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dc.contributor.authorGHIDINI, Maria Candida
dc.contributor.authorVojvodic, Jasmina
dc.date.accessioned2023-08-03T15:09:31Z
dc.date.available2023-08-03T15:09:31Z
dc.date.issued2023
dc.identifierONIX_20230803_9791221501223_169
dc.identifier.issn2612-7679
dc.identifier.urihttps://library.oapen.org/handle/20.500.12657/74973
dc.languageRussian
dc.relation.ispartofseriesBiblioteca di Studi Slavistici
dc.subject.classificationthema EDItEUR::D Biography, Literature and Literary studiesen_US
dc.subject.otherconfession
dc.subject.otherDostoevsky
dc.subject.otherlaughter
dc.subject.othermodernity
dc.subject.othersincerity
dc.titleChapter «Мы смеялись, словно от щекотки по сердцу». Мутная исповедь у Достоевского
dc.typechapter
oapen.abstract.otherlanguage“We laughed like from a tickle on the heart.” Dostoevsky’s Muddy Confession. When considering laughter in Dostoevsky, one immediately thinks of the long “tirade” in The Adolescent, which proposes a kind of physiology of laughter, and its unpredictable effects on the perception of those who witness it. Laughter and caustic humor color even the most intimate confessions and can serve to partially mask the difficult action of revealing oneself before others. Modernity itself is the era of self-exhibition, of a sort of widespread confession. And yet, the laughter of modernity has lost the essence of joy. Joy is a function of that almost impossible sincerity that unveils the essence of man. The grimace of the fool, who shamelessly denudes himself before others in confession, becomes a sign of the isolation of the modern self and the end of the utopia of sincerity pursued by Rousseau.
oapen.identifier.doi10.36253/979-12-215-0122-3.11
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.pages10
oapen.place.publicationFlorence


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