“It’s All One Big Fantasy”: The Critique of Modernity in Dostoevsky’s Novel The Idiot

The opposition between Europe and Russia runs through Dostoevsky’s novel The Idiot, culminating in Mme Epanchina’s declaration that both Europe and the Russians who travel to Europe are “one big fantasy” [Dostoevsky, 2002, p. 615]. In the novel, Dostoevsky uses the exile trope as a literary tool for...

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Autor principal:	Katya Jordan
Formato:	article
Lenguaje:	EN RU
Publicado:	Russian Academy of Sciences. A.M. Gorky Institute of World Literature 2021
Materias:	dostoevsky the idiot the russian idea modernity nationalism exile nostalgia peter wagner Slavic languages. Baltic languages. Albanian languages PG1-9665
Acceso en línea:	https://doaj.org/article/3dbdb6752af5423189641c0163c9172e
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spelling	oai:doaj.org-article:3dbdb6752af5423189641c0163c9172e2021-12-02T18:25:21Z“It’s All One Big Fantasy”: The Critique of Modernity in Dostoevsky’s Novel The Idiot10.22455/2619-0311-2021-2-65-882619-03112712-8512https://doaj.org/article/3dbdb6752af5423189641c0163c9172e2021-06-01T00:00:00Zhttp://dostmirkult.ru/images/2021-2/03_Jordan_65-88.pdfhttps://doaj.org/toc/2619-0311https://doaj.org/toc/2712-8512The opposition between Europe and Russia runs through Dostoevsky’s novel The Idiot, culminating in Mme Epanchina’s declaration that both Europe and the Russians who travel to Europe are “one big fantasy” [Dostoevsky, 2002, p. 615]. In the novel, Dostoevsky uses the exile trope as a literary tool for expressing his Russian idea. Although the spiritual underpinnings of Dostoevsky’s nationalism have been well studied, the secular side of this concept bears further exploration. Peter Wagner argues that nationalism constitutes a response to the nostalgia that is developed in exile following one’s breaking away from tradition. Nineteenth-century nationalism specifically “was an attempt to recreate a sense of origins in the face of the disembedding effects of early modernity and capitalism” [Wagner, 2001, p. 103]. By applying Wagner’s theoretical framework to Dostoevsky’s narrative, the author demonstrates that in its secular essence, Dostoevsky’s nationalism is not a merely localized manifestation of a uniquely Russian sentiment, but a symptom of a larger phenomenon that was taking place in late nineteenth-century Europe. Because Mme Epanchina gets to say the final word in Dostoevsky’s novel, her role and the subtleties of her message will be the primary focus of the present analysis.Katya JordanRussian Academy of Sciences. A.M. Gorky Institute of World Literaturearticledostoevskythe idiotthe russian ideamodernitynationalismexilenostalgiapeter wagnerSlavic languages. Baltic languages. Albanian languagesPG1-9665ENRUДостоевский и мировая культура: Филологический журнал, Iss 2, Pp 65-88 (2021)
institution	DOAJ
collection	DOAJ
language	EN RU
topic	dostoevsky the idiot the russian idea modernity nationalism exile nostalgia peter wagner Slavic languages. Baltic languages. Albanian languages PG1-9665
spellingShingle	dostoevsky the idiot the russian idea modernity nationalism exile nostalgia peter wagner Slavic languages. Baltic languages. Albanian languages PG1-9665 Katya Jordan “It’s All One Big Fantasy”: The Critique of Modernity in Dostoevsky’s Novel The Idiot
description	The opposition between Europe and Russia runs through Dostoevsky’s novel The Idiot, culminating in Mme Epanchina’s declaration that both Europe and the Russians who travel to Europe are “one big fantasy” [Dostoevsky, 2002, p. 615]. In the novel, Dostoevsky uses the exile trope as a literary tool for expressing his Russian idea. Although the spiritual underpinnings of Dostoevsky’s nationalism have been well studied, the secular side of this concept bears further exploration. Peter Wagner argues that nationalism constitutes a response to the nostalgia that is developed in exile following one’s breaking away from tradition. Nineteenth-century nationalism specifically “was an attempt to recreate a sense of origins in the face of the disembedding effects of early modernity and capitalism” [Wagner, 2001, p. 103]. By applying Wagner’s theoretical framework to Dostoevsky’s narrative, the author demonstrates that in its secular essence, Dostoevsky’s nationalism is not a merely localized manifestation of a uniquely Russian sentiment, but a symptom of a larger phenomenon that was taking place in late nineteenth-century Europe. Because Mme Epanchina gets to say the final word in Dostoevsky’s novel, her role and the subtleties of her message will be the primary focus of the present analysis.
format	article
author	Katya Jordan
author_facet	Katya Jordan
author_sort	Katya Jordan
title	“It’s All One Big Fantasy”: The Critique of Modernity in Dostoevsky’s Novel The Idiot
title_short	“It’s All One Big Fantasy”: The Critique of Modernity in Dostoevsky’s Novel The Idiot
title_full	“It’s All One Big Fantasy”: The Critique of Modernity in Dostoevsky’s Novel The Idiot
title_fullStr	“It’s All One Big Fantasy”: The Critique of Modernity in Dostoevsky’s Novel The Idiot
title_full_unstemmed	“It’s All One Big Fantasy”: The Critique of Modernity in Dostoevsky’s Novel The Idiot
title_sort	“it’s all one big fantasy”: the critique of modernity in dostoevsky’s novel the idiot
publisher	Russian Academy of Sciences. A.M. Gorky Institute of World Literature
publishDate	2021
url	https://doaj.org/article/3dbdb6752af5423189641c0163c9172e
work_keys_str_mv	AT katyajordan itsallonebigfantasythecritiqueofmodernityindostoevskysnoveltheidiot
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“It’s All One Big Fantasy”: The Critique of Modernity in Dostoevsky’s Novel The Idiot

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