Keine ausführliche Beschreibung für "Dostoevskijs Ideendialektik" verfügbar.

There lies at the basis of Leont’ev’s conception a clear distinction and fundamental division of two primary dimensions and rhythms of reality: history and eschatology. In the light of this Leont’evian perspective Dostoevskij’s conception was interpreted and critically evaluated through the prism of the absence in it, and the lack of awareness of the consequence thereof, of a similar, fundamental distinction. The centrality of Dostoevskij in the Russian and intellectual cultural tradition is, among other things, tied to his (...) acceptance of a series of fundamental and constitutive assumptions deeply rooted in a characteristic sphere of myths and illusions. The specificity of the place and significance of Leont’ev’s concepts within this tradition results from the fact that it takes a critical distance, giving thus the possibility of conceiving an essentially different problematization of the world extending beyond commonly established and naturalized obviousness of the principles and ‘prejudices’ of one’s own culture. (shrink)

The essay examines the three main epiphanic experiences in The Brothers Karamazov and shows how Dostoevskij's treatment of these experiences may offer a guide to spiritual renewal. The three experiences are Alësha's vision of the resurrected Zosima and transfigured Christ, Dmitrij's vision of the suffering babe, and Ivan's vision of the devil (which serves as a counter example to the first two). By examining the content of each of these visions, as well as the parallels and variations in the (...) scenes leading up to these visions, this essay seeks to explore Dostoevskij's understanding of transformational revelatory experience. (shrink)

There lies at the basis of Leont’ev’s conception a clear distinction and fundamental division of two primary dimensions and rhythms of reality: history and eschatology. In the light of this Leont’evian perspective Dostoevskij’s conception was interpreted and critically evaluated through the prism of the absence in it, and the lack of awareness of the consequence thereof, of a similar, fundamental distinction. The centrality of Dostoevskij in the Russian and intellectual cultural tradition is, among other things, tied to his (...) acceptance of a series of fundamental and constitutive assumptions deeply rooted in a characteristic sphere of myths and illusions. The specificity of the place and significance of Leont’ev’s concepts within this tradition results from the fact that it takes a critical distance, giving thus the possibility of conceiving an essentially different problematization of the world extending beyond commonly established and naturalized obviousness of the principles and ‘prejudices’ of one’s own culture. (shrink)

The essay examines the three main epiphanic experiences in The Brothers Karamazov and shows how Dostoevskij’s treatment of these experiences may offer a guide to spiritual renewal. The three experiences are Alësha’s vision of the resurrected Zosima and transfigured Christ, Dmitrij’s vision of the suffering babe, and Ivan’s vision of the devil (which serves as a counter example to the first two). By examining the content of each of these visions, as well as the parallels and variations in the (...) scenes leading up to these visions, this essay seeks to explore Dostoevskij’s understanding of transformational revelatory experience. (shrink)

The novel The Brothers Karamazov shows the spiritual rebirth of man and society. At first the world of the town Skotoprigon'evsk is depicted as heathen and even demonic, where everyone is in search of earthly justice, forgetting about love and losing a connection to God; here the theme of orphanhood is dominant. The second half of the novel is dominated by the image of the Holy Trinity, the symbol of mutual love and unity. The human world, according to Dostoevskij, (...) cannot be divided into adults and children, the guilty and the innocent, insofar as all can freely participate in the redemption of humanity's sin (like Christ, the paragon of innocence). If all people are God's children, death does not have power over them. Upon completing his final novel Dostoevkskij wrote: "my Hosanna has passed through a big crucible of doubt." "The Brothers Karamazov" is Dostoevskij's Hosanna. (shrink)

I interpret Dostoevskij’s religious concepts in terms of mythogenesis and mythopoesis. Dostoevskij’s religious concepts arose on the basis both of his personal emotional experience and of the discourse of popular Orthodoxy. They demonstrate the antinomial nature of Russian spirituality, and are typified by his conception of the family, which illustrates the communal basis of the individual personality. The antimomial idea of the family is most fully developed in Dostoevskij’s novel The Brothers Karamazov, in which the four models (...) of fatherhood correspond to Isaac the Syrian’s concepts of physical, spiritual, mental and divine fatherhood. (shrink)

The novel The Brothers Karamazov shows the spiritual rebirth of man and society. At first the world of the town Skotoprigon'evsk is depicted as heathen and even demonic, where everyone is in search of earthly justice, forgetting about love and losing a connection to God; here the theme of orphanhood is dominant. The second half of the novel is dominated by the image of the Holy Trinity, the symbol of mutual love and unity. The human world, according to Dostoevskij, (...) cannot be divided into adults and children, the guilty and the innocent, insofar as all can freely participate in the redemption of humanity's sin. If all people are God's children, death does not have power over them. Upon completing his final novel Dostoevkskij wrote: "my Hosanna has passed through a big crucible of doubt." "The Brothers Karamazov" is Dostoevskij's Hosanna. (shrink)

Drawing on the Second Discourse and the Social Contract and Notes from Underground and “The Dream of a Ridiculous Man,” this essay examines the striking similarities and fundamental differences between Dostoevskij’s and Rousseau’s treatment of the problem of individual vs. society and their notions of ideal social relations. The essay investigates Rousseau’s attempt to absorb morality into politics and “to concretize” Diderot’s universal moral man into citizen. It also suggests that Dostoevskij takes Rousseau’s attempt at concretization a step (...) further by exposing humanist conceptions of man and society in general as fiction and creating a model of ideal society that absorbs morality, not into politics (as does Rousseau’s model), but into the sanctity of the Word. (shrink)

At the core of Dostoevskij's philosophy and theology lies a concept according to which the Truth (Istina) is antinomical: it contains both a thesis and its antithesis without expectation of synthesis. This concept can be traced to Eastern Patristics. After Dostoevskij, the theory of antinomies was elaborated by 20th century Russian religious thinkers such as Pavel Florenskij, Sergej Bulgakov, Nikolaj Berdjaev, Semën Frank, and Vladimir Losskij. Their ideas help us to understand that Dostoevskij's dialogism, made famous in (...) its secular guise by Bakhtin, has a theological underpinning. Dostoevskij's exposition of conflicting truths should therefore be seen not as a case of irresolvable contradiction or paradox but as an organic wholeness. (shrink)

In this article I show that Dostoevskij criticized traditional Christianity, and that for him the authentic teaching of Christianity concerned the unity of man and God, the existence in man of a divine “dimension,” the opening of which allows man to become an absolute being. In the context of this understanding of man and God the concept of “joy” is an important one. This concept includes, on the one hand, the fullness of earthly human life and, on the other (...) hand, the transformation of man and of all earthly being into an absolute and divine state. Dostoevskij’s philosophical outlook appears to be a development of a well known philosophical tradition, mystical pantheism. (shrink)

At the core of Dostoevskij's philosophy and theology lies a concept according to which the Truth is antinomical: it contains both a thesis and its antithesis without expectation of synthesis. This concept can be traced to Eastern Patristics. After Dostoevskij, the theory of antinomies was elaborated by 20th century Russian religious thinkers such as Pavel Florenskij, Sergej Bulgakov, Nikolaj Berdjaev, Semën Frank, and Vladimir Losskij. Their ideas help us to understand that Dostoevskij's dialogism, made famous in its (...) secular guise by Bakhtin, has a theological underpinning. Dostoevskij's exposition of conflicting truths should therefore be seen not as a case of irresolvable contradiction or paradox but as an organic wholeness. (shrink)

The essay examines the Underground Man's ambivalent position in Dostoevskij's hierarchy of values in light of the Nietzschean concept of ressentiment To elucidate the problem of free will in Notes from Underground, I propose to supplement Nietzsche's theory with the concept of ressentiment as developed by Max Scheler, whose endorsement of Christian love as a means of overcoming ressentiment suggests an affinity with Dostoevskij's own deeply religious worldview. With the help of Schelerian phenomenology, I read the novel as (...) an early statement of the problem of Christian freedom in Dostoevskij's oeuvre. Like the "Pro and Contra" section of The Brothers Karamazov, Notes from Underground turns our attention to the "costs" of the Christian ideal: in a world exposed to the ultimate horizon of desire through Christ, those lacking the serenity of faith may be doomed to the merciless torment of ressentiment. (shrink)

The essay examines the Underground Man's ambivalent position in Dostoevskij's hierarchy of values in light of the Nietzschean concept of ressentiment To elucidate the problem of free will in Notes from Underground, I propose to supplement Nietzsche's theory with the concept of ressentiment as developed by Max Scheler, whose endorsement of Christian love as a means of overcoming ressentiment suggests an affinity with Dostoevskij's own deeply religious worldview. With the help of Schelerian phenomenology, I read the novel as (...) an early statement of the problem of Christian freedom in Dostoevskij's oeuvre. Like the "Pro and Contra" section of The Brothers Karamazov, Notes from Underground turns our attention to the "costs" of the Christian ideal: in a world exposed to the ultimate horizon of desire through Christ, those lacking the serenity of faith may be doomed to the merciless torment of ressentiment. (shrink)

The book consists of three problem areas which are all connected with the question of creativity, esp. in gthe arts and poetry: It is about the ancient mythopoetic concept of the muses and their collision with the beloved of the poet, about the authority crisis of authorship and the dominance of the author over his creatures and fictional characters as well as their revolt against the father of the text and about a typ of creating and writing which acts against (...) all genetic traditions of authorship in the form of conception and birth, genealogical derivation. In this sense the, anti-generic' creativity doesn't originate and invent a work of art or a cultural phenomenon: the anti-generic product is something made, something constructed and not fgenerated, manufactured and not breed. This anti-oedupus-concept workts in a widespread tradition of the arts and literature, starting from our heroes of deconstructed narrative as Sterne's or Diderot's, over the classics of european realism Dostoevski or Flaubert until Nabokov and his, pregnant muse' Lolita. Wenn es ums Schaffen geht oder gar ums Schöpferische, liegt nichts so nahe wie das scheinbar unerschöpfliche Feld der Geburtsmetaphern, das Reden vom Zeugen und Empfangen, vom Austragen und Gebären eines Werkes, das für das Kind steht - ja dieses gar ersetzen soll. Die in diesem Band versammelten Überlegungen verknüpfen drei Problemkreise: Es geht um die Projektionsfigur der Musen und ihrer Kollision mit der Dichtergeliebten, um die permanente Autoritätskrise im Verhältnis des Autors zu seinen eigenen Geschöpfen und um die Entdeckung eines Kunstschaffens und Schreibens, das alle genetischen wie generischen Modi der Hervorbringung gegen den Strich dichtet und also konsequent antigenerisch verfährt. Vorgeführt werden diese drei Problemkreise an klassischen Texten des antigenerischen. Zuletzt bleibt die Frage nach den Musen der Musen und den Paradoxa der Dame Dichterin mit Blick auf ihre Inspirationsquellen. (shrink)

Name der Zeitschrift: Nietzscheforschung Jahrgang: 23 Heft: 1 Seiten: 271-294.

Anticipating Mikhail Bakhtin’s appreciation for the unfinalizability of Fedor Dostoevskij’s universe, prominent Protestant theologian Karl Barth celebrates the Russian novelist’s presentation of “the impenetrable ambiguity of human life” characteristic of both the ending of Dostoevsky’s novels and Paul’s Epistle to the Romans. Barth’s unique reading of The Brothers Karamazov not only demonstrates the barrenness of the “theocratic dream” but also complements Bakhtin’s discussion of polyphony with an explicitly theological dimension by focusing on the dialogue between Creator and the created. (...) Dostoevsky’s prophetic voice provides Barth with a poetic expression of the divine command that highlights the ethical dimension inherent in every theological choice. (shrink)

Dostoevskij’s underground parody of confession paradoxically recovers an Orthodox morality by constructing an unorthodox model of authority and authorship. The authenticity and authority of underground discourse are both contingent on self-conscious parody, which also mediates Orthodox community or sobornost’. This essay critically reconsiders ethical, aesthetic and cultural dimensions of the self-conscious interpolation of literary and religious discourses in Dostoevskij’s Notes from Underground. Arguing with and against Bakhtinian readings, it re-examines the underground narrator’s secularized, Romanticized sensibilities, cynical critique of (...) humanism, sacrilegious modes of laughter, usurpation of authority, internalization of dialogue, literary stylization and parody, aesthetic and moral self-critique, and, finally, insistence on “a new word.”. (shrink)

1 What is literature? One could naïvely answer: any kind of written work could be considered literature, just think about its Latin origin, “littera” (letter). Nonetheless nowadays we tend to adopt a more restrictive use of the term literature as referring to those written accounts somehow showing literary, aesthetic merit. According to this more restrictive use, we say that Crime and Punishment written by Fëdor Dostoevskij and In Search of Lost Time by Marcel Proust are good examples of lite...

Certi trionfi sono peggiori delle eclissi. È accaduto anche alla bellezza. Proscritta come imbarazzante anticaglia dal sussiego postmodernista, ha poi riguadagnato terreno nella vita quotidiana attraverso un'idea artefatta di naturalezza e il culto della prestanza corporea, che promette a chiunque una facile elusione del proprio "ricettacolo di fango". Stefano Zecchi non si compiace affatto di un simile rientro in scena della bellezza. Se oltre vent'anni fa la riscattava dal limbo di irrilevanza in cui l'aveva confinata l'intero Novecento, avanguardista e "post", (...) adesso la difende dalla sua versione cosmetica, domenicale. Nella nuova edizione di quel saggio controcorrente, accolto con successo, Zecchi torna a essere felicemente inattuale. Ai suoi occhi rimozione estetica ed esaltazione sociale appartengono allo stesso orizzonte isterilito, in cui ancora una volta viene aggirata la domanda di senso che è racchiusa nella rappresentazione di una forma sensibile e che costituisce la vera dimensione utopica dell'esistenza. Più che salvare il mondo, secondo l'auspicio di Dostoevskij, oggi la bellezza deve essere messa in salvo dal mondo. (editore). (shrink)

Lev Isakovic Sestov e annoverato fra gli eccezionali filosofi del XX secolo. Questo pensatore di origine giudea, e un continuatore della corrente esistenziale del pensiero religioso di Pascal e Kierkegaard. Viene, pero annoverato pure - del resto insieme ai filosofi menzionati - alla corrente del pensiero tragico. Questo non e contradditorio perche ambedue le trame sono presenti alla riflessione di Sestov, anzi esse sono Ii, cosi inseparabilmente intrecciate, che fino ad oggi la riflessione del pensatore russo essenzialmente sfugge da ogni (...) interpretazione univoca. Nel frammento seguente del teste sto dimostrando che per Sestov l'esperienza tragica non e soltanto un inizio deU'esperienza religiosa, ma anche la sua condizione indispensabile, come un'IIniziazione. Sestov cerca l'esemplificazione di questa coincidenza particolare - l'esperienza tragica come un'iniziazione religiosa - sugli esempi dei vari pensatori di cui ha scrutato non soltanto le opere ma anche le biografie, partendo dalla premessa che esse sono delle realta collegate inseparabilmente. Sestov cerca l'affermazione di questa verita studiando la vita e le opere dei pensatori non soltanto tragici come Shakespeare, Ibsen, Nietzsche o Dostoevskij, ma sopratutto dei pensatori religiosi come Pascal o Lutero e Kierkegaard. In questi ultimi quel collegamento del tragico e della reiigiosita si e fatto evidente, mentre negli altri esso era soltanto parziale e embrionale. (shrink)

Lev Isakovic Sestov e annoverato fra gli eccezionali filosofi del XX secolo. Questo pensatore di origine giudea, e un continuatore della corrente esistenziale del pensiero religioso di Pascal e Kierkegaard. Viene, pero annoverato pure - del resto insieme ai filosofi menzionati - alla corrente del pensiero tragico. Questo non e contradditorio perche ambedue le trame sono presenti alla riflessione di Sestov, anzi esse sono Ii, cosi inseparabilmente intrecciate, che fino ad oggi la riflessione del pensatore russo essenzialmente sfugge da ogni (...) interpretazione univoca. Nel frammento seguente del teste sto dimostrando che per Sestov l'esperienza tragica non e soltanto un inizio deU'esperienza religiosa, ma anche la sua condizione indispensabile, come un'IIniziazione. Sestov cerca l'esemplificazione di questa coincidenza particolare - l'esperienza tragica come un'iniziazione religiosa - sugli esempi dei vari pensatori di cui ha scrutato non soltanto le opere ma anche le biografie, partendo dalla premessa che esse sono delle realta collegate inseparabilmente. Sestov cerca l'affermazione di questa verita studiando la vita e le opere dei pensatori non soltanto tragici come Shakespeare, Ibsen, Nietzsche o Dostoevskij, ma sopratutto dei pensatori religiosi come Pascal o Lutero e Kierkegaard. In questi ultimi quel collegamento del tragico e della reiigiosita si e fatto evidente, mentre negli altri esso era soltanto parziale e embrionale. (shrink)

È un incontro tardivo ma fatale, quello con l’Esprit souterrain di Dostoevskij da parte di Nietzsche nell’inverno nizzardo del 1886-87, assimilabile a quello giovanile del 1865 col Mondo come volontà e rappresentazione di Schopenhauer, o a quello del 1879 con Il rosso e il nero di Stendhal. La fascinazione immediata e istintiva di Nietzsche per Dostoevskij, rileva Stellino, è mossa da un’elettiva affinità psicologica che porta i due Autori a scandagliare le profondità oscure dell’animo umano...

Anticipating Mikhail Bakhtin’s appreciation for the unfinalizability of Fedor Dostoevskij’s universe, prominent Protestant theologian Karl Barth celebrates the Russian novelist’s presentation of “the impenetrable ambiguity of human life” characteristic of both the ending of Dostoevsky’s novels and Paul’s Epistle to the Romans. Barth’s unique reading of The Brothers Karamazov not only demonstrates the barrenness of the “theocratic dream” but also complements Bakhtin’s discussion of polyphony with an explicitly theological dimension by focusing on the dialogue between Creator and the created. (...) Dostoevsky’s prophetic voice provides Barth with a poetic expression of the divine command that highlights the ethical dimension inherent in every theological choice. (shrink)

The aim of this paper is to explore the interaction between a tradition that belongs originally to the realm of orthodox contemplative monasticism (i.e., hesychasm) and nineteenth-and early twentieth-century Russian intellectuals. In the first part, this paper will explore how hesychasm gradually penetrated nineteenthcentury secular culture; a special focus will be on the hermitage of Optina Pustyn' and its renowned elders, as well as their appeal to members of the Optina-intelligentsia, especially Fëdor Dostoevskij. Then, attention will shift to the (...) imjaslavie controversy at the beginning of the twentieth century, which flared up initially as a dispute between Athonite monks and reached a sad culmination in 1912-1913 with a manu militari intervention by troops of the Russian Holy Synod. However, the debate was taken up by some prominent intellectuals of the Russian religious renaissance, such as Pavel Florenskij, Nikolaj Berdjaev, and Sergej Bulgakov, who explicitly sided with the imjaslavcy ("Glorifiers of the Name") and actively stepped into the debate. (shrink)