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Dostoevskiiâs Overcoat: Influence, Comparison, and Transposition
Series: - Studies in Slavic Literature and Poetics, Volume: 58
- Studies in Slavic Literature and Poetics Online, Volume: 58
One of the most famous quotations in the history of Russian literature is Fedor Dostoevskiiâs alleged assertion that âWe have all come out from underneath Gogolâs Overcoatâ. Even if Dostoevskii never said this, there is a great deal of truth in the comment. Gogol certainly was a profound influence on his work, as were many others. Part of this bookâs project is to locate Dostoevskii in relationship to his predecessors and contemporaries. However, the primary aim is to turn the oft-quoted apocryphal comment on its head, to see the profound influence Dostoevskii had on the lives, work and thought of his contemporaries and successors. This influence extends far beyond Russia and beyond literature. Dostoevskii may be seen as the single greatest influence on the sensibilities of the twentieth and twenty-first centuries. To a greater or lesser extent those concerned with the creative arts in the twentieth and twenty-first centuries have all come out from under Dostoevskiiâs âOvercoatâ.
Joe Andrew: Introduction: Dostoevskiiâs Overcoat
Radosvet Kolarov: Dostoevskiiâs Hermeneutic Autotextuality: The Meek Girl and The Idiot
Michael Pursglove: Dostoevskii as Zuboskalov: the Case of How Dangerous It Is to Succumb to Ambitious Dreams
Eric de Haard: Mirroring the World of the Novel: Poetry in Humiliated and Insulted
Richard Freeborn: A Kiss from Turgenev
Claire Whitehead: Shkliarevskii and Russian Detective Fiction: the Influence of Dostoevskii
Alexandra Smith: Pushkin as a Cultural Myth: Dostoevskiiâs Pushkin Speech and Its Legacy in Russian Modernism
Michael Basker: Andrei Belyi and Dostoevskii: from Demons to The Silver Dove
Henrietta Mondry: A New Kind of Brotherhood: Dostoevskii, Suslova and Rozanov
Andrzej Dudek: Dostoevskii as Seen by Dmitrii Merezhkovskii
Neil Cornwell: Orhan Pamuk and Vladimir Nabokov on Dostoevskii
Cynthia Marsh: To stage or not to stage? Adapting Dostoevskiiâs Novels
Deborah A. Martinsen: Narrators from Underground
Robert Reid: The Grand Inquisitor Scene in Dystopian Literature and Film
Andrea Hacker: The Idiocy of Compassion: Akira Kurosawaâs Tale of Prince Myshkin
Olga Peters Hasty: Bresson and Dostoevskii: Crimes and Punishments
Irina Makoveeva: Crime and Punishment as a Comic Book
Radosvet Kolarov: Dostoevskiiâs Hermeneutic Autotextuality: The Meek Girl and The Idiot
Michael Pursglove: Dostoevskii as Zuboskalov: the Case of How Dangerous It Is to Succumb to Ambitious Dreams
Eric de Haard: Mirroring the World of the Novel: Poetry in Humiliated and Insulted
Richard Freeborn: A Kiss from Turgenev
Claire Whitehead: Shkliarevskii and Russian Detective Fiction: the Influence of Dostoevskii
Alexandra Smith: Pushkin as a Cultural Myth: Dostoevskiiâs Pushkin Speech and Its Legacy in Russian Modernism
Michael Basker: Andrei Belyi and Dostoevskii: from Demons to The Silver Dove
Henrietta Mondry: A New Kind of Brotherhood: Dostoevskii, Suslova and Rozanov
Andrzej Dudek: Dostoevskii as Seen by Dmitrii Merezhkovskii
Neil Cornwell: Orhan Pamuk and Vladimir Nabokov on Dostoevskii
Cynthia Marsh: To stage or not to stage? Adapting Dostoevskiiâs Novels
Deborah A. Martinsen: Narrators from Underground
Robert Reid: The Grand Inquisitor Scene in Dystopian Literature and Film
Andrea Hacker: The Idiocy of Compassion: Akira Kurosawaâs Tale of Prince Myshkin
Olga Peters Hasty: Bresson and Dostoevskii: Crimes and Punishments
Irina Makoveeva: Crime and Punishment as a Comic Book