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dc.contributor.authorKotelnikov, Vladimir
dc.contributor.authorSalmon, Laura
dc.date.accessioned2023-08-03T15:09:02Z
dc.date.available2023-08-03T15:09:02Z
dc.date.issued2023
dc.identifierONIX_20230803_9791221501223_161
dc.identifier.issn2612-7679
dc.identifier.urihttps://library.oapen.org/handle/20.500.12657/74965
dc.languageRussian
dc.relation.ispartofseriesBiblioteca di Studi Slavistici
dc.subject.classificationthema EDItEUR::D Biography, Literature and Literary studiesen_US
dc.subject.otherDostoevsky
dc.subject.otherparadox
dc.subject.otherskeptical humor
dc.subject.otherGrand Inquisitor
dc.subject.otherpolyphony
dc.titleChapter Парадоксальность как специфика художественного творчества Ф.М. Достоевского: приемы, стилемы, воздействие
dc.typechapter
oapen.abstract.otherlanguageParadoxality as a Specific Feature of Dostoevsky’s Literary Works. Techniques, Stylistics, Mechanisms of Action. All works by Dostoevsky reveal the presence of paradox. These paradoxes act according to mechanisms that depend either on the fictional (polyphonic) or nonfictional (monologic) text “dominant.” Taking as a starting point (a) the arguments of G.S. Morson, according to whom paradoxes “seem to carry the quintessence of ‘Dostoevskyism’, particularly of his brand of humor,” (b) the analysis of Dostoevsky’s paradoxical humor; and (c) the three main categories of paradoxes (“empty or rhetorical”, “negative”, “positive”), we argue that Dostoevsky applies a fourth type of paradox, one that affects neither the premise nor the ending of the paradoxical structure, but their intrinsic logical interconnection. This article analyses a repertoire of paradoxical techniques used by Dostoevsky, focusing on the destabilizing humoristic function they enact.
oapen.identifier.doi10.36253/979-12-215-0122-3.03
oapen.relation.isPublishedBybf65d21a-78e5-4ba2-983a-dbfa90962870
oapen.relation.isPartOfBookФ.М. Достоевский: Юмор, парадоксальность, демонтаж
oapen.relation.isPartOfBookbf5768b0-3a15-46c5-b309-49f31339b93d
oapen.relation.isbn9791221501223
oapen.series.number52
oapen.pages22
oapen.place.publicationFlorence


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