By Linda Ivanits
Russian pop culture and folklore have been a critical subject matter in Dostoevsky's paintings, and folklore imagery permeates his fiction. Dostoevsky and the Russian humans is a accomplished research of the folk and folklore in his paintings. Linda Ivanits investigates the mixing of Dostoevsky's non secular principles and his use of folklore in his significant fiction. She surveys the shifts in Dostoevsky's pondering the Russian humans all through his existence and provides complete stories of the folks and folklore in Crime and Punishment, The Idiot, The Devils, and The Brothers Karamazov. this significant examine will remove darkness from this unexplored element of his paintings, and should be of serious curiosity to students and scholars of Russian and of comparative literature.
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Extra info for Dostoevsky and the Russian People
But their eyes met and Chekunov’s lower lip suddenly began trembling. ” and walked away. (4: 141) Those surrounding Mikhailov fall silent as if attending to the mystery of something greater than they can comprehend. His death becomes for them a sacred moment that they mark with the sign of the cross. Here the cross seems to point to the presence of the divine in human suffering, and the fettered Mikhailov becomes a sort of “living” crucifix, bringing the Passion into the present moment. Yet the detail that Mikhailov tore off his The face of the people, 1821–1865 27 crucifix, a naturalistic enough feature in the description of an agonizing death, leaves room for a drastically opposing reading.
98 In 1849, when he was imprisoned in the Peter and Paul Fortress, three volumes of Dahl’s works and one of I. P. Sakharov’s Tales of the Russian People (Skazaniia russkogo naroda) were included among the books that his brother Mikhail sent him (28, 1: 449–550). Still, while his considerable correspondence with Mikhail and the accounts of his contemporaries are filled with references to writers and literary works, they make almost no mention of folklore. One aspect of ethnography that did interest Dostoevsky in the 1840s was the speech of the Petersburg lower classes.
The events described in House of the Dead span the Christmas Fast (Advent), Christmas, Great Lent, Easter, and summer. The narrator stresses that his account pertains primarily to his first year in the Dead House for which his memory is distinct; after this one day seemed to flow into another (4: 220). Dostoevsky did not arrive at the stockade until late January 1850. 64 The first part opens with his initial shock and alienation and concludes with the Christmas celebration and theatricals that mark his newfound appreciation of the people’s ingenuity.
Dostoevsky and the Russian People by Linda Ivanits