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oapen-20.500.12657-749672023-08-03T17:59:44Z Chapter Деконструктивные практики XIX века (от натуральной школы до Л.Н. Толстого) и Ф.М. Достоевский Borowski, Marcin Kazakov, Alexey deconstruction Dostoevsky and the Natural School Dostoevsky and Leo Tolstoy specificity of Dostoevsky’s realism artistic model of truth bic Book Industry Communication::D Literature & literary studies Deconstruction in the 19th Century (from the Natural School to Leo Tolstoy) and Fyodor Dostoevsky. The modern understanding of deconstruction arose from post-structuralism and implies distrust of semblance, the outward appearance of any ideology or structure, together with the search for a hidden interior. Dostoevsky renounces one-dimensionality and shows its deconstructing nature. He considers it a prejudice to believe that disclosing the hidden and forbidden has more “truth” in it, as is evident from his dispute with Tolstoy, who uses the principle of exposing the ignoble background of a supposedly noble national ideology to criticize the “defenders of the Slavic brothers” in Anna Karenina. Dostoevsky refuses to recognize the results of deconstruction (the denial of the declared) as the last and only version of the truth about reality. His approach can be defined as the “deconstruction of deconstruction.” 2023-08-03T15:09:09Z 2023-08-03T15:09:09Z 2023 chapter ONIX_20230803_9791221501223_163 2612-7679 9791221501223 https://library.oapen.org/handle/20.500.12657/74967 rus Biblioteca di Studi Slavistici application/pdf Attribution 4.0 International 9791221501223-05.pdf https://books.fupress.com/doi/capitoli/979-12-215-0122-3_5 Firenze University Press Ф.М. Достоевский: Юмор, парадоксальность, демонтаж 10.36253/979-12-215-0122-3.05 Deconstruction in the 19th Century (from the Natural School to Leo Tolstoy) and Fyodor Dostoevsky. The modern understanding of deconstruction arose from post-structuralism and implies distrust of semblance, the outward appearance of any ideology or structure, together with the search for a hidden interior. Dostoevsky renounces one-dimensionality and shows its deconstructing nature. He considers it a prejudice to believe that disclosing the hidden and forbidden has more “truth” in it, as is evident from his dispute with Tolstoy, who uses the principle of exposing the ignoble background of a supposedly noble national ideology to criticize the “defenders of the Slavic brothers” in Anna Karenina. Dostoevsky refuses to recognize the results of deconstruction (the denial of the declared) as the last and only version of the truth about reality. His approach can be defined as the “deconstruction of deconstruction.” 10.36253/979-12-215-0122-3.05 bf65d21a-78e5-4ba2-983a-dbfa90962870 Ф.М. Достоевский: Юмор, парадоксальность, демонтаж bf5768b0-3a15-46c5-b309-49f31339b93d 9791221501223 52 11 Florence open access
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