№ 4, 2017 year

The article is devoted to the problems of textual criticism based on the material of the notebooks of F. M. Dostoevsky of the years 1864–1870 and their first publications. The research paper allows us to reveal the common factors of formation of the textological principles of preparing of Dostoevsky’s manuscript heritage for publishing. The work envisages the problems of the first reading of autographs and the specificity of repercussions of their linguistic characteristics in scientific publications of the 1930s. Also in the article the mistakes of interpretation of the original text are corrected, the principles of text graphic highlighting in print are clarified. In addition to the earlier publications the materials of the academic Complete works of Dostoevsky are taken into consideration. The article presents the results of the analysis of the creative process of the writer seen in the rough version. It also studies the problem of reconstruction of order of author’s notes in the first and subsequent publications of his autographs.F. M. Dostoevsky, textual criticism, notebooks, publishing practice

The article studies the manuscripts of F. M. Dostoevsky’s three workbooks of the years 1865 1867 (the Russian State Archive of Literature and Arts. Fund 212.1.3, 212.1.4 and 212.1.5). As a result of textual analysis, a recognized chronology of preliminary notes referring to the novel “Crime and Punishment” provided by the academic Complete Works of the writer, was significantly amended. The article particularly envisages some sketches that mention Aristov, a character named after a prisoner who then served his sentence in the Omsk jail with Dostoevsky. Since the 1930s following V. L. Komarovich and L. P. Grossman, Aristov has been traditionally seen as a prototype of Svidrigaylov, one of the protagonists of “Crime and Punishment”. Thanks to a critical analysis of these notes in terms of the corrected chronology, the article proves that Aristov from the early sketches in the first two notebooks of 1865 (Funds 212.1.3 and 212.1.4) and Svidrigaylov whose name appears only in the third notebook (Fund 212.1.5) containing preliminary materials for the final published edition of the novel, have no inner connection. This fact allowed the author of the article to reconsider the idea of the creative history of “Crime and Punishment” offered by V. L. Komarovich and accepted in the Complete Works of Dostoevsky at the moment when the writer leaves the narrative form in person of the hero and begins his work on the final edition where the narration is conducted in person of the “all-knowing author”.F. M. Dostoevsky, manuscripts, textual criticism, history of the text, creative history, prototypes, narrative form

In the early 1860s a notable phenomenon of social life in Russia was the struggle of women for the right to visit universities and obtain higher education. F. M. Dostoevsky was "for" the changes in the public consciousness that were in process at this time, and thus, supported the desire of the girls of that time to work and study, at the same time denying the revolutionary ways of achieving this goal. It was no coincidence that on the pages of journals edited along with his brother Mikhail ("Vremya", 1861—1863, "Epokha", 1864—1865) he published articles and essays on female education and the "women's question" in general. Dostoevsky was personally acquainted with a lot of bright representatives of a "new" generation, such as the sisters Natalia Ieronimovna and Ekaterina Ieronimovna Corsini, Nadezhda Prokofievna Suslova and her sister Apollinaria. Existing letters of some of the mentioned girls to the writer testify his friendliness to them. Fyodor Mikhailovich knew also the sisters Korvin-Krukovsky, who left a large footprint in the history of women's education. All these girls (with the exception of E. Corsini) were engaged in writing. Their diaries, memoirs, letters and literary experiments vividly illustrate the process of the formation of women's self-awareness, their hard way to education and work. This study is an attempt to systematize and analyze the facts of the biography of female noncredit students at the beginning of the 1860s through their correlation with life and work of the writer.Corsini, Nadezhda Suslova, Apollinaria Suslova, female noncredit students, higher education, a woman

This publication for the first time manages to determine exact spelling of the name of one of the correspondents of the newspaper-magazine “Grazhdanin” under the editorship of Dostoevsky, in 1873. The surname of the correspondent was repeatedly written in a wrong manner in previous scientific sources. Data on him that displayed Dostoevsky’s acquaintances and contacts was not included into the reference works of that time. Correction of the spelling mistake made it possible to collect some biographical facts about Peter Filimonovich Ulovich, Polesye priest born in the village of Pogorelovka of Volyn province (formerly mentioned as Ukhovich), about his family, some circumstances of his activity as an enlightener and a devotee of his work. The publication discloses information about documents that contain data on Peter Ulovich, reproduces the text of the letter and suggests a historical and literary commentary on it.“Grazhdanin”, F. M. Dostoevsky, Peter Ulovich, Polesye priest, editor, letters

For the first time the article deals with the experience of the annotated edition of Dostoevsky’s address records contained in workbooks and other manuscript materials of the writer’s archive. All the records are reproduced thanks to autographs with the indication of the archival storage sites. Regional commentaries with the use of address books and other printed resources of those times (tables of the buildings, guidebooks, reference books etc) allowed making correction in the range of wrong textual interpretations of the previous publications. The commentaries reconstructed as full as possible historical addresses of people and organizations appeared in Dostoevsky’s manuscripts, specified personal data of the addressees. In dozens of cases are given the house owners’ names and exact numbers of the houses, in certain cases even of the apartments. The modern position of the annotated addresses is spotted on the map of St. Petersburg.F. M. Dostoevsky, St. Petersburg, notebooks, addresses, addressees, address books, tables of the buildings, textual criticism, local studies, commentaries

In the novel “The Brothers Karamazov” the town of Skotoprigonyevsk appears as a generalized image. On the one hand, it involves prototypical details of various city texts: Kozelsk and the Hermitage of Optina, Moscow and Darovoye, Chermoshnya and Mokroye, Omsk, Tobolsk and Semipalatinsk. On the other hand, it is an image caused by impressions of Staraya Russa. The article underlines the peculiarities of depicting a country town by Dostoevsky, specifies the routes of the main characters, defines some topographical and toponymic features of the novelistic town of Skotoprigonyevsk in correlation with Staraya Russa realities, establishes a connection between the heroes and their prototypes. The analysis of the repercussion of Staraya Russa realities in Dostoevsky’s novel “The Brothers Karamazov” allows us to raise in a new fashion the question of how the artistic fiction and the real, documentary materials relate to each other in literature.“The Brothers Karamazov”, F. M. Dostoevsky, Staraya Russa, city, provincial, realities, topography, prototypes, loci, names, routes, landscape, proto-details

The importance of stenography, i. e. the art of writing at speech rate, is widely recognized in the history of evolution of the world science and culture, politics and economy. The given article systematizes the facts about the writers of the 19th and the first half of the 20th centuries who mastered the shorthand or used to resort to the help of professional stenographers in their creative activities. Taking into consideration this review the article makes a conclusion about the role and meaning of stenography in the creative process of F. M. Dostoevsky. He was the second writer in Russia (following V. V. Krestovsky) who applied shorthand writing in his literary work, but the only one in the world literature for whom stenography became something more than just shorthand. He considered it to be mysterious and “high art”. It modified and enriched the model of his creative process not for a while but for life, and it had an influence on the poetics of novels and of the story “A Gentle Creature”, it contributed changes in the writer’s private life and provoke the relatives’ interest (stepson P. A. Isaev, niece E. M. Dostoevskaya). In the course of the marriage of Dostoevsky and stenographer A. G. Snitkina the author’s artistic talent came to the peak. The largest and most important part of his body of work was created in that period. Unfortunately, the Dostoevsky archive keeps only a moderate part of the manuscripts with stenographic notes in them. It is described in the supplement to the article.stenography, art, Dostoevsky, A. G. Dostoevskaya, V. V. Krestovsky, P. M. Olkhin, creative process