What is the criterion of truth? This is a question that was resolved long ago by the revolutionary teachers of the proletariat. But as a result of damage done by the "Gang of Four" and a mass of distorted propaganda in the media under their control, it has become muddled beyond compare in recent years. In order to deepen the criticism of the "Gang of Four" and eradicate the remnants of their poison and influence, it is very important to clear (...) this up and sort it out. (shrink)

On the basis of an initial reference to a number of critical appraisals of H. Dooyeweerd’s philosophy, this article proceeds by provisionally focusing on the image of Franz Xavier Von Baader1 — who was intellectually active during the first part of the nineteenth century — in secondary literature . The main concern, however, is to enter into a more detailed evaluation of the claim made by J.G. Friesen,2 namely that all the basic systematic insights and distinctions found in the philosophy (...) of Herman Dooyeweerd are already present in the thought of Von Baader. That Dooyeweerd was indeed influenced by numerous philosophers and philosophical insights spanning the entire history of philosophy is beyond doubt. However, that there is any direct influence on his thought from Von Baader cannot be substantiated on the basis of the available sources even though it is not unlikely that he might have been aware of the existence of Von Baader. Both the quotations used by Friesen in support of his thesis and an extensive reading of the original Collected Works of Von Baader serve as a basis for the assessment of the claims made by Friesen. In fact, there are a number of philosophical distinctions found in the original works of Von Baader that, considered in isolation, are much closer to views of Dooyeweerd. However, once these are placed within the context of Von Baader’s thought, the striking and significant distance between the thought of Von Baader and Dooyeweerd once again become apparent. (shrink)

This is a follow-up article of Strauss 2011. In order to transcend the shortcomings present in the dialectical legacy regarding normativity, this article further explores key elements within the dialectical tradition focused on the basic motive of nature and freedom and the effect it had on modern social contract theories which aimed at reconstructing human society from its “atoms,” the individuals. The transition to an alternative approach commences with a discussion of the distinction between conditions and what is conditioned. It (...) concerns a correlation found within all aspects of reality, namely that between the law side or norm side on the one hand and the factual side on the other. The basic assumption of this alternative view is found in the idea of ontic normativity which is rooted in a non-reductionist ontology. Against this broader background shortcomings in Kelsen’s theory of law are briefly traced to the dialectic of the causal and non-causal, before a positive characterization of the concept of a principle is given. It turned out that it is a compound basic concept in which terms from different modal aspects of reality are encapsulated at once. The recognition of ontic normativity therefore also enables a distinct methodology, the transcendental-empirical method, which makes it possible to distinguish between the pre-positive nature of a principle, as a universal and constant starting-point for human action, and the historically varying ways in which such a principle can be made valid, through a competent organ disposing over an accountable will and capable to interpret the unique historical circumstances in which the principle has to be positivized . The nature of modal norms is highlighted in terms of various examples, such as jural, historical, logical and aesthetic principles, with special reference to Derrida’s understanding of credit as economic trust or economic faith. In order to make this transcendental-empirical method understandable a more detailed account of the nature of modal aspects is given. The emphasis on ontic normativity also helps us to steer clear of conceptions of natural law, historicism and the shortcomings present in the idea of a social construction of the world. The guiding perspective flowing from this analysis is that modal norms can be articulated through an analysis of analogical structural moments on the law sides of the normative aspects. The last part of this article briefly introduces the distinction between modal and typical norms without entering into a discussion of the latter. (shrink)

This article sets out to analyse some of the most basic elements of our number concept - of our awareness of the one and the many in their coherence with multiplicity, succession and equinumerosity. On the basis of the definition given by Cantor and the set theoretical definition of cardinal numbers and ordinal numbers provided by Ebbinghaus, a critical appraisal is given of Frege’s objection that abstraction and noticing (or disregarding) differences between entities do not produce the concept of number. (...) By introducing the notion of subject functions, an account is advanced of the (nominalistic) reason why Frege accepted physical, kinematic and spatial properties (subject functions) of entities, but denied the ontic status of their quantitative properties (their quantitative subject function). With reference to intuitionistic mathematics (Brouwer, Weyl, Troelstra, Kreisel, Van Dalen) the primitive meaning of succession is acknowledged and connected to an analysis of what is entailed in the term ‘Gleichzahligkeit’ (‘equinumerosity’). This expression enables an analysis of the connections between ordinality and cardinality on the one hand and succession and wholeness (totality) on the other. The conceptions of mathematicians such as Frege, Cantor, Dedekind, Zermelo, Brouwer, Skolem, Fraenkel, Von Neumann, Hilbert, Bernays and Weyl, as well as the views of the philosopher Cassirer, are discussed in order to arrive at an assessment of the relation between ordinality and cardinality (also taking into account the relation between logic and arithmetic) - and on the basis of this evaluation, attention is briefly given to the definition of an ordered pair in axiomatic set theory (with reference to the set theory of Zermelo-Fraenkel) and to the defmition of an ordered pair advanced by Wiener and Kuratowski. (shrink)

Man is a mystery. It must be unraveled and if you spend your whole life unraveling it, do not say that this was a waste of time; I am preoccupied with this mystery because I want to be a human being.

Fyodor Dostoevsky is renowned as one of the greatest psychologists in world literature, but what we know about the origins and the workings of the human mind has changed drasti­cally since the late nineteenth century. If Dostoevsky was such a sensitive reader of the human condition, do his insights hold up to modern research? To judge just by the issue of the psychology of confession, the answer appears to be: yes. The work of Michael Tomasel­lo indicates that the human conscience (...) evolved in order to make people obey group norms. From this I draw the proposition that confession should be best directed to the group as a whole, and not to an individual. Judging by Raskolnikov in Crime and Punishment and an assortment of characters in The Brothers Karamazov, this appears to be exactly how confes­sion works in Dostoevsky’s novels: sin is against all, so forgiveness must be from all. (shrink)

In an influential treatise, Mikhail Bakhtin asserts that the aim of Dostoevsky's distinctive poetics is to advance a revolutionary, "polyphonic" model of moral truth. In this paper, I argue that while Bakhtin correctly identifies essential features of Dostoevsky's poetics, these features are better understood as oriented toward meeting the free modern individual's need to test ultimate moral ends and concomitant virtues in order to determine their truth. An Aristotelian poetics intended to educate audiences only in how to be virtuous to (...) achieve moral ends that are given by tradition will have different essential features than will a modern poetics whose purpose is to help individuals determine what the virtues are. It is this latter purpose, I argue, that drives Dostoevsky to create the new stylistic devices that Bakhtin observes in Dostoevsky's work, rather than the purpose of realizing a philosophically problematic "polyphonic" model of moral truth. (shrink)

Rádios comunitárias podem ser um dos caminhos para o debate acerca de uma democratização da comunicação no Brasil. Elas discutem sobre os direitos e deveres da população e são ferramentas na luta para conquistá-los. Isso justifica a espera de nove anos de uma emissora de rádio comunitária maranhense, a Arca FM, de Açailândia, para conseguir ir ao ar legalizada, processo que se estendeu de abril de 1998 a junho de 2007. Abordam-se o longo processo de resistência e a espera pela (...) outorga através das memórias e depoimentos de quem participou da trajetória da Rádio Arca, uma emissora que nasceu para denunciar e combater o aliciamento ao tráfico humano e o trabalho escravo no Maranhão. A entrevista em profundidade foi a principal estratégia metodológica seguida para buscar respostas na experiência subjetiva dos sujeitos envolvidos. (shrink)

Fyodor Mikhailovich Dostoevsky is one of the classic Russian writers who has been well known by Chinese readers. At the beginning of the twentieth century, Dostoevsky came to China along with the dissemination of Russian literature, and his works participated in the process of the development of Chinese literature in a unique way. After more than a century of development, Dostoevsky studies in China have accumulated more than two thousand pieces of literature, which record the tireless interpretations and explorations of (...) Chinese scholars into the thought and art of Dostoevsky’s works. With the help of data analysis and bibliometric methods, this paper will analyze the research and dissemination of Dostoevsky in China over the past one hundred years, and present a visualization of the trajectory of the development of Dostoevsky studies in China, the research hotspots, and the studies of the representative scholars, to outline the course and appearance, as well as characteristics and routines, of the development of Dostoevsky studies of in China. (shrink)

The paper discusses Dostoevsky’s insight into the oxymoronic metaphysics of the Russian revolution. The keys to it are contained in two of Dostoevsky’s works. The first is Demons with Kirillov’s idea of self-deification in death intended to fill the gap left by the proclaimed absence of God. The second is Notes from the House of the Dead, where Dostoevsky depicts the Russian peasants as people for whom even such notions as freedom, happiness and honor are expressed in monetary terms. The (...) Russian revolution was created by people of Kirillov’s persuasion; yet this ideal was offered to people whose teleology was firmly rooted in the earthly life. The interpenetration of these worldviews resulted in the initial victory of the revolution, but the dominance of the peasant Weltanschauung with its earthly teleology ultimately led to the collapse of the communist project a few decades later. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Philosophy 41.4 (2003) 568-569 [Access article in PDF] James P. Scanlan. Dostoevsky the Thinker. Ithaca, NY: Cornell University Press, 2002. Pp. xiii + 251. Cloth, $29.95. Important works on Dostoevsky's life and thought abound, but James Scanlan offers the first comprehensive treatment and evaluation of Dostoevsky as a philosophical thinker. Scanlan uses Dostoevsky's thousands of letters, essays, and "capacious notebooks" (3), as well as (...) his literary work, to analyze systematically Dostoevsky's philosophical worldview and to argue for its coherence. Scanlan's commitment to careful scholarship is apparent throughout, including his translations of the texts. A philosopher himself, Scanlan contextualizes Dostoevsky's work in relation to traditional philosophers, including Descartes, Kant, and Kierkegaard. The result is a balanced, rich, and provocative treatment that also suggests new interpretations of some of Dostoevsky's literary works.If Bakhtin is right to describe Dostoevsky's novels as "polyphonic," how does one ascertain their author's position? Scanlan grants the challenges of approaching Dostoevsky as a philosopher. Nineteenth-century Russian thinkers rarely identified with particular philosophical schools, and Dostoevsky never thought of himself as a philosopher. Yet Dostoevsky was intensely interested in philosophy, and Scanlan argues that Dostoevsky's characters serve as surrogates for competing philosophical positions. Scanlan also reminds readers of Dostoevsky's often-neglected nonfiction works and weaves masterfully the nonfiction and the literature to support his argument.Echoing Bakhtin, Scanlan labels Dostoevsky's methodology "dialogical in style, monological in substance" (4). Doing so effectively rejects critical perspectives that suggest the author held contradictory positions. For Scanlan, Dostoevsky's dialectical method resulted from his preoccupation with combating others' ideas, implied by his frequent use of reductio ad absurdum arguments. Dostoevsky "sought to establish his own positions by demonstrating the failure of their antitheses" (231). Not only does Scanlan persuasively demonstrate the consistency of Dostoevsky's philosophical commitments, he also challenges the appropriation of Dostoevsky by existentialists as an "irrationalist," despite Dostoevsky's "convincing portrayals of human irrationality" and skepticism concerning rationality's powers (5).Scanlan examines Dostoevsky's vision of Christianity that included a strict binary of matter and spirit, and a rejection of rational egoism and mechanism (termed "nihilism"). Dostoevsky's positive deontologism, his "law of love" (with Christ as exemplar) was, for Dostoevsky, necessary to overcome the "law of personality," and conscience grounded in Christian love was the basis for salvation. Scanlan persuasively argues that Dostoevsky, if irrationalist, belongs more with Kant than Kierkegaard in viewing rationality as limited but not to be rejected wholesale. Scanlan uses this analysis to ground a provocative new reading of Notes from Underground.Scanlan also explores the connectedness of Dostoevsky's ethics and aesthetics in Dostoevsky's insistence that artists should create moral beauty beyond the purely aesthetic or cognitive. Much has been written about Dostoevsky's aesthetics, but Scanlan exposes its logical grounding in Dostoevsky's rejection of the subjective utilitarian aesthetics of Chernyshevsky and the radical materialism of Dobrolyubov. For Dostoevsky, the need for [End Page 568] beauty and creativity is intrinsic to human nature, and art serves an epistemological function that gestures toward reality, not as a "mindless photographer" (140) but as a cognitive vision penetrating "the core of his subject" (141). Dostoevsky also justified his use of the anomalous, noting that the exceptional might be "an avenue of access to the universal" (143).Dostoevsky's "dream of a community of perfect Christian brotherhood and love" (160) grounds Scanlan's examination of Dostoevsky's sociopolitical philosophy and his rejection of the critical view that Dostoevsky's politics radically changed over time. Though Scanlan agrees with biographers that Dostoevsky despised the "moral blight" (169) of serfdom, he argues that Dostoevsky's vision of Christian society permitted social stratification so long as service to masters was voluntary, cooperative, and rational. This analysis makes clear the distance between Dostoevsky and Western liberal political theorists.For Dostoevsky, society based on universal Christian love is the only acceptable "socialism," and the last part of Scanlan's work analyzes Dostoevsky's nationalism and its relation to his attacks on socialism. In addition to... (shrink)

Nothing in this world is harder than speaking the truth,nothing easier than flattery.— Fyodor DostoevskyFyodor Dostoevsky, whose 200th birthday we celebrated in 2021, is perhaps one of the most emi...

This article provides an overview of philosophical interpretations of Dostoevsky, focusing on readings that pay particular attention to his representation of the battle between good and evil, and postulating that said representation constitutes the essence of his works. The analysis maps this history of interpretations as developing within a specific framework: the dispute between interpreters who argue that good triumphs in Dostoevsky’s works and those who maintain that nihilism prevails in the end. In this context, the article submits its own (...) thesis: that a fundamental contradiction haunts the offer, in Dostoevsky’s works, of Christian salvation, and condemns Dostoevsky to defeat at the hands of his nihilists. (shrink)

Dostoevsky is one of Russia's greatest novelists and a major influence in modern debates about religion, both in Russia and the West. This collection brings together Western and Russian perspectives on the issues raised by the religious element in his work. The aim of this collection is not to abstract Dostoevsky's religious 'teaching' from his literary works, but to explore the interaction between his Christian faith and his writing. The essays cover such topics as temptation, grace and law, Dostoevsky's use (...) of the gospels and hagiography, Trinitarianism, and the Russian tradition of the veneration of icons, as well as reading aloud, and dialogism. In addition to an exploration of the impact of the Christian tradition on Dostoevsky's major novels, Crime and Punishment, The Idiot and The Brothers Karamazov, there are also discussions of lesser-known works such as The Landlady and A Little Boy at Christ's Christmas Tree. (shrink)

The article refutes the widespread view that Dostoevsky's Christian beliefs were strictly Orthodox. It is proved that Dostoevsky's religious and philosophical searches' central tendency is the criticism of historical, ecclesiastical Christianity as a false, distorted form of the teaching of Jesus Christ and the desire to restore this teaching in its original purity. Modern researchers of the history of early Christianity find more and more arguments in favor of the fact that the actual teaching of Jesus Christ is contained in (...) that religious movement, which the church called the Gnostic heresy. The exact philosophical expression of the teaching of Christ was received in the later works of J.G. Fichte, whose ideas had a strong influence on the Russian writer. Like Fichte, Dostoevsky understands Christ as the first person who showed the possibility of revealing God in himself and gaining divine omnipotence and eternal life directly in earthly reality. In this sense, every person can become like Christ. Dostoevsky's main characters walk the path of Christ and show how difficult this path is. The article shows that Dostoevsky used in his work not only the philosophical version of true Christianity developed by German philosophy, but also the key motives of the Gnostic myth, primarily the idea that our world, filled with evil and suffering, is created not by the supreme, good God-Father, but by the evil Demiurge, the Devil. (shrink)

This volume brings together philosophers and literary scholars to explore the ways that Crime and Punishment engages with philosophical reflection. The seven essays treat a diversity of topics, including: self-knowledge and the nature of mind, emotions, agency, freedom, the family, the authority of law and morality, and the self.

(2012). Dostoevsky and Kant: Dialogues on Ethics. By Evgenia Cherkasova. The European Legacy: Vol. 17, No. 7, pp. 953-954. doi: 10.1080/10848770.2012.717914.

Fyodor Dostoevsky's highest and most permanent achievement as a novelist lies in his exploration of man's religious complex, his world and his fate. His primary vision is to be found in his last five novels: Crime and Punishment, The Idiot, The Devils, A Raw Youth, and The Brothers Karamazov. This volume culminates twenty years of studying, teaching, and writing on Dostoevsky. Here George A. Panichas critically analyzes the religious themes and meanings of the author's major works. Focusing on the pervasive (...) spiritual consciousness at play, Panichas views Dostoevsky not as a religious doctrinaire, but as a visionary whose five great novels constitute a sequential meditation on man's human and superhuman destiny. (shrink)

Analyzing the content of the parable of the Grand Inquisitor from Fyodor M. Dostoevsky’s novel The Brothers Karamazov allows us to identify the root ideas and consequences of a program for reorgani...

This book is not only a major twentieth-century contribution to Dostoevsky’s studies, but also one of the most important theories of the novel produced in our century. As a modern reinterpretation of poetics, it bears comparison with Aristotle.“Bakhtin’s statement on the dialogical nature of artistic creation, and his differentiation of this from a history of monological commentary, is profoundly original and illuminating. This is a classic work on Dostoevsky and a statement of importance to critical theory.” Edward Wasiolek“Concentrating on the (...) particular features of ‘Dostoevskian discourse,’ how Dostoevsky structures a hero and a plot, and what it means to write dialogically, Bakhtin concludes with a major theoretical statement on dialogue as a category of language. One of the most important theories of the novel in this century.” The Bloomsbury Review. (shrink)

Berdiaev always insisted on his exclusive closeness to Dostoevsky. He attributed to Dostoevsky the main ideas and motifs of his own philosophizing and simply called himself "Dostoevsky's son" in developing the eschatological problematic and on the question of theodicy.

The theme "Dostoevsky and Nietzsche" is one of the most important for understanding the meaning of the abrupt changes that took place in European philosophy and culture at the turn of the nineteenth century. This epoch is still a puzzle: it was a flourishing period for the creative powers of European humanity and at the same time the beginning of the tragic "breakdown" of history that gave birth to two world wars and unprecedented calamities, the consequences of which Europe has (...) been unable to overcome, as shown by the uninterrupted decline of traditional culture, which began at the end of World War II and still continues today. In this epoch, as in the eighteenth century, which culminated in the Great French Revolution, philosophy came out of the study onto the street and became a practical force that steadily undermines the existing order of things; in a certain sense it was precisely philosophy that called forth the catastrophic events of the first half of the twentieth century, which had as never before a metaphysical subtext. At the center of the upheaval that engulfed absolutely all forms of European civilization and culminated, at the beginning of the twentieth century, with the rise of nonclassical science, "nonclassical" art, and "nonclassical" philosophy, was the problem of man, his essence, the meaning of his existence, and the problem of man's relations with society, the world, and the Absolute. It is no coincidence that M. Scheler used the term "anthropological turn" to describe the changes that occurred in philosophy in this epoch; what had long been implicit in philosophy and art and in paradoxical fashion had become apparent even in the new scientific theories, was now made clear: man is not a tiny "atom" in boundless and alien being, but the starting point for all suppositions, the primary field of meanings from which any philosophical or scientific "questioning" must depart. (shrink)

The trial of Dmitri Karamazov embodies Dostoevsky’s general legal and moral philosophy. This book explains and critically analyses such notions as the rule of law, the adversary system of adjudication, the principle of universal moral responsibility, the plausibility of unconditional love, and the contours of human nature. The ballast for conclusions about all these ideas is an understanding of the relationship between individuals and their communities.

In lieu of an abstract, here is a brief excerpt of the content:Dostoevsky and Schiller:National Renewal Through Aesthetic EducationSusan McReynoldsDostoevsky's novels pivot upon scenes of spiritual transformation, moments of revelation that resolve dilemmas for which no logical solution can be found. Raskolnikov, for example, analyzes his crime from philosophical and sociological angles until he almost dies; he is saved by his dream of the plague and by the image of Sonia's face. When insight and progress come to Dostoevsky's fictional characters, (...) they come as dream, memory, and rapture before images of beauty and suffering. The choice between spiritual and logical solutions confronting Dostoevsky's characters is also a choice between Russia and the West. The rationalism and corollary doctrine of egoism that drives characters like Svidrigailov, Stavrogin, and Ivan Karamazov to madness and death are clearly associated in Dostoevsky's novels with Western philosophy. The ability to surrender to the beneficial power of images is associated with characters like Dmitry Karamazov, who is able to accept the primacy of spiritual truth—the truth of his need for expiation—over the fact of his legal innocence of his father's murder. The breadth of spirit that renders Dmitry receptive to the truth revealed in his dream image of the suffering child is clearly identified in The Brothers Karamazov as a distinctively Russian national trait.The contrast between reason, death, and the West, on the one hand, and receptiveness to imagistic truth, salvation, and Russia, on the other, [End Page 353] drives the plots of Dostoevsky's novels. This familiar feature of Dostoevsky's art is first articulated in texts unfamiliar to most readers; the historical essays of the early 1860s that were among his first published works after his return from exile. In 1849, Dostoevsky was arrested as a member of the Petrashevsky Circle, an association dedicated to disseminating the tenets of Western socialism in Russia. For his participation in the Circle, Dostoevsky was initially condemned to death; the sentence was commuted to four years of hard labor in Siberian prison camp, to be followed by an indefinite period of military service in Siberian exile.When Dostoevsky returned to St. Petersburg and public life in 1860, he and his older brother Mikhail launched the journal Time. Mikhail served as editor. Dostoevsky would publish The Insulted and Injured and Notes from the House of the Dead in its pages, in addition to numerous essays dedicated to contemporary literature and events. The essays on Russia and Europe published in Time were a creative workshop in which some basic features of his later novels—most notably the contrast between Western positivism and Russian spirituality, conceived as the capacity to embrace imagistic revelations of the truth—were first developed. The pressure of Dostoevsky's developing artistic craft is clearly apparent in these non-fictional texts from the early 1860s, which narrate modern Russian and European history as a story structured by a dual plot of death and redemption.Before Dostoevsky wrote novels structured around the contrast between characters like Dmitry and Ivan Karamazov, he wrote essays structured around the contrast between Russia and Western nations like France and England. Before Crime and Punishment portrayed Raskolnikov's resurrection as the surrender to images offering glimpses of something that eludes rational analysis, Dostoevsky's essays in Time predicted national renewal for Russia through her embrace of the truths conveyed by the images of fine art. Some essays in Time compose a plot of national rebirth through the effects of artistic images for Russia, but others admonish readers with what Dostoevsky believed would be the terrible consequences of positivism for the West. Winter Notes on Summer Impressions, published in Time in 1863, casts France and England as mortally ill victims of a materialist worldview that can only grasp the challenges of modernity as scientific and political problems. The spiritual solutions that will be revealed to Russia through images of beauty, Dostoevsky warns, will elude nations ensnared in rational approaches to their problems. [End Page 354]Throughout his post-exile life, Dostoevsky believed that political improvement results from changes in the moral condition of individuals, inner changes that are catalyzed by images, not reached through rational deliberation. In 1861, he writes of the Imperial edict... (shrink)

ABSTRACTThis article deals with Dostoevsky’s controversial concept of love and its relation to that of Nietzsche. Despite many parallels, Dostoevsky’s thought on love can be viewed as a criticism, avant la letter, of Nietzsche’s claim to having unmasked the Christian idea of neighbour-love ‘for God’s sake’ as an illusion. Yet, in addition to neighbour-love, Dostoevsky also entertains the idea of ‘furthest love’, love for the Übermensch of the future. The article examines Dostoevsky’s experiments with love’s different forms and argues that (...) the question underlying these explorations is whether Christian love can positively impact the world or whether it is doomed to be ineffectual, even destructive. It is argued that, while Dostoevsky’s novels often expose love’s fallibility and even its impotence, they nonetheless manifest the quest for a love capable of redeeming the world. It is shown how Dostoevsky considered one’s understanding of love to hinge on anthropological views, such as belief in the immortality of the soul or the degree of human freedom and responsibility; and how the reality and practice of love, in turn, influences both who we are and understand ourselves to be.​. (shrink)