Announcing: the 2020/21 North American Dostoevsky Society Student Essay Contest!

We are excited to announce that the Readers’ Advisory Board of the North American Dostoevsky Society is running another student essay contest! This year, we are looking for outstanding undergraduate- and graduate-student essays on Dostoevsky-related topics. Nominate your best students… or nominate yourself! See the two separate CFPs below for more details. Good luck!

Note: because of the COVID-19 pandemic, we have extended the competition to encompass 2019-21. Please note the updated submission date of June 1 2021 (submissions are welcome on a rolling basis).

Undergraduate CFP

The Readers’ Advisory Board of the North American Dostoevsky Society (NADS) invites its members in good standing to nominate an outstanding undergraduate-student essay on a Dostoevsky-related topic. (If you are not a member of NADS, you can join at https://dostoevsky.org/). Current undergraduate students are also welcome to nominate their own work, in which case NADS membership is not required. The topic is open; however, Dostoevsky and his works should be the main focus of the essay. The winner of the contest will receive free membership in NADS for one year and a Dostoevsky-themed swag.  To submit a nomination, please send an email containing the student’s name, email address, institutional affiliation, and the title and level/number of the coursefor which the essay was written (e.g. BIOL 322 “Dostoevsky and Spiders”) to vladimir.ivantsov@mail.mcgill.ca. Please attach the essay to the email as a .pdf file containing no identifying information about the author.  The essay should be no more than 4000 words12 font size, double-spaced; it should consistently follow either MLA or Chicago style and contain full bibliographical information on the used sources, either in the footnotes or as a separate list of references. The deadline to submit a nomination is June 15, 2020 June 1, 2021, 11:59 PM EST.

Graduate CFP

The Readers’ Advisory Board of the North American Dostoevsky Society (NADS) invites its members in good standing to nominate an outstanding graduate-student essay on a Dostoevsky-related topic. (If you are not a member of NADS, you can join at https://dostoevsky.org/). Current M.A. and PhD students are also welcome to nominate their own work, in which case NADS membership is not required. The topic is open; however, Dostoevsky and his works should be the main focus of the essay. The winner of the contest will receive: 1) free membership in NADS for one year and 2) a guaranteed spot as a presenter on the NADS-sponsored panel at AATSEEL, 2022. To submit a nomination, please send an email containing the student’s name, email address, institutional affiliation to matzner@usc.edu.Please attach the essay to the email as a .pdf file containing no identifying information about the author.  The essay should be no more than 8000 words12 font size, double-spaced; and it should consistently follow either MLA or Chicago style and contain full bibliographical information on the used sources, either in the footnotes or as a separate list of references. The deadline to submit a nomination is June 15, 2020 June 1 2021, 11:59 PM EST.

The Double Gets a Double: Dostoevsky Student Rotten Tomato Reviews

Students in Greta Matzner-Gore’s course Literature and Philosophy: Dostoevsky at the University of Southern California reviewed Richard Ayoade’s 2013 adaptation of The Double. Here are some excerpts of their work.

double_fake_tomatometer

——————–Movie Info——————–

Double_poster

“Eisenberg plays Simon, a timid, isolated man who’s overlooked at work, scorned by his mother, and ignored by the woman of his dreams (Wasikowska). The arrival of a new co-worker, James (also played by Eisenberg), serves to upset the balance. James is both Simon’s exact physical double and his opposite—confident, charismatic and good with women. To Simon’s horror, James slowly starts taking over his life” (https://www.rottentomatoes.com/m/the_double_2013).

 

——–Critic Reviews for The Double———

1.5/5 stars 

This Movie Makes Me Feel Like Golyadkin

By Leo Houts

The Double by Dostoyevsky is funny, self-aware, and centered around Golyadkin, an idiosyncratic civil servant who is gradually driven insane by issues both in his psyche and his environment. It is called The Double because Golyadkin meets a person with the same facial features, name, and even clothes as himself. This double (Golyadkin Jr.) begins working at the same place Golyadkin does, and is more successful both socially and in work.

The Double by Richard Ayoade, on the other hand, is neither funny nor self-aware. It sacrifices the humor of Golyadkin’s pathetic character for an awkward antihero with a love interest (Simon) played by Jesse Eisenberg. Eisenberg plays Simon with the same confidence that Golyadkin Jr. has, maybe because like Golyadkin Jr., Eisenberg’s character is the exact double of a pre-existing person, in this case every past role Eisenberg has ever had. […]

If you are the kind of person who enjoys indie films about shy antiheroes, maybe you will like this film. If you are the kind of person who likes good writing and acting, you probably will not. If you are a fan of the original work by Dostoyevsky, I am sorry.”

 

3/5 Stars

“Richard Ayoade’s The Double is Great But It’s Not the Book, Literally”

By Lauren Foley

“The uncanny riddles Richard Ayoade’s film adaptation of ​The Double,​ transforming the classic Fyodor Dostoevsky novel into an otherworldly mix of science-fiction, horror, and dark comedy. Although foundationally similar, tonally, Ayoade creates a new beast from Dostoevsky’s original work, fracturing what Dostoevsky fans have come to know and love from the original work. With new character names, settings, and plot points (amongst other changes), ​The Double​ has been through quite a transformation on its way to the screen. […]

Ultimately, if you are a fan of the novella you might be able to gain something from the film– you just might not like it all that much. But, on its own, it’s worth a watch for its impeccable set design, world building, plotting, and performance by Jesse Eisenberg. You might just not be as fond of the editing, and Mia Wasikowska’s performance. Nonetheless, I recommend you give it a try– at least just to have some fun.”

The Double’s Double

By Connor Valore-Kemmerer

“They say if your doppelganger ever appears that you’re doomed to die; Dostoevsky’s novella The Double finds itself in this situation with the release of a film called The Double, directed by Richard Ayoade. You might say a book can’t die, though try googling “The Double” and look at the results—I’ll bet most of them are related to Ayoade’s adaption, not the novella. This isn’t necessarily a bad thing, so long as either the movie captures the themes and ideas of the novella, or you don’t value what the novella has to offer. Given that we’re fans of Dostoevsky, however, we’ll assume the ideas of the novella are worth passing down, meaning it can only be replaced if those ideas are preserved. Does Ayoade’s adaption do this? The short answer is yes and no. […]

If it was only inspired by Dostoevsky’s The Double, I would praise it for inspiring viewers to seek out the original ideas that motivated its creation. Like in the novella, however, Dostoevsky’s The Double finds itself being replaced by Ayoade’s The Double, and while this would be fine if the cores were the same, the similarities are mostly skin deep. The “personality” of the film is preferred by society over the “personality” of the novella, which is at risk of being discarded. As someone who values this original “personality,” I have to give Ayoade’s The Double a rating of 3 stars, not because it fails as a film, but because it fails as a proper adaption. An excerpt of a poem by Marie Laurencin feels appropriate: More than exiled, dead; more than dead, forgotten.”

 

3.5/5 Stars

The Double”: An Adaptation Lost in Translation?

By Ashwin Bhumbla

“Fans of the original will be delighted by the sense of place Ayoade gives to the film, an effort that lives up to the gloriously laid out setting of the novella. The sickly greens and dull yellows of the office building, the dim, grey apartments, the unrelenting darkness of the movie’s unnamed city are all definitely not St. Petersburg, but the similarities are there. We see the “messy green walls of [Golyadkin’s] little room” reflected in the hallways of the data company. The “murky, grey autumnal day” of the novella’s beginning is instead replaced by near constant darkness. While the minimalist design almost certainly is owed in part to budget constraints, it proves to be the appropriate artistic choice. A standout scene of the film is when we see Simon’s room for the first time. As he walks in we hear the door creak. We can hear and feel the constant shaking of the walls of his cramped, under-furnished apartment. The faucet shudders and moans as he pours out water into a dusty glass and that cup is the only thing we see him partake in as he watches a television show on the tiniest TV screen known to man, perhaps a modern replacement for Golyadkin’s own “small round mirror” […] The ending, like that of the original, will leave viewers scratching heads and discussing for some time. Ayoade is to be commended, taking a story one might think is unadaptable and not just adapting the plot, but adapting the feel and presence of the novella into an entirely different medium and work of art all his own.”

#NotMyGolyadkin: A Review of The Double (2013)

By Maria Camasmie

“A fan of the novella would notice quite quickly, from the first scene even, that Simon James is by no means comparable to our beloved Yakov Petrovich Golyadkin. As a fan myself, I was most delighted by The Double’s profoundly perplexing main character, Mr. Golyadkin—his paranoia, his delusions of grandeur, his obsession with status, and of course, his bizarre propensity to hide in corners. Simon James is an ordinary man in a bizarre world, while Golyadkin is a bizarre man in an ordinary world. […]

[T]he fundamental difference between the two protagonists generates a fundamental difference between the works themselves—where the original novella navigates a man’s complex and often irrational relationship with his own personality and the world around him, the film adaptation explores the reactions of a helpless, ordinary man to inexplicable events brought onto him by the outside world. Though the storylines are similar, the experience of the original novella is much more internal, while the film adaptation only scratches the surface.”

5/5 stars

How Ayoade Put Dostoevsky’s Classic in a Time Machine

By Blake Amann

“Ayoade’s adaption of Dostoevsky’s novella The Double is an extremely innovative way of translating Dostoevsky’s environment from the page to the screen and modernizing the central philosophical question of struggling with one’s identity. Ayoade’s picture, also called The Double, brilliantly employs a very dystopian-like setting in order to match the rigid, bureaucratic society that was present in the life of Golyadkin in St. Petersburg. The setting’s boring coloration and strict organization in the office area spotlights the ideal of fitting in and matching societal expectations that is key to social success in 19th century St. Petersburg. Additionally, Ayoade’s film takes place in a city that has no daylight, drawing even more parallel to the dark mood of St. Petersburg, which Dostoevsky describes in his novella as ‘pregnant with colds, agues, quinsies, gumboils, and fevers of every conceivable shape and size.’”

 

A Mad, Mad World

By Skyler Melnick

“Am I asleep? Am I dreaming?” Dostoevsky’s protagonist asks himself upon peering at his double (49). Throughout the manic stream of the novella, Golyadkin wavers, doubts, suffers, and fantasizes, feeling as though he is “neither dead nor alive, but somewhere in between” (23). In a similar fashion, Richard Ayoade’s film adaptation, ​The Double​ (2013), cultivates an absurd, dreamlike tone of inbetweenness through the use of constant oppressive noises, disorienting lighting, deadpan dialogue, and a hurried protagonist trying to catch up with a fast-paced environment. These visual and formulaic choices generate a similar manic, dreamlike tone to that of Dostoevsky’s novella, but reverse the core thematic essence from an unraveling man to a more stable, albeit troubled man in a deranged society. I give the film five twinkling stars on account of its superb sustained tone, an unusual pairing of bleakness with whimsy. It deviates from the novella in its thematic reversal, but retains the essence of madness and bleakness, resulting in a surprising, yet timeless translation: a piece of inbetweenness, a film where dream and reality, death and life, a man and his shadow are not separated, but swing back and forth like a pendulum, intertwined, leaving the viewer both shocked and empathizing.”

Congratulations to our Graduate Essay Contest Winner, Chloe Papadopoulos!

The Readers Advisory Board of the North American Dostoevsky Society is excited to announce the winner of our Graduate Student Essay Contest: 

Chloe Papadopoulos, for her essay, “Speaking Silently in Fedor Dostoevskii’s ‘Krotkaia.’”

 Chloe is a third-year Ph.D. student in the department of Slavic Languages and Literatures at Yale University. She received an H.B.A. and M.A in Russian Language and Literature at the University of Toronto, where she specialized in nineteenth-century Russian literature with a focus on Dostoevsky. Her current research focuses on the reception of historical fiction, drama, and sculpture in newspapers and the periodical press of the 1860s, as well as gendered models of communication in nineteenth-century Russian literature.

A hearty congratulations to Chloe and the entire Yale Slavic Department!

Outstanding Graduate Student Essay Contest

The Readers’ Advisory Board of the North American Dostoevsky Society is celebrating graduate students! We invite members of NADS in good standing to nominate an outstanding graduate-student essay on a Dostoevsky-related topic. (If you are not a member of NADS, you can join at https://dostoevsky.org). Current M.A. and PhD students are also welcome to nominate their own work, NADS membership not required. The winner of the contest will receive: 1) Free membership in NADS for one year, 2) Free registration at the International Dostoevsky Society Symposium in Boston, July 15-19, 2019, and 3) a guaranteed spot as a presenter on the NADS-sponsored panel at AATSEEL, 2020.

To submit a nomination, please send an email containing the student’s name, email address, and institutional affiliation, along with a .doc file of the essay (which should be no more than 8000 words in length and contain no identifying information about the author) to Greta Matzner-Gore at matzner at usc dot edu by [updated!] October 1, 2018.

We are looking forward to reading your work!

Another Round of Theme Songs

by Albert Ho, Greta Matzner-Gore, Carlota Rodriguez-Benito, and Sarah Russell

The personalities of the brothers Karamazov reflect their time and place (late nineteenth-century Russia), but they are also to some degree universal. One can imagine meeting some like Dmitry (the passionate profligate), Ivan (the tortured intellectual), Alyosha (the would-be saint), or Smerdyakov (the angry reject) in the United States today. Last year, I asked my students to choose one of the brothers Karamazov and find a “theme song” for him, i.e. a contemporary song or piece of music that captures his personality. This year, we did it again! My students posted links to their “theme songs” to our course’s discussion board, alongside short explanations of how their song captures their chosen character’s personality. In class, we put it to a vote. Here are the “theme songs” we voted best for the brothers, introduced by our student winners.

ALYOSHA

Student: Carlota Rodriguez-Benito

Theme Song: Bob Marley’s “Three Little Birds”

Explanation: I chose Bob Marley’s “Three Little Birds” for Alyosha. I think that this song represents the saint-like aspect Alyosha has of helping people. This song is about getting a message from a higher power. In this context, it is a reggae song and Bob Marley sings “Don’t worry about a thing, because every little thing is going to be alright.” I feel that this is the same message that Alyosha tries to convey many times, being a spiritual son and the peacemaker. Father Zosima helps him see the word as it is in this song, with good and no worrying, all will be just fine.

IVAN

Student: Albert Ho

Theme Song: Adam Lambert’s Cover of “Mad World”

Explanation: I find this song to fit Ivan well – it’s melancholic, insecure, doubtful, and lonely. Throughout much of the book, especially when Ivan argues, whether in “Rebellion”, “The Grand Inquisitor”, or against Zosima and others – Ivan crafts logically impeccable arguments which is in deep contrast with his wavering heart. He wants there to be a God, for religion to be just and true, he craves it, as he finds partial resolution in Alyosha’s kiss mirroring Jesus in “The Grand Inquisitor.” However, his overwhelming need for things to make sense makes it impossible for Ivan to ever be truly reconciled. Thus, being as cerebral as he is, Ivan sees a Mad World where religion doesn’t make sense, people’s actions don’t make sense, and being intellectually superior to everyone only creates further isolation and the inability to empathize and be empathized with, which is a key element of religion in Dostoevsky’s works.

True, in much of the book Ivan is proud, direct, and dismissive – but underneath the armor I believe he is the Grand Inquisitor waiting to be kissed by Jesus.

“I find it hard to tell you
I find it hard to take
When people run in circles
It’s a very, very
Mad world, mad world”

SMERDYAKOV

Student: Sarah Russell

Theme Song: Drowning Pool’s “Bodies” 

Explanation: Smerdyakov is a character surrounded by death. Stinking Lizaveta died giving birth to him, he killed cats as a child, and he played an important, if not the most important, role in Fyodor’s death. In addition, his name means stinking which is associated with decay. This song has a disturbed, creepy sound to it and is all about welcoming death. “Let the bodies hit the floor” is exactly how Smerdyakov feels about Fyodor. Additionally, the song says “Beaten Why For, Can’t Take Much More” which describes Smerdyakov’s motivations for wanting Fyodor dead. He has been beaten and abused his whole life and is thus resentful towards everyone.


This is the second installment of “The Brothers’ Theme Songs” and you can read the first here. The activity is brought to you by Dr Greta Matzner-Gore and her students at the University of Southern California. 

The Dostoevsky Games: A New Tobacco Road Rivalry

Readers of The Bloggers Karamazov do not need to be convinced that time spent alone with Dostoevsky is time well spent. But we live in an age when reading itself, and engagement in the humanities generally, is under attack from all sides. Demonic forces, toxins and temptations abound, even (or especially) within institutions of higher education: careerism, pre-professionalism and utility; transient titillations and instant gratification; ephemeral and flashy things; insidious technological tools; and social media outlets like, ahem, this blog. In the face of all this chaos, the quiet, dark, brilliant, reader can use a little company.

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Duke University and the University of North Carolina at Chapel Hill have long engaged in the fiercest rivalry in college sports. This year’s March Madness expanded the field of competition beyond the basketball court into Duke’s Rubenstein Library, where on 26 March 2017 elite teams from both institutions clashed in The Dostoevsky Games. Students clad in UNC light blue and Duke royal blue, coached by UNC’s Radislav Lapushin and Duke’s Carol Apollonio, respectively, met in a series of epic battles around Jeopardy, Taboo, “Name the Quote,” Dostoevsky Debate, and the performing arts.

The program is now available exclusively on The Bloggers Karamazov, and you can view it here!

The Games were well attended, with scores of competitors and spectators. Passions ran high, and the teams ran neck and neck through the afternoon, trading lead changes and ties. UNC presented a short film and a series of skits and mock interviews with Dostoevsky characters that, despite the high seriousness of the subject matter, sparked hilarity in the hall. For its part, Duke moved heartstrings and brought tears to many eyes with a soulful musical performance. The extremes of emotion thus inspired were worthy of the Master. One look at the UNC team’s winning video “The Fresh Prince of ‘To Dare'” will convince the readers of The Bloggers Karamazov of the overall quality of The Games. Screen Shot 2017-04-12 at 11.07.56 PMUltimately, in a close race that seemed to come down to an edge in the performing arts, the workings of fate, and possibly a sheer numerical advantage, UNC edged past the hosting team and took possession of a well-deserved freshly 3D-printed Dostoevsky Games 2017 trophy. (Radislav Lapushin waves with the trophy in the image to the right)

The Dostoevsky Games benefitted from the intellect, stamina and energy of a world-class team of scholars, ranging from newly minted to well seasoned. Doctors Michael Marsh-Soloway (Master of Bobble-Heads and Busts), Denis Mickiewicz, and Ambassador Jack Matlock lent dignity and excitement to the occasion; Professors Irene Masing-Delic and Ilya Kliger served valiantly and with ruthless fairness as celebrity judges; and Professor Eric Naiman delivered an impressive keynote address.

The teams were so carried away by the intellectual ferment in the room that they remained on the field of battle through the Games’ culminating event: small-group discussions of Crime and Punishment over dinner led by the celebrity guests and judges. True to the spirit of Dostoevsky, groups at two of the tables carried on their frenzied debates even as tables and chairs were cleared from the room, throats were cleared, and doors were slammed more loudly than would normally be warranted. It is to the UNC team’s credit that its members remained on the scene with only the faintest of defections (though with some furtive gleams of cell-phone screens), even after 5:00 p.m. when their men’s basketball team began play in the Elite Eight. Skill, luck, dedication, passion, fate…this year they paid off for both UNC teams. But even a national basketball championship is a transient thing when you take home a Dostoevsky Bobble Head, a 3D printed trophy, and the World Championship in the first, and possibly only ever, Dostoevsky Games.

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Players and coaches on both sides are still in recovery. But should additional teams desire to take up the tradition or issue a challenge, we are available for consulting, and may even rise to compete again.

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The Dostoevsky Games were fueled by Duke University’s Humanities Futures program (The Franklin Humanities Institute) and the David L. Paletz Course Enhancements fund, with contributions from the Duke Department of Slavic and Eurasian Studies.

Respectfully submitted,
Carol Apollonio


Carol Apollonio is the President of the North American Dostoevsky Society and a Professor of the Practice of Slavic and Eurasian Studies at Duke University. Her publications include Dostoevsky’s Secrets: Reading Against the Grain (2009) and The New Russian Dostoevsky: Readings for the Twenty-First Century (2010). 

The Dostoevsky 3D Printing Project

by Michael Marsh-Soloway

The Dostoevsky 3D printing project grew out of a series of energetic conversations with Carol Apollonio and Brian Armstrong at the 2016 ASEEES Conference in Washington D.C. The bobble head that we devised would serve not only as a prize at the 2017 Duke-UNC Dostoevsky Games in Durham, but also as a prospective merchandise offering for the North American Dostoevsky Society. These items can be manufactured by anyone with access to a 3D printer.

15078598_10102091516471045_5261402057652427077_nCarol and I collaborated on the production of the Dostoevsky model. She printed the models using more than 30 Ultimaker printers at the Innovation Co-Lab Studio at Duke, and then I used a series of MakerBot printers in UVa MakerSpaces (which you can see to the right). Printing the model at two universities allowed us to divide the assembly and manufacture of the removable components.

Specialists in the humanities have only recently started utilizing 3D resources, and these tools hold great potential for enhancing the study of artifacts, symbols, and spaces. The objects that Carol and I produced were made with a biodegradable, corn-based PLA plastic, which we selected as the cheapest and most easily obtainable material. Eventually, however, we may experiment with a range of other material compositions, including sand, chocolate, and various metals.

It is not advisable to manufacture edible models in a printer that has been used primarily for plastic productions. Small pieces of plastic could contaminate the finished product. ChocEdge, and Cocojet are two companies exploring culinary applications of 3D printing technology for chocolate, but it seems likely that the cheese, butter, and caramel industries will soon follow suit. In the medical sciences, doctors have started loading 3D printers with cell tissue to manufacture bodily organs. Thomas Boland of Clemson University was one of the first researchers to replicate organ structures with cells via ‘bioprinting’ procedures.
3d printing gifDepending on the size of the model, each Dostoevsky bobble head takes between two to ten hours to print. Users can adjust the size of the associated bobble head parts as their given 3D printer will permit. The Ultimaker printers at Duke University are equipped with a small camera that records a short time-lapse video of the manufacturing process, and users can opt to receive this video as a GIF file via an automated email message when the object is completed (ours is to the right of this text). Despite the long duration of each job, once the printing has started, the Ultimakers and Makerbots are safe to leave running unattended. In total, we printed 17 Dostoevsky figures in different colors that were given to students, game organizers, and guest judges.

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The most time-intensive process of 3D printing is the preparation of the associated component files. To print a 3D object, users need to develop their models as an STL file — Standard Tessellation Language. Although there are several 3D file types that can be processed by different printers, STL is the most common and universally recognizable format. The 3D printers construct the desired model layer by layer. The extruder melts the plastic into a molten noodle of sorts, and the final form appears as the material hardens after cooling. With irregular shapes, the plastic will sometimes drip over the sides of the model, but the resulting shards and columns can be easily removed with an awl or pliers. While users can download expensive programs to develop and modify STL files, Carol and I developed the Dostoevsky bobble head using only free and open-source tools. We used the following resources and steps to facilitate this process.

  1. There are several dozen reputable online repositories of 3D models. This blog post by Bulent Yusuf compiles the most popular sites, and rates their overarching functionality. Carol and I eventually used a Dostoevsky bust that we found on Thingiverse as the basis of the bobble-head. If we had not been able to find the open-source Dostoevsky model, we could have created our own file. Users can build 3D models from scratch using the free website, TinkerCad. Alternatively, while there are few memorials to Dostoevsky in the U.S., we could have generated a 3D model of our own by asking colleagues in Russia to photograph statues of the author with their cellphones. There are several apps, including 123D Catch, Trnio, and ItSeez3D, which employ the technique of photogrammetry to create a 3D model by photographing a given object from different angles. As yet another possibility, there are other digital tools like Smoothie 3D that allow users to approximate a 3D model from a 2D image.
  2. Using TinkerCad, I ‘remixed’ the open-source Dostoevsky bust, removing the head from the torso and pedestal, and placing a cylindrical hole in the base of the neck. Next, I found an open-source bobble-head torso on Thingiverse. Since we designed the Dostoevsky bobble head during the U.S. presidential elections, the most readily available bodies were those belonging to Hillary Clinton and Donald Trump. The Hillary Clinton action figure came with a pearl necklace and high-heeled shoes, so we opted instead to use the Trump Though few people noticed or thought to inspect the files closely, it is not coincidental that the hands on the bobble head are disproportionally smaller compared to the rest of the body.
  3. Screen Shot 2017-04-12 at 11.07.56 PMSpecial modifications were made to the largest bobble head model that would serve as the trophy for the Dostoevsky Games. We mounted the body on a rectangular pedestal bearing the inscription, ‘Champions The 2017 Dostoevsky Games’. Radislav Lapushin appears to the right holding the trophy. In retrospect, I should have tinkered more carefully with the fitting, because shortly after showing the audience the prize, the head of the model became detached, which provided a closing note of humor to the full day of intellectual discussion, performances, analysis, and debate. Printing the head and body as two separate pieces allowed the bobble head to move up and down, but the pieces can also be conjoined in a static model.

Since successfully producing the bust and bobble heads in various sizes, we have returned to our initial premise of the movable Dostoevsky action figure, as well as a range of other ‘remixed’ products. These more elaborate items could include mugs, showerheads, doorstops, coat hooks, vases, or even mock images of the author mounted on dinosaurs, animals, and cartoon characters. Here is a rough list of 3D objects that we’ve considered combining with the head of the author. Feel free to print one for yourself, and stay tuned for future product announcements!

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Michael Marsh-Soloway earned his PhD in Russian literature at the University of Virginia in 2016 with a dissertation entitled “The Mathematical Genius of F.M. Dostoevsky: Imaginary Numbers, Non-Euclidean Geometry, and Infinity.” He is a specialist in Russian literature, history, and linguistics. Currently, he serves as the Coordinator of the UVA Arts & Sciences Language Lab, and he soon hopes to publish his dissertation as an academic monograph.

Petition to save Slavonic and Eastern European Studies at KU Leuven

Prof. dr. Pieter Boulogne has alerted us to the fact that the Slavonic and Eastern European Studies program at KU Leuven is facing closure. The program is a vibrant one, and its closing is an administrative decision made without consultation with the department. (Information about the working group can be found here: https://slavistiek.wordpress.com/)

screen-shot-2017-02-24-at-1-39-15-amStudents have created a petition to call for the reconsideration of the program’s suspension and a democratic and transparent discussion. If you would like to support Slavonic and Eastern European Studies at KU Leuven, click here: https://www.change.org/p/ontdek-jezelf-begin-bij-west-europa-save-ku-leuven-s-slavonic-eastern-european-studies

“Дважды два четыре — ведь это, по моему мнению, только нахальство-с. Дважды два четыре смотрит фертом, стоит поперек вашей дороги руки в боки и плюется. Я согласен, что дважды два четыре — превосходная вещь; но если уже все хвалить, то и дважды два пять — премилая иногда вещица.” — “Записки из подполья”

(“Twice two makes four seems to me simply a piece of insolence. Twice two makes four is a pert coxcomb who stands with arms akimbo barring your path and spitting. I admit that twice two makes four is an excellent thing, but if we are to give everything its due, twice two makes five is sometimes a very charming thing too.” ― Notes from the Underground)

A Virtual Visit to the Robarts Library, part 2

University of Toronto professor Kate Holland asked her SLA314 Dostoevsky undergraduate students to visit the Robarts Library exhibit Crime and Punishment at 150: Global Contexts and write up their reflections on one exhibit item. Their writing, collected here, reflects not only the global spread of Dostoevsky’s influence, but also the diversity of media used to engage with his 1866 novel. To learn more about the exhibit, read curator and Toronto PhD student Barnabas Kirk’s blog post from last month. To read the first group of students’ posts, see A Virtual Visit to the Robarts Library, part 1.


Pickpocket

Rory McCreight

pickpocketAfter checking out the 150th anniversary exhibit of Crime and Punishment at Robarts library, I was interested to see the film Pickpocket by Robert Bresson among the artifacts. I had seen two of the esteemed French director’s works: Au Hasard Balthazar and A Man Escaped, and thought his style would make for a unique take on Dostoevsky’s work. Stylistically, the two auteurs are quite different. Bresson’s works have a cold, muted feel, where characters interact dispassionately towards one another and emotions are buried deep behind blank expressions. On the other hand, Dostoevsky’s characters spark with life, and given Raskolnikov’s feverish internality, it seemed like a tough character to represent on screen.

That being said, the thematic undercurrent of Bresson’s and Dostoevsky’s works are highly spiritual, this reveals the common area Bresson sought to explore in Pickpocket. Raskolnikov’s counterpart in Pickpocket, Michel, is less obviously haunted by his crimes; in this case he is a serial pickpocket. However, he, his friends and family respect the moral corruption of the crime, but, like the murder, it was a crime somewhat brought about by poverty. Pickpocket is a lean 70 minute version of Dostoevsky’s novel and it cherry picks the ideas it wants. It leaves out a large part of the extra characters, keeping only Raskolnikov, Razumikhin, Sonya, and Porfiry, it also keeps Raskolnikov’s Napoleonic vision of crime as well as his final redemption in prison through Jeanne, Pickpocket’s Sonya surrogate.

Dostoevsky and Bresson’s fixation on spirituality meant that both artists wanted to include the controversial redemption epilogue in their works. Bresson’s may work better because the film has Michel fail once at becoming honest and finding redemption, but he falters and finds redemption in prisonthrough Jeanne’s forgiveness. He had earlier told her that he could quit stealing and her forgiveness of his faults redeems Michel, just as Sonya’s love redeemed Raskolnikov.

 


Max Burchartz’s lithographs

Brodie McLeod

burchartz_max-zu_raskolnikoff-om457300-10678_20140531_27449_1049When browsing the Crime and Punishment at 150: Global Contexts exhibit, Max Burchartz 1887-1961: Kunstler, Typograf, Padagoge (Berlini Jovis, 2010) stood out to me almost right away. The imagery portrays a distorted Raskolnikov along with some of the people in his life. I found this imagery to be an almost perfect symbol of how I imagined Raskolnikov’s mind to be while reading Crime and Punishment: a very active one caught up in its own distorted version of reality. Amid the intended chaos, the imagery draws attention to the characters’ faces, something I found particularly interesting. Amid the chaos of the lines, they all portray very strong and distinct expressions. With Raskolnikov specifically, one can see expressions ranging from distrustful annoyance, to panic, to what appears to be genuine remorse or sorrow. While likely unintentional and just a component of the medium, the lack of colour helped to highlight this.

On to the painter, Max Burchartz: he created the featured lithographs in 1919 upon his return from World War I. Following this, Burchartz went on to work in advertising, creating new methods of typography. He once again enlisted in the military in World War II. Following the end of the war, he went on to cement hisprominence in early modern art and design.

 


Sabine Meier’s Rodion Romanovitch Raskolnikov: Portrait of a Man

Matthew Reid

In the display case Sabine Meier’s Rodion Romanovitch Raskolnikov: Portrait of a Man, captures the eye in its sharp angles and vivid intensity. The face of Raskolnikov is entirely exposed as every angle is shown over two pages of a photograph in the book. This imposing portrait allows for nothing to be hidden on the face of Raskolnikov. In relation to the novel a clear connection between the many faces and many angles to the same face of Raskolnikov emerges from the display photograph. In the novel the reader as well as the characters in the novel never find out who Raskolnikov is in his entirety. The question of his motive to murder, his sanity, his faith, and love are covered by authorial silence or only brief glimpses into each of these facets of Raskolnikov’s life. Like the novel, this picture only shows small portions of Raskolnikov’s face at a single time. The viewer is forced to piece together the fragments in order to fully see his portrait. It is this schismatic representation of Raskolnikov that stays true to the novel even in a modern urban setting. Meier chose to use New York and le Havre as the setting of her photos[i]. A selection of Meier’s photos have been printed and are being displayed as an exhibit at the Knockdown Center in New York. The exhibit attempts to “capture the inner workings” of Raskolnikov. Meier’s use of dark colours and shadows in many of the images reflects the novel’s fixation on night time and darkness especially surrounding Raskolnikov’s ventures around Petersburg at night.

 


Virginia Woolf and the Russian Point of View by Roberta Rubenstein

Kaitlan Sooknanan

220px-roger_fry_-_virginia_woolfThe item that I found most interesting within the Dostoevsky exhibit was Roberta Rubenstein’s Virginia Woolf and the Russian Point of View. Virginia Woolf has always been one of my favourite authors and so it was extremely interesting to discover that she was inspired by Dostoevsky and to connect her writing to the writing and ideas of the literature we have been working with in class. Before researching the actual book, I thought it would be helpful to verse myself first on the subject matter, and what I learned was that while the text was written about the way in which Russian authors influenced Virginia Woolf’s creative process and subsequent writing, Dostoevsky was the one who appealed most to her. She thought “Dostoevsky’s novels seem to have “permeated” the realms of both literature and psychology, and she viewed readers as having somehow internalized the significance of his novels.”[ii] That sentence show the profound effect Dostoevsky had on Woolf and it is analyzed in Rubenstein’s book, “It’s like peaking over the shoulder of a great writer reading.”[iii] The book shows the connecting themes of the two writers, and how they “sought to open up the world within.”[iv] The biggest take away the book gives is “prodding a reader to go back and reread Woolf in the company of these Russians,”[v] and that is what resonated most with me; to be able to go back and read her work with new significance, and to fully realize the scope of Dostoevsky’s influence.

 


“The Russian Messenger” (Русский Вестник)

Tara Subotic

I chose to write about the Русский Вестник item because I found it the most intriguing one. My main reason was because I wanted to know where Dostoevski first published his stories. I was always curious as to where famous writers initially started publishing their stories, and how it helped them gain recognition for their work. I found it interesting that not only did the Русский Вестник publish several stories of Dostoevski that are considered to be one of the most popular ones in today’s world, but also several other notable and famous work from Russian authors. I was surprised to see that the stories of Turgenev, Tolstoy, and Leskov were also published in the Русский Вестник in the 19th century. Some notable stories which I consider to be outstanding are Ana Karenina, War and Peace by Tolstoy, Fathers and Sons by Turgenev, At Daggers Drawn, and The Sealed Angel by Leskov, and of course Crime and Punishment, The Idiot, Demons, and The Brothers Karamazov by Dostoevski. Another interesting fact is that the newspapers motto is ‘Кто любит Царя и Россию, тот любит Бога’, a motto I personally agree with and support. Some of the main topics that the Русский Вестник concerns itself with are the rebirth of Orthodoxy in Russian, Cossacks, the history, economics, health, science, school and education, army, and politics in Russia. One of the most interesting topics they also deal with is Slavic brotherhood, a theme I am personally interested in. A rather controversial topic they also dealt with were reunions with ‘Little Russia’ which would be Ukraine and Belarus, given the argument it would be a ‘legitimate union of unjustly separated people’. Since 1991 Русский Вестник is funded by a charity foundation called “International Fund for Slavic Literature and Culture”, and the editor in chief from 1991 to 2013 was Aleksei Senin. The current publisher is Oleg Platonov who resides in Moscow. The original location of Русский Вестник was St. Petersburg, the hometown of Dostoevski, however now the journal has moved to Moscow.

 

 


C&P-RasCrime and Punishment at 150: Global Contexts was on display at the Robarts Library in Toronto in the fall of 2016. It was co-curated by Ksenya Kiebuzinski, Barnabas Kirk, and Kate Holland. The exhibit was part of the 2016 global outreach program Crime and Punishment at 150. For more information, visit the CP150 project website.

 

 


Notes:

[i]  There’s an explanation of the exhibit here.

[ii] Ashley Dolan. “The Influence of Fyodor Dostoevsky on E. M Forster and Virginia Woolf” (Masters Thesis, University of Missouri- Columbia, 2011), p. 35.

[iii] Jane Costlow. “Virginia Woolf and the Russian Point of View by Roberta Rubenstein.” Tulsa Studies in Women’s Literature, Vol. 29, No. 2, 2010, p. 482.

[iv] Claire Davidson-Pegon. “Virginia Woolf and the Russian Point of View.” Woolf Studies Annual, 18. 2012, p. 158.

[v] Costlow, p. 484.