitude to the "Jewish question" is analyzed by literary critic Leonid Grossman in the book "Confession of a Jew", dedicated to the correspondence between the writer and the Jewish journalist Arkady Kovner. The message sent by Kovner from the Butyrka prison made an impression on Dostoevsky. He ends his letter in response with the words: “Believe with complete sincerity with which I shake your hand extended to me,” and in the chapter on the Jewish question of the Writer’s Diary, he quotes Kovner extensively.

According to critic Maya Turovskaya, the mutual interest of Dostoevsky and Jews is caused by the embodiment in Jews (and in Kovner, in particular) of the search for Dostoevsky's characters. According to Nikolai Nasedkin, a contradictory attitude towards Jews is generally characteristic of Dostoevsky: he very clearly distinguished between the concepts of "Jew" and "Jew". In addition, Nasedkin notes that the word "Jew" and its derivatives were for Dostoevsky and his contemporaries an ordinary tool word among others, was used widely and everywhere, was natural for all Russian literature of the 19th century, unlike our time.

Evaluations of creativity and personality of Dostoevsky

Dostoevsky's work had a great influence on Russian and world culture. The literary heritage of the writer is differently evaluated both at home and abroad.

In Russian criticism, the most positive assessment of Dostoevsky was given by religious philosophers.

Dostoevsky's personality is ambiguously assessed by some liberal and democratic figures, in particular the leader of the liberal populists N. K. Mikhailovsky, Maxim Gorky.

At the same time, in the West, where Dostoevsky's novels have been popular since the beginning of the 20th century, his work has had a significant impact on such generally liberal movements as existentialism, expressionism and surrealism. Many people see him as the forerunner of existentialism. literary critics. However, abroad, Dostoevsky is usually regarded, first of all, as an outstanding writer and psychologist, while his ideology is ignored or almost completely rejected.

Bibliography

Artworks

Novels

• 1846 - Poor people
• 1861 - Humiliated and insulted
• 1866 - Crime and Punishment
• 1866 - Gambler
• 1868-1869 - Idiot
• 1871-1872 - Demons
• 1875 - Teenager
• 1879-1880 - Brothers Karamazov

Novels and stories

Publicism and criticism, essays

• 1847 - Petersburg chronicle
• 1861 - Stories by N.V. Uspensky
• 1862 - Winter notes on summer impressions
• 1880 - Judgment
• 1880 - Pushkin

Writer's Diary

• 1873 - Writer's diary. 1873
• 1876 ​​- Writer's diary. 1876
• 1877 - Writer's diary. January-August 1877.
• 1877 - Writer's diary. September-December 1877.
• 1880 - Writer's diary. 1880
• 1881 - Writer's diary. 1881

Poems

• 1854 - On European events in 1854
• 1855 - On the first of July 1855
• 1856 - For the coronation and conclusion of peace
• 1864 - Epigram for a Bavarian colonel
• 1864-1873 - Struggle of nihilism with honesty (officer and nihilist)
• 1873-1874 - Describe everything entirely of some priests
• 1876-1877 - The collapse of Baimakov's office
• 1876 ​​- Children are expensive
• 1879 - Do not rob, Fedul

The collection of folklore material “My hard labor notebook”, also known as the “Siberian notebook”, written by Dostoevsky during his penal servitude, stands apart.

The main literature on Dostoevsky

Domestic research

• Barsht K.A. Drawings in the manuscripts of F.M. Dostoevsky. SPb., 1996. 319 p.
• Bogdanov N., Rogovoy A. Genealogy of Dostoevsky: in search of lost links. M., 2010.
• Belinsky V. G.

Introductory article // Petersburg collection published by N. Nekrasov. SPb., 1846.

• Dobrolyubov N. A. Downtrodden people // Sovremennik. 1861. No. 9. otdel. II.
• Pisarev D.I. Struggle for existence // Delo. 1868. No. 8.
• Leontiev K. N. About universal love: Regarding the speech of F. M. Dostoevsky at the Pushkin holiday // Warsaw diary. 1880. July 29 (No. 162). pp. 3-4; August 7 (No. 169). pp. 3-4; August 12 (No. 173). pp. 3-4.
• Mikhailovsky N.K. Cruel talent // Otechestvennye zapiski. 1882. No. 9, 10.
• Solovyov V. S. Three speeches in memory of Dostoevsky: (1881-1883). M., 1884. 55 p.
• Rozanov V.V. The Legend of the Grand Inquisitor F. M. Dostoevsky: An Experience of Critical Commentary // Russian Bulletin. 1891. Vol. 212, January. pp. 233-274; February. pp. 226-274; T. 213, March. pp. 215-253; April. pp. 251-274. Ed.: St. Petersburg: Nikolaev, 1894. 244 p.
• Merezhkovsky D.S. L. Tolstoy and Dostoevsky: Christ and Antichrist in Russian Literature. T. 1. Life and work. St. Petersburg: World of Art, 1901. 366 p. T. 2. Religion of L. Tolstoy and Dostoevsky. St. Petersburg: World of Art, 1902. LV, 530 p.
• Shestov L. Dostoevsky and Nietzsche. SPb., 1906.
• Ivanov Vyach. AND. Dostoevsky and the tragedy novel // Russian Thought. 1911. Prince. 5. S. 46-61; Book. 6. S. 1-17.
• Pereverzev VF Creativity of Dostoevsky. M., 1912. (Reprinted in the book: Gogol, Dostoevsky. Research. M., 1982)
• Tynyanov Yu. N. Dostoevsky and Gogol: (On the theory of parody). Pg.: OPOYAZ, 1921.
• Berdyaev N. A. Dostoevsky's world outlook. Prague, 1923. 238 p.
• Volotskoy M. V. Chronicle of the Dostoevsky family 1506-1933. M., 1933.
• Engelhardt B. M. The ideological novel of Dostoevsky // F. M. Dostoevsky: Articles and materials / Ed. A. S. Dolinina. L.; M.: Thought, 1924. Sat. 2. S. 71-109.
• Dostoevskaya A. G. Memories . M.: Fiction, 1981.
• Freud Z. Dostoevsky and parricide // Classical psychoanalysis and fiction / Comp. and general ed. V. M. Leybin. St. Petersburg: Piter, 2002. S. 70-88.
• Mochulsky K.V. Dostoevsky: Life and work. Paris: YMCA-Press, 1947. 564 p.
• Lossky N. O. Dostoevsky and his Christian worldview. New York: Chekhov Publishing House, 1953. 406 p.
• Dostoevsky in Russian criticism. Collection of articles. M., 1956. (introductory article and note by A. A. Belkin)
• Leskov N. S. About the kufelny peasant, etc. - Collected. soch., vol. 11, Moscow, 1958, pp. 146-156;
• Grossman L.P. Dostoevsky. M.: Young Guard, 1962. 543 p. (Life wonderful people. Series of biographies; Issue. 24 (357)).
• Bakhtin M. M. Problems of Dostoevsky's creativity. Leningrad: Surf, 1929. 244 p. 2nd ed., revised. and additional: Problems of Dostoevsky's Poetics. M.: Soviet writer, 1963. 363 p.
• Dostoevsky in the memoirs of his contemporaries: In 2 vols. M., 1964. T. 1. T. 2.
• Fridlender G. M. Dostoevsky realism. M.; L.: Nauka, 1964. 404 p.
• Meyer G. A. Light in the night: (About "Crime and Punishment"): The experience of slow reading. Frankfurt/Main: Posev, 1967. 515 p.
• F. M. Dostoevsky: Bibliography of the works of F. M. Dostoevsky and literature about him: 1917-1965. Moscow: Book, 1968. 407 p.
• Kirpotin V. Ya. Disappointment and collapse of Rodion Raskolnikov: (A book about Dostoevsky's novel "Crime and Punishment"). M.: Soviet writer, 1970. 448 p.
• Zakharov VN Problems of studying Dostoevsky: Textbook. - Petrozavodsk. 1978.
• Zakharov VN Dostoevsky's System of Genres: Typology and Poetics. - L., 1985.
• Toporov V. N. On the Structure of Dostoevsky's Novel in Connection with Archaic Schemes of Mythological Thinking ("Crime and Punishment") // Toporov V. N. Myth. Ritual. Symbol. Image: Studies in the field of mythopoetic. M., 1995. S. 193-258.
• Dostoevsky: Materials and Research / USSR Academy of Sciences. IRLI. L.: Nauka, 1974-2007. Issue. 1-18 (ongoing edition).
• Odinokov V. G. Typology of images in the artistic system of F. M. Dostoevsky. Novosibirsk: Nauka, 1981. 144 p.
• Seleznev Yu. I. Dostoevsky. M .: Young Guard, 1981. 543 p., ill. (Life of remarkable people. A series of biographies; Issue 16 (621)).
• Volgin I. L. Last year Dostoevsky: Historical Notes. Moscow: Soviet writer, 1986.
• Saraskina L. I."Demons": a novel-warning. M.: Soviet writer, 1990. 488 p.
• Allen L. Dostoevsky and God / Per. from fr. E. Vorobieva. St. Petersburg: Branch of the magazine "Youth"; Dusseldorf: Blue Rider, 1993. 160 p.
• Guardini R. Man and faith / Per. with him. Brussels: Life with God, 1994. 332 p.
• Kasatkina T. A. Characterology of Dostoevsky: Typology of emotional and value orientations. M.: Nasledie, 1996. 335 p.
• Laut R. Philosophy of Dostoevsky in a systematic presentation / Per. with him. I. S. Andreeva; Ed. A. V. Gulygi. M.: Respublika, 1996. 448 p.
• Belnep R. L. The Structure of The Brothers Karamazov / Per. from English. St. Petersburg: Academic project, 1997.
• Dunaev M. M. Fyodor Mikhailovich Dostoevsky (1821-1881) // Dunaev M. M. Orthodoxy and Russian literature: [at 6 hours]. M.: Christian literature, 1997. S. 284-560.
• Nakamura K. Dostoevsky's sense of life and death / Authoriz. per. from Japanese. St. Petersburg: Dmitry Bulanin, 1997. 332 p.
• Meletinsky E. M. Notes on the work of Dostoevsky. M.: RGGU, 2001. 190 p.
• The novel by F. M. Dostoevsky "The Idiot": The current state of the study. M.: Nasledie, 2001. 560 p.
• Kasatkina T. A. On the creative nature of the word: The ontology of the word in the work of F. M. Dostoevsky as the basis of "realism in the highest sense." M.: IMLI RAN, 2004. 480 p.
• Tikhomirov B. N."Lazarus! come out": F. M. Dostoevsky's novel "Crime and Punishment" in a modern reading: Book-commentary. St. Petersburg: silver Age, 2005. 472 p.
• Yakovlev L. Dostoevsky: ghosts, phobias, chimeras (reader's notes). - Kharkov: Karavella, 2006. - 244 p. ISBN 966-586-142-5
• Vetlovskaya V. E. The novel by F. M. Dostoevsky "The Brothers Karamazov". St. Petersburg: Publishing house " Pushkin House”, 2007. 640 p.
• The novel by F. M. Dostoevsky "The Brothers Karamazov": state of the art study. M.: Nauka, 2007. 835 p.
• Bogdanov N., Rogovoy A. Genealogy of Dostoevsky. In search of lost links., M., 2008.
• John Maxwell Coetzee. “Autumn in Petersburg” (this is the name of this work in Russian translation, in the original the novel is entitled “The Master from Petersburg”). Moscow: Eksmo, 2010.
• Openness to the abyss. Meetings with DostoevskyLiterary, philosophical and historiographic work of the culturologist Grigory Pomerants.
• Shulyatikov V. M. F. M. Dostoevsky (On the occasion of the twentieth anniversary of his death) "Courier", 1901, No No 22, 36.
• Shulyatikov V. M. Back to Dostoevsky "Courier", 1903, No 287.

Foreign research

English language

• Jones M.V. Dostoevsky. The novel of discord. L., 1976.
• Holquist M. Dostoievvsky and the novel. Princeton (N. Jersey), 1977.
• Hingley R. Dostoyevsky. His life and work. L., 1978.
• Kabat G.C. Ideology and imagination. The image of society in Dostoevsky. N.Y., 1978.
• Jackson R.L. The art of Dostoevsky. Princeton (N. Jersey), 1981.
• Dostoevsky Studies. Journal of the International Dostoievsky Society. v. 1-, Klagenfurt-kuoxville, 1980-.

German

• Zweig S. Drei Meister: Balzac, Dickens, Dostojewskij. Lpz., 1921.
• Natorp P.G: F. Dosktojewskis Bedeutung fur die gegenwärtige Kulturkrisis. Jena, 1923.
• Kaus O. Dostojewski und sein Schicksal. B., 1923.
• Notzel K. Das Leben Dostojewskis, Lpz., 1925
• Meier-Cräfe J. Dostojewski als Dichter. B., 1926.
• Schultze B. Der Dialog in F.M. Dostoevskijs "Idiot". Munich, 1974.

Memory

monuments

There is a memorial plaque to the writer on the house and in Florence (Italy), where he finished the novel The Idiot in 1868.

"Dostoevsky's zone" - this is the informal name of the area near Sennaya Square in St. Petersburg, which is closely associated with the work of F. M. Dostoevsky. He lived here: Kaznacheyskaya Street, houses No. 1 and No. 7 (a memorial plaque was installed), No. 9. Here, on the streets, alleys, avenues, on the square itself, on the Catherine Canal, the action of a number of the writer’s works (“Idiot”, “Crime and punishment" and others). In the houses of these streets, Dostoevsky settled his literary characters- Rodion Romanovich Raskolnikov, Sonya Marmeladova, Svidrigailov, General Epanchin, Rogozhin and others. On Grazhdanskaya Street (formerly Meshchanskaya) in house No. 19/5 (corner of Stolyarny Lane), according to the searches of local historians, Rodion Raskolnikov “lived”. The building is listed in many guidebooks around St. Petersburg as "Raskolnikov's House" and is marked with a memorial sign to the literary hero. The "Dostoevsky Zone" was created in the 1980s and 1990s at the request of the public, which forced the city authorities to put things in order memorable places, located here, which are associated with the name of the writer.

In philately

Dostoevsky in culture

• The name of F. M. Dostoevsky is associated with the concept dostoevism, which has two meanings: a) psychological analysis in the manner of Dostoevsky, b) "mental imbalance, acute and contradictory emotional experiences" inherent in the heroes of the writer's works.
• One of the 16 personality types in socionics is named after Dostoevsky - an original psychological and social typology that has been developing in the USSR and Russia since the 1980s. The name of the classic of literature was given to the sociotype "ethical-intuitive introvert" (abbreviated as EII; another name is "Humanist"). Socionics expert E. S. Filatova proposed a generalized graphic portrait of the EII, in which, among others, the features of Fyodor Dostoevsky are guessed.

Films about Dostoevsky

• Dead House (1932) Nikolai Khmelev as Dostoevsky
• "Dostoevsky". Documentary. TSSDF (RTSSDF). 27 minutes. - a documentary film by Samuil Bubrik and Ilya Kopalin (Russia, 1956) about the life and work of Dostoevsky on the occasion of the 75th anniversary of his death.
• The Writer and His City: Dostoevsky and Petersburg - a film by Heinrich Böll (Germany, 1969)
• Twenty-six days in the life of Dostoevsky - Feature Film Alexandra Zarkhi (USSR, 1980). Starring Anatoly Solonitsyn
• Dostoevsky and Peter Ustinov - from the documentary "Russia" (Canada, 1986)
• Return of the Prophet - documentary by V. E. Ryzhko (Russia, 1994)
• The Life and Death of Dostoevsky - a documentary (12 episodes) by Alexander Klyushkin (Russia, 2004).
• Demons of St. Petersburg - a feature film by Giuliano Montaldo (Italy, 2008). In the role - Miki Manoilovich.
• Three Women of Dostoevsky - a film by Evgeny Tashkov (Russia, 2010). In the role of Andrey Tashkov
• Dostoevsky - series by Vladimir Khotinenko (Russia, 2011). Starring Yevgeny Mironov.

The image of Dostoevsky is also used in the biographical films Sofia Kovalevskaya (Alexander Filippenko), Chokan Valikhanov (Yuri Orlov), 1985, and the TV series Gentlemen of the Jury (Oleg Vlasov), 2005.

Other

• In Omsk, a street, a library, the Omsk State Literary Museum, Omsk State University, 2 monuments, etc.
• A street in Tomsk is named after Dostoevsky.
• Street and metro station in St. Petersburg.
• Street, lane and metro station in Moscow.
• In Staraya Russa, Novgorod region - Dostoevsky embankment on the river Porusya
• Novgorod Academic Drama Theater named after F. M. Dostoevsky (Veliky Novgorod).
• Aeroflot's Boeing 767 VP-BAX is named after Fyodor Dostoyevsky.
• An impact crater on Mercury is named after Dostoevsky.
• In honor of F. M. Dostoevsky, an employee of the Crimean Astrophysical Observatory L. G. Karachkina named the minor planet 3453 Dostoevsky, discovered on September 27, 1981.

The current events

• On October 10, 2006, Russian President Vladimir Putin and Federal Chancellor of Germany Angela Merkel unveiled a monument to Fyodor Mikhailovich Dostoevsky in Dresden by People's Artist of Russia Alexander Rukavishnikov.
• A crater on Mercury is named after Dostoevsky.
• November 12, 2001 in Omsk, on the day of the 180th anniversary of the birth of the writer, a monument to F. M. Dostoevsky was opened.
• Since 1997, music critic and radio host Artemy Troitsky has been conducting his own radio program called FM Dostoevsky.
• The writer Boris Akunin wrote the work “F. M., dedicated to Dostoevsky.
• Nobel Prize winner in literature John Maxwell Coetzee wrote a novel about Dostoevsky, Autumn in Petersburg, in 1994. The Master of Petersburg; 1994, Russian translation 1999)
• In 2010, director Vladimir Khotinenko began filming a serial film about Dostoevsky, which was released in 2011 on the occasion of the 190th anniversary of Dostoevsky's birth.
• On June 19, 2010, the 181st station of the Moscow metro "Dostoevskaya" was opened. Access to the city is carried out on Suvorovskaya Square, Seleznevskaya Street and Durova Street. The design of the station: on the walls of the station there are scenes illustrating four novels by F. M. Dostoevsky (“Crime and Punishment”, “The Idiot”, “Demons”, “The Brothers Karamazov”).
• On October 29, 2010, a monument to Dostoevsky was unveiled in Tobolsk.
• In October 2011, the days dedicated to the 190th anniversary of the birth of F. M. Dostoevsky were held at the University of Malaya (Kuala Lumpur).