Dostoevskii's Overcoat: Influence, Comparison, and by Joe Professor Andrew, Robert Reid

By Joe Professor Andrew, Robert Reid

Essentially the most recognized quotations within the historical past of Russian literature is Fedor Dostoevskii's alleged statement that 'We have all pop out from beneath Gogol's Overcoat'. whether Dostoevskii by no means acknowledged this, there's a good deal of fact within the remark. Gogol definitely used to be a profound impression on his paintings, as have been many others. a part of this book's venture is to find Dostoevskii in dating to his predecessors and contemporaries. although, the first target is to show the oft-quoted apocryphal touch upon its head, to work out the profound impact Dostoevskii had at the lives, paintings and considered his contemporaries and successors. This effect extends a long way past Russia and past literature. Dostoevskii will be noticeable because the unmarried maximum impression at the sensibilities of the 20 th and twenty-first centuries. To a better or lesser quantity these focused on the artistic arts within the 20th and twenty-first centuries have all pop out from less than Dostoevskii's 'Overcoat'.

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35. 22. Robin Feuer Miller, The Brothers Karamazov. Worlds of the Novel, Yale University Press, New Haven and London, 2008, p. viii. 26 Joe Andrew 23. , A New Word on The Brothers Karamazov, Northwestern University Press, Evanston, Illinois, 2004, p. 4. 24. See Joseph Frank, Dostoevsky: The Mantle of the Prophet, 1871-1881, Princeton University Press, Princeton, 2002, pp. 567 and 568. 25. , p. 569. Perhaps the most exaggerated claim for Dostoevskii’s significance is that made by Berdiaev, who concludes his monograph on the writer with the following paragraph: ‘So great is the worth of Dostoievsky [sic] that to have produced him is by itself sufficient justification for the existence of the Russian people in the world; and he will bear witness for his countrymen at the last judgment of the nations’.

3. See Stierle, p. 23. 4. P. L. Pasternaka), Wiener Slawistisher Almanach, XVII, 1985, p. 9. 5. Lucien Dällenbach, ‘Intertexte et autotexte’, Poétique, XXVII, 1976, pp. 282-96. 6. Harold Bloom, The Anxiety of Influence: A Theory of Poetry, Oxford University Press, New York, 1973. 7. M. Dostoevskii, Polnoe sobranie sochinenii v tridtsati tomakh, XXIV, Nauka, Leningrad, 1982, p. 381. Hereafter Pss. Translations are mine unless otherwise indicated. 8. Pss, p. 381. 9. Pss, pp. 381-4 (‘Primechaniia’).

The reason for his decision is that the much dreaded ‘disaster’ of having been seen ‘dancing’ in the street by his Head of Department was not, after all, a disaster. However, no sooner is the decision taken than it is Dostoevskii as Zuboskalov 49 reversed, or at least postponed for four days. In ascribing this device to Dostoevskii, Vinogradov, like any scholar attempting to attribute authorship, is reliant on works known to be by Dostoevskii. 35 The Double, with its irresolute hero Goliadkin, is particularly rich in similar situations.

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