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“(Sur)Realism in a Higher Sense”: Convulsive Beauty in Dostoevsky’s the Double

“(Sur)Realism in a Higher Sense”: Convulsive Beauty in Dostoevsky’s the Double , 12-13 (2011-2012), 81-96. MICHELLE ZVEDENIUK "(SUR)REALISM IN A HIGHER SENSE": CONVULSIVE BEAUTY IN DOSTOEVSKY'S THE DOUBLE1 The question of Dostoevsky's departure from the nineteenth-century poetics of Realism has often been addressed by the scholarly community. This reading offers a new insight of Dostoevsky's novella The Double (1846) that departs from the context of the nineteenth century in which the novella was initially written, and places it into the wider contextual framework of the twentieth century. Through a systemic analysis of the madness characterising The Double's protagonist Golyadkin, this article treats The Double as a text whose poetics depict an early model of representation of André Breton's "Convulsive Beauty" aesthetic which he proclaims in his novel Nadja in 1928. Modern criticism has already managed to characterise Dostoevskyas a novelist who depicts the world of the psyche and who pre-empts some of the discoveries later developed by Freud in the science of psychoanalysis. This criticism includes Louis Breger's Dostoevsky: The Author as Psychoanalyst, who outlines the protagonist Golyadkin's problem as a psychological rather than social one. Applying Meredith Skura's reading of psychoanalysis in literature in The Literary Use of the Psychoanalytic Process, Breger argues that Dostoevsky's characters are actively http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png The Dostoevsky Journal: A Comparative Literature Review Brill

“(Sur)Realism in a Higher Sense”: Convulsive Beauty in Dostoevsky’s the Double

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Publisher
Brill
Copyright
© Copyright 2015 by Koninklijke Brill NV, Leiden, The Netherlands
ISSN
1535-5314
eISSN
2375-2122
DOI
10.1163/23752122-01201006
Publisher site
See Article on Publisher Site

Abstract

, 12-13 (2011-2012), 81-96. MICHELLE ZVEDENIUK "(SUR)REALISM IN A HIGHER SENSE": CONVULSIVE BEAUTY IN DOSTOEVSKY'S THE DOUBLE1 The question of Dostoevsky's departure from the nineteenth-century poetics of Realism has often been addressed by the scholarly community. This reading offers a new insight of Dostoevsky's novella The Double (1846) that departs from the context of the nineteenth century in which the novella was initially written, and places it into the wider contextual framework of the twentieth century. Through a systemic analysis of the madness characterising The Double's protagonist Golyadkin, this article treats The Double as a text whose poetics depict an early model of representation of André Breton's "Convulsive Beauty" aesthetic which he proclaims in his novel Nadja in 1928. Modern criticism has already managed to characterise Dostoevskyas a novelist who depicts the world of the psyche and who pre-empts some of the discoveries later developed by Freud in the science of psychoanalysis. This criticism includes Louis Breger's Dostoevsky: The Author as Psychoanalyst, who outlines the protagonist Golyadkin's problem as a psychological rather than social one. Applying Meredith Skura's reading of psychoanalysis in literature in The Literary Use of the Psychoanalytic Process, Breger argues that Dostoevsky's characters are actively

Journal

The Dostoevsky Journal: A Comparative Literature Review – Brill

Published: Jan 1, 2012

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