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oapen-20.500.12657-749732023-08-03T17:59:43Z Chapter «Мы смеялись, словно от щекотки по сердцу». Мутная исповедь у Достоевского GHIDINI, Maria Candida Vojvodic, Jasmina confession Dostoevsky laughter modernity sincerity bic Book Industry Communication::D Literature & literary studies “We laughed like from a tickle on the heart.” Dostoevsky’s Muddy Confession. When considering laughter in Dostoevsky, one immediately thinks of the long “tirade” in The Adolescent, which proposes a kind of physiology of laughter, and its unpredictable effects on the perception of those who witness it. Laughter and caustic humor color even the most intimate confessions and can serve to partially mask the difficult action of revealing oneself before others. Modernity itself is the era of self-exhibition, of a sort of widespread confession. And yet, the laughter of modernity has lost the essence of joy. Joy is a function of that almost impossible sincerity that unveils the essence of man. The grimace of the fool, who shamelessly denudes himself before others in confession, becomes a sign of the isolation of the modern self and the end of the utopia of sincerity pursued by Rousseau. 2023-08-03T15:09:31Z 2023-08-03T15:09:31Z 2023 chapter ONIX_20230803_9791221501223_169 2612-7679 9791221501223 https://library.oapen.org/handle/20.500.12657/74973 rus Biblioteca di Studi Slavistici application/pdf Attribution 4.0 International 9791221501223-11.pdf https://books.fupress.com/doi/capitoli/979-12-215-0122-3_11 Firenze University Press Ф.М. Достоевский: Юмор, парадоксальность, демонтаж 10.36253/979-12-215-0122-3.11 “We laughed like from a tickle on the heart.” Dostoevsky’s Muddy Confession. When considering laughter in Dostoevsky, one immediately thinks of the long “tirade” in The Adolescent, which proposes a kind of physiology of laughter, and its unpredictable effects on the perception of those who witness it. Laughter and caustic humor color even the most intimate confessions and can serve to partially mask the difficult action of revealing oneself before others. Modernity itself is the era of self-exhibition, of a sort of widespread confession. And yet, the laughter of modernity has lost the essence of joy. Joy is a function of that almost impossible sincerity that unveils the essence of man. The grimace of the fool, who shamelessly denudes himself before others in confession, becomes a sign of the isolation of the modern self and the end of the utopia of sincerity pursued by Rousseau. 10.36253/979-12-215-0122-3.11 bf65d21a-78e5-4ba2-983a-dbfa90962870 Ф.М. Достоевский: Юмор, парадоксальность, демонтаж bf5768b0-3a15-46c5-b309-49f31339b93d 9791221501223 52 10 Florence open access
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“We laughed like from a tickle on the heart.” Dostoevsky’s Muddy Confession. When considering laughter in Dostoevsky, one immediately thinks of the long “tirade” in The Adolescent, which proposes a kind of physiology of laughter, and its unpredictable effects on the perception of those who witness it. Laughter and caustic humor color even the most intimate confessions and can serve to partially mask the difficult action of revealing oneself before others. Modernity itself is the era of self-exhibition, of a sort of widespread confession. And yet, the laughter of modernity has lost the essence of joy. Joy is a function of that almost impossible sincerity that unveils the essence of man. The grimace of the fool, who shamelessly denudes himself before others in confession, becomes a sign of the isolation of the modern self and the end of the utopia of sincerity pursued by Rousseau.
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