Dostoevsky's handwriting has only recently become the subject of special research. This was facilitated by a number of tasks of studying the manuscript corpus of Dostoevsky's texts. Modern scholars ...often do not entirely know the grammar and graphics of the writer. A significant volume of Dostoevsky's manuscripts is written in illegible cursive. It is not always possible for researchers to confidently determine who created the handwritten text — the author or the scribe. In many cases, there is no relatively accurate printed reproduction of manuscripts. Some of the complex texts were read mistakenly. The use of digital technologies allows us to solve some of the research tasks. One of the auxiliary tasks is to study the typology of Dostoevsky's handwriting. By the 19th century, such common types of handwriting as cursive, tachygraphic writing and calligraphy had historically developed in Russia. There are different definitions of these concepts, but their meaning is most precisely explained by the semantics of words. The cursive reproduces the outlines of letters and words according to samples. Everyone learned to write properly according to cursive workbooks, but everyone had their own handwriting. In life, a person usually managed with one handwriting, as a rule, cursive. Tachygraphic writing is functional. Its task is to simplify the spelling of letters and speed up the writing process. Regular tachygraphic writing is legible, but rapid tachygraphic writing is not always legible. Calligraphy is often equated with cursive, but it was penmanship that was taught in cursive copybooks — beautiful handwriting according to the prescribed samples is dead. Dostoevsky wrote not by craft, but by inspiration, out of love for art. Patterns are excluded in Dostoevsky's calligraphy — it’s all about personal skill. It is enough to recall the multiplication of calligraphies by Myshkin in the novel "The Idiot". Dostoevsky adds four more original calligraphies to the five famous ones through Myshkin’s words. There is no such analysis in scientific literature. Dostoevsky aspired to a variety of handwritings. In his understanding, the letter expressed the spirit, the national character of a person and people, the meaning of speech and words. It
The medical topic in Dostoevsky's life and work is diverse, multifaceted and autobiographical. Family, everyday life, observations, analysis of symptoms of diseases formed the personal and creative ...experience of the future author. Dostoevsky, having an analytical mindset, was deeply interested in medical issues, which manifested itself in his work, where he described the illnesses of his heroes with factual accuracy. The writer's illness was a factor of criticism and literary creativity. In critical literature, it is mainly discussed in the biographical aspect: the influence of epilepsy affects the writer's work, the pathography of the author and the heroes of his works is studied, their mental illnesses are analyzed. What was Dostoevsky's epilepsy like? did she help or hinder his creativity? was it evidence of his genius or degeneracy? — critics who are interested in the psychiatric diseases of genius are trying to answer these questions. In this article, the systematization of well-known and little-known evidence of Dostoevsky's diseases is carried out, the writer's attitude to medicine is presented, the features of the diagnosis of his diseases are considered, the artistic embodiment of the diseases of his heroes is analyzed, research prospects are outlined.
Turbulence in Integrable Systems Zakharov, Vladimir E.
Studies in applied mathematics (Cambridge),
April 2009, Letnik:
122, Številka:
3
Journal Article
Recenzirano
Nonlinear wave systems integrable by Inverse Scattering Method (ISM) could demonstrate a complex behavior that demands the statistical description. The theory of this description composes a new ...chapter in the theory of wave turbulence—Turbulence in Integrable Systems. All systems integrable by ISM are separated in two classes: strongly and weakly integrable. Systems of both classes have infinite array of motion constants but only for strongly integrable systems this array is complete. As a result, the scattering is trivial in these systems. It means that all the collision terms in kinetic equations of arbitrary high order are identically zero. The examples of strongly integrable systems are: KdV, NLSE, and KP‐2 equations. In strongly integrable systems one can choose as initial data a statistically homogenous random field with a given pair correlation function such that this function is invariant in time. The spatial spectrum of an equilibrium state can be chosen in an arbitrary way. In weakly integrable systems (KP‐1, three‐wave system, etc) the kinetic equations are nontrivial. They have infinite but incomplete set of motion constants. These kinetic equations have infinite amount of Rayley–Jeans‐type stationary solutions, though their general stationary solutions are not explored yet.
The Relevance of Dostoevsky Zakharov, Vladimir
Neizvestnyj Dostoevskij,
3/2021, Letnik:
8, Številka:
1
Journal Article
Recenzirano
Odprti dostop
The year 2021 marks the 200th anniversary of Dostoevsky’s birth and the 140th anniversary of his immortality. Literary anniversaries became a part of the Russian culture relatively recently. The ...celebration is usually held in memory of those who had already found eternity. The attempt to celebrate the tercentenary of Shakespeare (1864) and the centenary of Pushkin’s birth in 1899 marked the beginning of a new cultural tradition. The dates of literary anniversaries in the 20th century reflect the struggle between these trends: birthdays are gradually replacing memorial days. Anniversaries tend to be an occasion not only for understanding a writer’s significance in the modern world, but also for analyzing the trends and prospects of studying their legacy. The article provides an overview of the past anniversaries of Dostoevsky in Russia and an analysis of several articles from the first issue of The Unknown Dostoevsky journal for 2021. The special feature of Dostoevsky’s bicentennial anniversary is the competition held by the Russian Foundation for Basic Research (RFBR) “Sources and methods in the study of the legacy of F. M. Dostoevsky in Russian and world culture” (2018–2021), which resulted in the support of 28 projects by leading Russian scientists. They will result in the publication of an unprecedented corpus of studies on Dostoevsky’s biography, philosophy, creativity, textual criticism and poetics. In post-Soviet Russia, the gap between Dostoevsky studies and mass consciousness, science and education is apparent. Moreover, technologies to counteract Dostoevsky’s influence on the modern Russian person are still operating. Reading and studying Dostoevsky remains the privilege of philologists, whose number in Russian universities has been drastically reduced with no prospects of the development of continuous humanitarian education. Nevertheless, despite influential opponents, Dostoevsky represents Russia, the Karamazovs are the most famous Russian surname, and today, just like 150 years ago, the prophet and apostle Dostoevsky conveys the word of truth and veracity to the world.
The article reveals how the writer’s personal drama was reflected in his novel “The Brothers Karamazov.” The unexpected death of their three-year-old son on May 16, 1878 was a tragic shock for the ...Dostoevskys. The causes of his death have not yet been clarified: there is no critical analysis of documentary sources, no diagnosis has been made, the described symptoms (fever, diarrhea, vomiting) may be related to several childhood diseases, family legends about the disease are unreliable. Dostoevsky’s pilgrimage to the Optina Hermitage had a personal reason along with his creative interest in the plot of the new novel. The writer sought to say goodbye to the earthly life of baby Alexey on the fortieth day of his death at Optina, but he was late. During the trip, Dostoevsky had an important conversation with Vladimir Solovyov, in which the writer revealed the idea of his future novel: the Church “as a positive social ideal.” After Dostoevsky’s pilgrimage to the Optina Hermitage, his novel took final shape. The thanatological motifs in the work include scenes in the monastery, Ivan Karamazov’s “collection” of facts, the death of elder Zosima, the illness and death of his brother Markel, Ilyusha Snegirev, and other heroes. These motifs play a key role in forming the poetic idea of the novel. The thanatological theme of the novel has Easter significance. Dostoevsky wrote a novel in which he not merely describe an event, he articulated the meaning of being: in the person of Alexey Fyodorovich Karamazov, he resurrected his son in the name and prototype of the deceased Alexei Fyodorovich Dostoevsky. With every proclamation and glorification of the hero, Dostoevsky proclaimed the immortality of his son.
The Russian literature was relatively late in heeding attention to the social type of the doctor. Nameless medical doctors gradually appear in the novels of the first half of the 19th century, ...typically as episodic persons without characters. They are educated and intelligent people, thus pleasant to communicate with, and if necessary, medical help can be obtained from them. One of those who endowed their doctor heroes with names and human characters was A. I. Herzen. His works about Dr. Krupov fostered the subject of medicine in Russian and European literature. They are the legacy of Goethe’s Faust and Lermontov’s A Hero of Our Time. Like Faust, Dr. Krupov is a philosopher who poses global questions, and like Werner, he is an ideologist, a skeptic, a reasoner and a materialist. Krupov’s theory that the world is insane, everyone is mentally ill, and the society, rather than patients, needs to be treated is actually not as unambiguous as it seems, if you believe the opinions of the character himself and the critics who wrote about Herzen’s story. The uncertainty of the author’s attitude to Krupov’s theory endows the text with ambivalence, a certain playfulness. Contradictions of political ideas and the impossibility of their execution are overcome in Herzen’s works about Dr. Krupov by literary means, such as irony, satire, parody. Herzen came to favor literature over medicine in treatment of social diseases.
In this review, we summarize and discuss our experimental data published in a number of papers on the transfer reactions of polymer chains in the polymerization of ethylene, propylene, and hexene-1, ...and the copolymerization of ethylene with α-olefins over multisite supported titanium–magnesium catalysts (TMC). Three groups of transfer reactions are discussed in the review: (1) transfer reactions with AlEt3 cocatalyst, (2) transfer reactions with hydrogen, and (3) transfer reactions with participation of α-olefins in the case of ethylene copolymerization with α-olefins. We have found polymerization conditions where it is possible to observe heterogeneity of active sites of TMC for all three groups of the indicated reactions. It is shown that (1) the transfer reaction with AlEt3 proceeds with higher reactivity on the active sites that produce polymers with low molecular weight; (2) the transfer reaction with hydrogen, in the case of α-olefin polymerization and copolymerization of ethylene with α-olefins, proceeds with higher reactivity on the active sites which produce polymers with high molecular weight; (3) the transfer reaction with α-olefins proceed with higher reactivity on the active sites that produce high molecular weight polymers.
There were several epochs in history that have altered the life of mankind. The first epoch was when the oral text was written down. The second was when the German scribe Guttenberg invented the ...printing press, and the handwritten text became printed. Now text is becoming digital, and there is a natural digitalization of all spheres of human activity, including the legacy of Dostoevsky. Modern information technologies create a new type of text that not only preserves the advantages of oral, handwritten and printed text, but also acquires new capabilities. The digital text expands the range of sources, the volume of information, and stimulates new methods of studying the writer's creative work. Despite the fact that electronic libraries, which currently dominate the Internet, present digital copies of Dostoevsky's printed publications, new types of electronic publications and new tools for analyzing not only handwritten and printed, but also digital text, are emerging. The idea of Digital Dostoevsky is being implemented in Petrozavodsk University projects (since 1995), the Institute of Russian Literature of the Russian Academy of Sciences (since 2016), and the University of Toronto (since 2019). Lexicographic work on Dostoevsky's vocabulary is being carried out in digital format at the Russian Language Institute of the Russian Academy of Sciences. The article provides an overview and outlines the prospects for the development of Digital Dostoevsky. An important task of the global Digital Dostoevsky is the creation of national bibliographies and electronic libraries and publication of new sources related to the writer's life and work. It is necessary to create the conditions for optimizing and integrating the existing resources. The digital format allows to actively use new text analysis tools and information technology capabilities for research and educational purposes.
In the euphoria of the success of Poor Folk Dostoevsky wrote an inventive work — a fantastical novel with an absurd plot, in which two completely similar characters act: two Yakov, two Petroviches, ...two Golyadkins, two titular councilors serving in the same department. Their similarity is not explained in any way. According to the author, this is “a completely inexplicable incident,” however, critics keep trying to explain the appearance of the double. The range of interpretations is extensive — from the rationalistic and empirical rejection of fantastika to numerous psychopathological, ethical, social and other concepts of it. They have the same status: they are all nontextual readings of the work. Critics do not read Dostoevsky, rather, they compose their own version of The Double. It all started with Belinsky, who made factual errors in the analysis of The Double. Dobrolyubov frankly admitted that his explanation of the double was formed “while thumbing through” the story. All subsequent interpretations are variations of their explanations of fantastika. Dostoevsky was sensitive to the misunderstanding of readers and critics. In 1862 and 1864, he created drafts with the aim of revising The Double. Unable to carry out this plan, in September 1866 Dostoevsky cut down the magazine’s editorial staff and made other changes that polemically opposed the interpretations of Belinsky and Dobrolyubov. The analysis of the two editions of The Double and the materials in the 1862-1864 notebooks (Russian State Library. F. 93.I.2.6 and 93.I.2.7) demonstrate that Dostoevsky did not think of The Double as a ghost, hallucination, or the delirium of a madman, but, rather, considered him a real character in the story. Denying the similarity and protesting against the immorality of the younger Golyadkin, the elder proclaims: man is unique. This idea was a development of the anthropological principle that Dostoevsky discovered in Poor Folk and later vividly expressed in Notes from the Underground.
In the euphoria of the success of Poor Folk Dostoevsky wrote an inventive work — a fantastical novel with an absurd plot, in which two completely similar characters act: two Yakov, two Petroviches, ...two Golyadkins, two titular councilors serving in the same department. Their similarity is not explained in any way. According to the author, this is “a completely inexplicable incident,” however, critics keep trying to explain the appearance of the double. The range of interpretations is extensive — from the rationalistic and empirical rejection of fantastika to numerous psychopathological, ethical, social and other concepts of it. They have the same status: they are all nontextual readings of the work. Critics do not read Dostoevsky, rather, they compose their own version of The Double. It all started with Belinsky, who made factual errors in the analysis of The Double. Dobrolyubov frankly admitted that his explanation of the double was formed “while thumbing through” the story. All subsequent interpretations are variations of their explanations of fantastika. Dostoevsky was sensitive to the misunderstanding of readers and critics. In 1862 and 1864, he created drafts with the aim of revising The Double. Unable to carry out this plan, in September 1866 Dostoevsky cut down the magazine’s editorial staff and made other changes that polemically opposed the interpretations of Belinsky and Dobrolyubov. The analysis of the two editions of The Double and the materials in the 1862-1864 notebooks (Russian State Library. F. 93.I.2.6 and 93.I.2.7) demonstrate that Dostoevsky did not think of The Double as a ghost, hallucination, or the delirium of a madman, but, rather, considered him a real character in the story. Denying the similarity and protesting against the immorality of the younger Golyadkin, the elder proclaims: man is unique. This idea was a development of the anthropological principle that Dostoevsky discovered in Poor Folk and later vividly expressed in Notes from the Underground.
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