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The BRILL series Studies in Slavic Literature and Poetics occupies a unique place in the academic and intellectual book market due to its emphasis on theoretically informed and interdisciplinary approaches to the study of Slavic literatures and cultures.
The series welcomes book proposals for monographs or edited volumes discussing questions of Slavic culture, identity and history as expressed in literature, film and other forms of cultural production.

Authors are cordially invited to submit proposals and/or full manuscripts to the publisher at BRILL, Masja Horn.

The series published an average of one volume per year over the last 5 years.
Volume Editors: Joe Andrew and Robert Reid
Joe Andrew and Robert Reid assemble thirteen analytical discussions of Tolstoi’s key works, written by leading scholars from around the world. The works studied cover almost the entire length of Tolstoi’s creative career, from some of his earliest stories of the 1850s ( The Sevastopol Stories), to those of his last period, including posthumous publications ( The Kreutzer Sonata and Father Sergius). Particular attention is paid to his two masterpieces, War and Peace and Anna Karenina. All the studies are based on the most recent developments in cultural theory. The reader of this work will gain new and unique insights into this unparalleled genius of world literature, especially into the methods used to create the works that retain immense importance for us today.

Contributors: Joe Andrew, Eric de Haard, Rose France, Helena Goscilo, Jane Gary Harris, Katalin Kroó, Irina Makoveeva, Deborah Martinsen, Robin Feuer Miller, Robin Milner-Gulland, Audun Mørch, Donna Tussing Orwin, Olga Sobolev, Diane Oenning Thompson
In: The Dostoevsky Journal
In: The Dostoevsky Journal
Author: Yael Greenberg

Abstract

In this article, I demonstrate that in Crime and Punishment (1866) and Demons (1872), Dostoevsky uses a specific type of dialogue—which I term “the about-face dialogue”—to present the displacement of a young man’s unconscious rage against his mother on to society while hiding it from the awareness of both protagonist and reader. In this type of dialogue, the protagonist interprets his interlocutor’s unwittingly ambiguous word or phrase as a scathing rebuke of his rage against his mother, and his reaction constitutes a displacement of this rage on to the outside world. Our awareness of the interplay between the unconscious and the outside world in this type of dialogue enables us to understand the protagonist’s sudden about-face from compassion to apathy, or even animosity, which is incomprehensible on the purely rational level.

In: The Dostoevsky Journal

Abstract

This contribution aims to present those aspects of the literary and intellectual legacy of F. M. Dostoevsky (1821–1881) that motivated Ernst Jünger (1895–1998) in formulating his own literary and essayistic work. Dostoevsky’s impact on Jünger has so far been researched only fragmentarily and sporadically. This builds on previous research and complements it with new findings. Ernst Jünger inquired into Dostoevsky’s works throughout his life. He perceived Dostoevsky as a foreteller of crises and disasters. Many of Jünger’s motifs, literary images, characters, and symbols were either influenced by or borrowed from Dostoevsky and developed further. Of great importance to Jünger are such phenomena as power, evil or misery, and pain. Dostoevsky also shaped Jünger’s approach to nihilism.

In: The Dostoevsky Journal
Author: I. A. Kravchuk

Abstract

The article contains an analysis of one of the references to Emperor Napoleon iii in the preparatory materials of F. M. Dostoevsky for The Demons. In addition, the hypothesis of Louis Bonaparte as one of the prototypes of Peter Verkhovensky is considered. This assumption is based on the material of Dostoevsky’s notebooks and has already been expressed by V. A. Tunimanov and A. Pekurovskaya, although it has not yet received complete development. The article shows what are the details of Napoleon iii’s biography, what are the elements of his political tactics and individual myth that could be known to Dostoevsky and used by him in creating such a character as younger Verkhovensky. In line with the “black legend” about Louis Bonaparte, Verkhovensky relies on people who are deprived of a stable social position. He goes for a hoax willingly and hopes that demoralization and panic in society will allow him to come to power. Just as Napoleon iii stands hostage for the myth of his great uncle, Verkhovensky is slavishly dependent on his “idol,” his “Ivan Tsarevitch”—Stavrogin. Both pairs can be considered from the point of view of the phenomenon of mimetic desire as it was described by R. Girard. The article also shows how historical and literary prototypes of the same character interact with each other, revealing certain functional features of the new hero. In this case, the relationship between the figures of Napoleon iii and Gogol’s Khlestakov in the general design of the image of Verkhovensky is briefly addressed.

In: The Dostoevsky Journal

Abstract

The focus of this article is on Dostoevskii’s story “Bobok” [“Bobok,” 1873] and Petrushevskaia’s novel Nomer Odin, ili V sadakh drugikh vozmozhnostei [Number One, or In the Gardens of Other Opportunities, 2004]. These dialogical narratives explore the theme of life after death; they portray death as a transition to life that includes several stages, and focus on the process of dying, living in a different form, and dying again. I discuss how these radical views on death are expressed in “Bobok” and Nomer Odin (with some reference to Dostoevskii’s Zapiski iz podpol’ia [Notes from Underground, 1864] and Petrushevskaia’s Vremia: Noch’ [Time: Night, 1992]): from the “getting naked” (“zagolimsia,” “obnazhimsia”) preached and practised by the decaying corpses in Dostoevskii’s text, to transitions between different stages after death in Petrushevskaia’s novel, such as metempsychosis, as well as tropes used to denote these transitions.

In: The Dostoevsky Journal

Abstract

The article deals with the question of the significance of N.N.Strakhov’s works for Dostoevsky’s novel The Idiot. In particular, excerpts from the History of New Philosophy by Kuno Fischer are analyzed. Passages from this work were published by Strakhov in the journals “Vremia” and “Svetoch” for 1861. Parts of Fischer’s History are important for understanding the philosophical ideas of Strakhov, and their significance for Dostoevsky’s novel The Idiot. Research shows that in terms of ideological content, Dostoevsky’s novel is polemically directed against Strakhov’s “idea of God”.

In: The Dostoevsky Journal