abandonment: Bartleby and Muselmann as figures of abandonment, 110; castaways, 214n70; homo sacer and, 25, 105–7, 130, 228n16; katorga and, 95, 99–100, 140– 41, 227n10; modernity and, 110, 141; punishment as radical, 99–100, 105–6
abjection: and absence of remorse or resentment, 121; crime and, 124–25; freedom or emancipation linked to, 104–5; ka torgaand equality of, 100, 104–5, 129, 141, 166; literacy and, 141–42, 175; power and, 231n46; subjectification and, 124–25, 166
abyss of class difference, 23, 27–28, 46–47, 49, 53–54, 60, 64–65, 104, 138, 143, 175, 211n42, 238n106, 246n19
accuracy of inventory, 51, 57–60, 169, 210–11n37
Agamben, Giorgio, 40–41, 244n3; on bare life, 94–96; on biopolitical fracture, 170– 71; on community as constituting power, 155; democracy and totalitarianism as continuity, 97, 229n22; “Form-of-Life,” 232n49; on Nazi lagers as state of exception, 113–14; on totalitarian camps, 97– 98, 100; Western modernity and, 97–98, 100, 104, 141; witnessing as intimacy, 137. See also homo sacer (sacred man); state of exception
Aglaia Epanchina (The Idiot), 8–9, 10, 17, 18, 199n18
Akim Akimich (Notes from the House of the Dead), 103, 234n77
“Akul'ka's Husband,” 52–53; as allegory, 89, 236–37n98; as confession narrative, 71–72, 75, 81–82, 89; desubjectification and, 75–76, 79, 136–37, 236–37n98; “The Environment” as companion text for, 132–35; framing devices and, 71; Jackson's reading of, 52; as love story, 83; prefatory narrator's focus on, 82; publication as separate work, 89; as ritual sacrifice, 81–82; Shiskov as narrator, 52, 71–72, 75–76, 79–83, 136–39
Alexander II, Tsar of Russia, 1–2, 7, 16, 84, 96–97
Aley (Notes from the House of the Dead), 67
alterity, perception of the Other, 176. See also abyss of class difference; subject / object dichotomy
apology, 87, 224n126
Arendt, Hannah, 97, 98, 100–102, 108, 157, 193–94, 230nn36–37, 235n86
aristocracy. See elites
Aristov (Notes from the House of the Dead), 235n82
atheism, 13–14, 19–20, 35, 187, 192
audience, 165; Gorianchikov as, 80; as indifferent, 117–18; Myshkin's relationship to his, 12. See also reader(s)
autobiography, 214n69, 245n13; autobiographical readings of House of the Dead, 40–41, 83–88, 94, 95, 115–16, 132–33, 137–38, 175–76, 214n69, 219n102, 221n112, 222nn118–19; Dostoevsky and fiction as filter for, 222–23n121; Gorianchikov as Dostoevsky's alter ego, 41, 84–86, 94, 115–16, 132–33, 137–38, 175–76, 214n69, 219n102, 221n112, 222n119; memoir as confession, 87; Russian tradition of integrated genres, 208– 9n27, 222n118
auxiliary persons, fictional characters as, 184–85, 192–93
Bakhtin, M. M., 11–12, 51, 115, 157, 158, 200n30, 200n32, 208n23, 209n29, 213n65
bare life, 94–99, 104–5, 106, 141, 154–55, 161, 229n25; slavery and, 98–99; zoe / bios dichotomy, 97, 104–5, 170, 178, 194
barriers as pattern of disintegration, 144–46


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Dostoevsky's Democracy


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