which of us , in our old age, will have to celebrate the day of the lyceum alone? in general , the last of the lyceum students was his holiness prince alexander mikhailovich gorchakov, and the last of the decembrists to leave was dmitry irenarkovich zavalishin, that’s the story, and i ’ll tell you that, well, here are the shackle rings, yes we talked today, but they have become a symbol of faith, faith in some kind of freedom, a symbol of fidelity, fidelity to each other, fidelity.

what kind of writer is dostoevsky for me? unfortunately, no matter which of his works i undertake, upon completion reading, as a reader i experience complete devastation, i lose all desire to take out paper to write. i think this happens because it is banal to me. “i have no experience of being in exile, no frightening experience of being sentenced to death, and then miraculously saved moments before the sentence was executed, i am not yet ready to write such works as the karamazov brothers or demons with such a detailed analysis of human nature, as i wrote in an essay about dostoevsky, japanese writer shusaku enda, multiple nominee for the nobel prize in literature. hello, we are gathered today." ekaterina evgenina dmitrieva

, corresponding member of the russian academy of sciences, head of the department of russian classical literature at the institute of world literature. hello, i am cordially pleased to welcome you. polonsky, corresponding member of the russian academy of sciences, director of the institute of world literature, i am vladimir ligoida, we are talking about dostoevsky’s influence in the 20th century, and dear friends, i want to offer you such a subjective view of this complex topic, we are not tasked with systemic analysis, but before we move directly to the topic, let me ask you this question: my dear teacher vyazimsky once said or repeats that in russian national literature there are three giants, not just geniuses, but giant, and he says that this is a unique situation, since in national literatures, at least...

in the modern world view of russian literature, this is undoubtedly so, but this hierarchy, it still does not quite coincide with our domestic russian idea of ​​things, because at the very least pushkin, the universal national poet, who, in general, quite successfully occupies the position of figure number one, falls.

it’s difficult, because there is an internal point of view, there is an external point of view, from an internal point of view, of course, pushkin comes first, well then they follow him, well, as a person who studies gogol, of course it’s not a shame that nikolai vasilyevich did this that is, from our point of view, yes pushkin, but the problem with pushkin is that in general for europe it is rather a name, they believe us that this. truly a great poet, but

he is not truly perceived, i just taught french for some time at one of the french universities , trying to do something with students who didn’t speak... should we say or is this what journalism will be after all? a journalistic statement that world culture certainly world literature of the 20th century is unimaginable without dostoevsky, the first part of the question, the second immediately, if i may, that dostoevsky in general belongs, as they often say, to the 20th century

much more than the 21st, i would say that the culture of the 20th century grows out of dostoevsky, it is simply the main root to a very large extent. dostoevsky is a unique figure, first of all, because he is a very unformatted, very irregular, and therefore an amazingly effective classic, this is not this, this is not a classical classic, this is a modern classic, but a classic should not be modern, modernity challenges the classics, yes, he opposes himself to tradition, this is where things get more complicated, dostoevsky, who became part of the russian classical canon, the world classical canon, why did he... so it turned out to be in demand , why he entered the canon, because he gave a model of a crisis man, a man of the 20th century, a man of the era of catastrophes, the era of awakened consciousness, the era of world wars, great cataclysms, the greatest temptations, the abolition of tradition, the era that

begins to proclaim its godlessness , and is horrified by this godlessness, looking for a way out of this godlessness, these convulsions, consciousnesses,

here is the critic polan there, one of the important figures of this circle, this is a very characteristic, as it were, idea of ​​\u200b\u200btheir relationship with the classics about the place of the classics in oneself, for one’s aesthetics, the aesthetics of this avant-garde, post-revolutionary

avant-garde, you know, a question came to my mind, maybe it’s secondary, but since we mentioned pushkin, in many ways, probably, the problem pushkin, if i may say so, is connected with the translation of poetry, yes, sostoevsky is prose. in the case of dostoevsky, there were situations when the translators simply had difficulties. you know, i can say that, again, based on this experience of working with french students, we sorted it out, i think.

the story of the housewife of the late forties , the notes of spatoly, yes - monstrously translated, very

subjectively arranged, but it was this text that laid the paradigm for the perception of dostoevsky, it pierced the minds, and a year after its publication in the eighty-seventh year , nitsche read it, and this becomes one of the most powerful reader shocks his life, he enters into a deep internal dialogue with dostoevsky, largely influenced... they know to translate into other languages, spanish, italian and so on, she becomes

general ledger by intermediary. you are the empress, that’s it, i want to be her. it seems to me that 50 guards will not be able to hold the throne with the empress for long. almost next to the empress now. and there are no friends, but there are plenty of enemies, i need proof that in the event of a coup , it will be me who will become the new empress, god help me, lord, who stop, you can’t do this , gentlemen, i’m your emperor, i’m a woman, don’t .. .to love, it was all your parsley, with whom you play tricks, i

won’t tolerate it, i understand, but let you talk, whether you really want to rule, your majesty, or you want to be a fairground doll in the hands of six members of the imperial council, russia has no friends in europe, and never will, where does such confidence come from, and you forget where i was born, you and i there is still so much to do. life is not enough, great, golden age, big premiere, tomorrow after the program time, this is your first appearance on television, yes, what made marilyn munro stand out from the crowd of starlets and fashion models, what made the whole nation yes and the whole world unanimously proclaimed her as their goddess.

motador goodby norma gin on friday on the first we gathered today with thoughts about influence.

complexly self-determining in relation to this endless american space to the shining city on the hill, she is similar to dostoevsky, you see, that’s why you can talk a lot about this, i’m not very ready either, i don’t know american literature so well and deeply, but here you go this seems to me like this, well, look at the cultures

that do not have common grounds with europe, that’s for it was not by chance that i quoted shusaku enda, this is one of... one of my favorite novels, but he just has a rewritten idiot, yes, because the novel, which in the russian translation is called dear mr. fool, sisokdo himself said that this is the title i took it from actually, well, literally literally, yes, well, what is a dear mr. fool, well, he ’s an idiot, and the plot is all very similar, well , it’s clear that syusa kuenda is a catholic, that is , he personally has common cultural grounds, though. ..

publish cases of certain victims offerings at the home altar, so he says that his mother is praying, asks - ragozhin asks myshkin if he believes in god, he says no, and then they exchange planes, well, that’s a substitution replacing the situation with the exchange of crosses, yes and then they

visit their mother at the altar and the mother treats them to some kind of food. from the altar with sacrificial food, having exchanged amulets, they jointly eat sacred food in this sacred situation, well, this is still an obvious symbolic rhyme, at least to the eucharist, and to the common communion, but this is how kurasawa’s deep intuition forces us here to reveal internal symbolism where in ustoevsky it is only potentially present.

longer than what we got, in the end, the producers forced it to be shortened, and the full, complete version did not reach us, that is, the author’s version, there is none, there is none, then kurasawa himself looked for the studio for the original author’s version, and didn’t find it, it still hasn’t been found, it’s unknown whether it has been preserved, yes, well, in the montage that has reached us, this is, in my opinion, ideal done, this is this single rhythm in compliance with the symbolism of the complex property. this is the most important category of dostoevsky’s world, total polarity, yes, uh, radical polarity of light and darkness, god and the devil, this is what is held here by the symbolism of snow and fire. very.

to shoot there, he told me, khotyanenko said, well, i’m afraid to make a mistake, well, here’s the ending of the crime of punishment, here’s how to film it cinematically, by the way, fyodor mikhailovich himself wrote, he has a letter where he writes that this is the genre and statements they are very connected, and it’s like speaking in the language of drama, someone, someone wanted to stage, some lady, forgive my ignorance, wanted to stage one of the works, he said, i don’t understand how you will translate this into language dramatic, but you would agree that it is not cinematic

, i looked it up, in general it is quite obvious that it is one thing to translate, another thing to somehow absorb it, and the japanese , precisely because of their different culture, seem

to be close culture, but nevertheless due to because of this focus on modernity , dostoevsky is very close and in demand for them, they probably say a lot here, there is such a tradition of talking about the difference between cultures.

so , reading dostoevsky from within such a symbolic paradigm, experience shows that in fact this is one of the most staged authors, in the theater and in cinema. let's go

big on the classics. bertolucci, partna, he puts a double. a unique, experimental piece where dostoevsky meets the gadar variety. ghadar creates his film in 1967, according to motives of demons, where the parties are led by different texts, you know, and in general the perception of it in russia in the west is also different in which texts become the most influential, i would

say that in the west it is still a record.

if you like to collect your thoughts with us, you can find all episodes of our podcast on the website of the first channel 1tv.ru, and you know, let’s return to the cinema for a second, if, of course, there is a film adaptation, there are brilliant readings, like kurassawa’s, yes, but i suddenly discovered that there is - traces of dostoevsky, but i don’t know, there are cinematic children, yes, as they say about literary children, where this is not a film adaptation, i talked with john luenfeld, this is one of the translators of the cannon. modern american and i don’t remember something, he’s in short lieutenant columbo series, this one, and he says, well, this is porfiry petrovich, then i finally understood why i adore the series about lieutenant columbo so much because everything there is according to the scheme, so you killed yourself yes, this is this, this is interesting, because there is probably a lot of this in cinema and in literature in general in culture.

its openness to the poles, its mutual reversibility of the poles, that is, it is russianness that allows one to expand the horizon up and down, yes it opens, this is such a sublimation towards mystery, so it provides it, the metaphysical man of the 20th century opens up in western man thanks to thanks to dostoevsky.

that in addition to this, there is also a narrowing of even those heroes and characters that are in dostoevsky, well, in the same american literature in some heroes, including those of the authors whom you have already named today, yes to the point of well, they become very flattened, they are somehow compared to the heroes of dostoevsky, well, in general, and you can say so, as you think, well, this needs to be said specifically. let's say, the same sellenger, let's say, the same faulkner, where, in general, the characters, it seems, with all , so to speak, in this sense, you know, the main difference between dostoevsky and western authors is that the western ones have everything -it ’s always centered around one character, there’s one theme and there’s, well, some kind of teleology, what’s this for? it’s like this in dostoevsky’s case.

dostoevsky gives, he really changed , as it were, this reservoir of images of ideas , put a lot of his own in there, without which world culture is already unthinkable, yeah , really, i still want to discuss one turn, i formulated it, maybe you won’t agree with me , as

pseudo-heirs of dostoevsky, and for me, if we take not literature, freud is such, because what freud reads from dostoevsky, i absolutely agree with vladimir vedli, who in dying of art. he writes this , as i understand it, around the time he writes that freud’s work has recently been published and he has this quote for me, but i won’t waste time where he says: psychoanalysis is powerless against the karamazov brothers, well , because before that it’s clear that here is the desire to kill the father, from which the novel grows, according to wedley in freud’s interpretation, and he ends this emotional passage of his, so anti-freudian or anti-freudian, probably more accurately, with the phrase psychoanalysis is powerless against brothers karamazov dostoevsky.

thank god that there were other children, so let’s say, so let’s say, well, you know, i’m in prison, that’s what i wanted to ask you about, since i proposed such a subjective approach, so if we talk about who you think , yes, partly, maybe the answer has already been voiced, but still, for you personally it was most reflected or who perceived dostoevsky as much as possible in the 20th century; let’s no longer limit ourselves to foreign literature, we can also remember russian literature here and maybe even broader...

all that , which for mana still rhymes with with the scary recent experience of his native country, here it is a dramatic dialogue with the inner writer, who is deeply dependent on dostoevsky at the same time. well, by the way, this, in a paradoxical, and maybe not quite paradoxical, way, echoes the quote that we started, because there it is dostoevsky, but it is expressed in a moderately different way, it also sounds, after all, he divided everyone writers on those after which you want and you start writing, plus those that you cannot write, and in general he clearly gravitated towards first, but all the greatness of dostoevsky was so beyond his measure that he could not write anything after him, when in the thirty -first year the first one was published in france...

he could not survive for a minute, he would have to close his eyes, ears, will run out screaming , just to understand that you can still live, you can breathe, you can still enjoy the sun, dostoevsky doesn’t allow you to do this, you know, this is the starting point of dostoevsky’s thinking there in europe , the thirties, this rhymes well with what you started with, amazing, no no resonates with me, because it seems to me that for me personally, my personal reading of fyodor mikhailovich, it just comes down to what i want, i want to live and...

it ends on such a sublime note that i completely agree with you, you know, let me share my youthful experience, in my youth i read the great pentateuch, simply headlong and more than once, and one thing did not let me go: for me there was a real world there, uh-huh , these fevers, these convulsions, that’s all, this was the real world for me, this is what what was going on around was not entirely real, there was a resemblance, there was the real, so to say that stoev’s dushen is also not for me, how much we have left, i also had in my stash here the analogy of the pomeranian with zen buddhism, where he says that yes , reading a novel and how he... dostoevsky, he sees direct analogies with

buddhist enlightenment and so on, but we’ll probably leave this for next time, with great gratitude i want to thank you again for this beautiful, unfinished, let's consider it a conversation. ekaterina evgenievna dmitrieva, corresponding member of the russian academy of sciences, vladimir vladimirovich polonsky, corresponding member of the russian academy of sciences, i’m vladimir ligoido, today we were gathering thoughts about the influence of dostoevsky’s work on the literature and culture of the 20th century. hello everyone, on the first channel of the podcast everyone wants to fly, and i am the host of this podcast leonid yakubovich. today, my friends, you and i will not fly anywhere, we are in the debriefing area, we let's talk to people today like...

a movie, because i thought it would be another action movie with shooters, bullets, burning in the cockpit, with wild screams and so on, you somehow moved away from this, you showed, perhaps, almost the most difficult part of this life on earth. leningrad block.

i gave them time to master it, gave me an order, protect the road, any valuable one, why didn’t you kill the german, well, i can’t live. go into the clouds, seventeenth, what are you dreaming about? how i dance, how i go out on stage alone, zhenya, i still need love, you could fall in love with me, everything okay, we attack, attack, but loving your homeland is

death? what is more important, the nation or the person? like. isn't that the case with you? girls, we beat the germans, i shot them down, you shot them down. don’t you believe in us at all, or do you feel sorry for me? please, my little one, please, fly, fly, fly, fly, airplane! quietly , look how the buildings are flying, it means everything is not in vain, let ’s fly somewhere and disappear, lena, i have

a question for you, how did you feel in the cockpit during all these... despite the fact that this is all in general -it’s safe, this is filming, in general not really, it was still scary , they closed the cabin, it shook so that there were no cracks , everything was sealed, they closed it with screwdrivers, raised it to a height of probably 9-8 meters, on such a specialized crane, this simulator, let's call it that , the cabin of the plane, the wing was on fire, everything was shaking, the group was below, in fact i was scared, i understood that if something wrong happened, the guys wouldn’t make it and i wouldn’t be able to break this window, i definitely wouldn’t jump out, it was scary , you have already shown the film in japan, yes, the japanese, how they watched a film about russian female pilots, and

about russians in general at that time, well, in my opinion , it was wonderful, that is, they all empathized. somewhat erased from memory, but you took up this, why? well, for me it doesn’t disappear, for me it exists emotionally, i remember my deceased grandfather, my whole family fought, my grandmother and my little mother crossed the front line,

hid from the germans, that is, it lives in me, and empathy lives, and self-identification. but with the country, with the family, with the common destiny, it is in me, and i’m talking about it i just often think, that’s why for me this is absolutely such a crystal, emotional, important component of life, there were three women’s regiments 586, 587, 588, fighter aircraft, bomber and light night bombing. you chose 586, this is a regiment of female fighter pilots who worked on the yak-1b, then there was the yak-3, yak-7, but why is this fighter regiment with.