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)

In Fyodor Dostoevsky’s influential novel Notes from underground, we find one of the most memorable characters in nineteenth century literature. The Underground Man, around whom everything else in this book revolves, is in some respects utterly repugnant: he is self-centred, obsessive and cruel. Yet he is also highly intelligent, honest and reflective, and he has suffered significantly at the hands of others. Reading Notes from underground can be a harrowing experience but also an educative one, for in an encounter with (...) what at first seems unfamiliar and disorienting we can awaken the ‘stranger within’. Dostoevsky’s work, if we are ready for it, can shake us from our slumbers and allow us to see that what appears to be strange may in fact be deeply familiar to us. (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)

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)

By way of countering Tolstoj's reputation as an alogical and inept philosophical thinker, this paper explores the tension between maximalism and reasonableness in his defense of the ethics of nonviolence. Tolstoj's writings of the last decade of his life show that he was perfectly capable of making appropriate conceptual distinctions, recognizing legitimate objections to his position, and responding rationally to them; in so doing, he made valuable points about the unpredictability of human actions, the futility of using violence to combat (...) violence, the equal worth of all humans lives, and the immorality of revenge. Yet his conception of the moral ideal, together with his missionary zeal, led him to exaggerate the absoluteness of his moral message, causing him to predict the unpredictable and demand the impossible of human beings. (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)

sThe salience of Fyodor Dostoevsky’s novels for philosophical reflection is undeniable. By providing a myriad of often dialectically mediating perspectives on certain subjects, he can serve as a rich fount for philosophical polemic. Many readers have been prone to confine the philosophical import of Dostoevsky’s prose to such a polyphony of dialectically interacting perspectives. In this article, this topic is taken up with a focus on the differing points of view on human salvation espoused by the protagonists of The Brothers (...) Karamazov. It will be argued that Dostoevsky held to a view that only through certain existential struggles the human agent can attain a full-blooded experience of redemption. This argument will be made from the dialectical development of predominantly Ivan and Alyosha Karamazov. (shrink)

Emmanuel Levinas’s doubts about the ethical value of artistic beauty have been widely acknowledged by the vast majority of Levinas’s commentators. However, though it is true that in “Reality and Its Shadow” Levinas persistently rebukes artistic beauty for its nonethicality, it is undeniable that he at least upholds the value of artistic criticism and modern literature. In this article I intend to relate Levinas’s exploration of the possibility of spiritual–ethical teaching in literature to Immanuel Kant’s reflections on the relation between (...) the feeling of beauty, that of sublimity, and sensible feeling in his third Critique. This up-close comparative examination fosters understanding of Levinas’s religious and philosophical approach to the sublime elements in some literary works, especially those of Fyodor Dostoevsky. (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)

Fyodor Dostoevsky is renowned as one of the greatest psychologists in world literature, but what we know about the origins and the workings of the human mind has changed drasti­cally since the late nineteenth century. If Dostoevsky was such a sensitive reader of the human condition, do his insights hold up to modern research? To judge just by the issue of the psychology of confession, the answer appears to be: yes. The work of Michael Tomasel­lo indicates that the human conscience (...) evolved in order to make people obey group norms. From this I draw the proposition that confession should be best directed to the group as a whole, and not to an individual. Judging by Raskolnikov in Crime and Punishment and an assortment of characters in The Brothers Karamazov, this appears to be exactly how confes­sion works in Dostoevsky’s novels: sin is against all, so forgiveness must be from all. (shrink)

Buried within Fyodor Dostoevsky's works are glimpses of corrupt individuals who rise to the fore every now and then. Without these occasional revelations, not many would notice how diabolical an ordinary person really is. Although Dostoevsky does generalize that human nature can be quite vile, a character like the mysterious visitor from The Brothers Karamazov displays that nature without striving to be extraordinary as Dostoevsky's other prolific characters. Something troubling still lurks within this mundane type. Relying on moral dilemmas presented (...) by ancient thinkers will help this project expose and elaborate on the unsavouriness behind the activities and dispositions of Dostoevsky's minute character. With the mysterious visitor as the prime focus, we discover how an individual distorts one's personal development and decent relations with other humane beings. (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)