Introduction

Can something that has no image appear as an image?
[Mozhet li mereshchit'sia v obraze to, chto ne imeet obraza?]
—F. M. Dostoevskii, The Idiot1


The Image of the Beast

Just as he was preparing to write the penultimate book of his last novel, The Brothers Karamazov, and suffering from poor health, F. M. Dostoevsky received an invitation to address the Society of Lovers of Russian Literature at their June 1880 celebration of the poet Alexander Pushkin. The significance of this three-day event was by no means confined to what it purported to be: an occasion to bring together the nation's most prominent writers, artists, actors, journalists, editors, and intellectuals to pay tribute to a celebrated poet of an earlier generation. Instead, as with all such events in nineteenth-century Russia where there was no question of freedom of expression, the literary fête would also provide a platform for public discussion of urgent social and political matters in the guise of literary commentary and interpretation. This occasion, however, was distinctive from its inception for making participants feel, as one expressed it, like “citizens enjoying a fullness of rights.”2 Speakers were not made to submit their addresses to the censor for advance review; indeed, the government of Alexander II, which had offered to pay the expenses of invited guests, made no attempt to control the planning, execution, or reception of the festivities. One journalist enthused that “in these festivities everything was the public's: public initiative, public participation, public thought, and public glory.” The boldness of the planning and acquiescence of the authorities testified to a collective desire for “freedom of thought, freedom of the press, a greater scope for society's independent activity in the name of the state and the public good,” proving, when all was said and done,

that Russian society does not exist only in the imagination but in living real-
ity; that there is cement in it that connects it all together into one inspired
mass; that it has matured and grown into manhood; that it thinks, and can
grieve, and be conscious of itself; that it counts freedom of expression as one
of its natural, inborn needs; and that, via its literature, it has earned itself
its diploma.3

-1-

Notes for this page

Add a new note
If you are trying to select text to create highlights or citations, remember that you must now click or tap on the first word, and then click or tap on the last word.
One moment ...
Project items

Items saved from this book

This book has been saved
Highlights (0)
Some of your highlights are legacy items.

Highlights saved before July 30, 2012 will not be displayed on their respective source pages.

You can easily re-create the highlights by opening the book page or article, selecting the text, and clicking “Highlight.”

Citations (0)
Some of your citations are legacy items.

Any citation created before July 30, 2012 will labeled as a “Cited page.” New citations will be saved as cited passages, pages or articles.

We also added the ability to view new citations from your projects or the book or article where you created them.

Notes (0)
Bookmarks (0)

You have no saved items from this book

Project items include:
  • Saved book/article
  • Highlights
  • Quotes/citations
  • Notes
  • Bookmarks
Notes
Cite this page

Cited page

Style
Citations are available only to our active members.
Sign up now to cite pages or passages in MLA, APA and Chicago citation styles.

(Einhorn, 1992, p. 25)

(Einhorn 25)

1

1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25, http://www.questia.com/read/27419298.

Cited page

Bookmark this page
Dostoevsky's Democracy
Settings

Settings

Typeface
Text size Smaller Larger
Search within

Search within this book

Look up

Look up a word

  • Dictionary
  • Thesaurus
Please submit a word or phrase above.
Print this page

Print this page

Why can't I print more than one page at a time?

Full screen
/ 275

matching results for page

Cited passage

Style
Citations are available only to our active members.
Sign up now to cite pages or passages in MLA, APA and Chicago citation styles.

"Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn, 1992, p. 25).

"Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn 25)

"Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences."1

1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25, http://www.questia.com/read/27419298.

Cited passage

Welcome to the new Questia Reader

The Questia Reader has been updated to provide you with an even better online reading experience.  It is now 100% Responsive, which means you can read our books and articles on any sized device you wish.  All of your favorite tools like notes, highlights, and citations are still here, but the way you select text has been updated to be easier to use, especially on touchscreen devices.  Here's how:

1. Click or tap the first word you want to select.
2. Click or tap the last word you want to select.

OK, got it!

Thanks for trying Questia!

Please continue trying out our research tools, but please note, full functionality is available only to our active members.

Your work will be lost once you leave this Web page.

For full access in an ad-free environment, sign up now for a FREE, 1-day trial.

Already a member? Log in now.