“It’s All One Big Fantasy”: The Critique of Modernity in Dostoevsky’s Novel The Idiot

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Author: Katya Jordan
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Ph.D., Associate Professor of Russian, Brigham Young University, Department of German and Russian, 3115 Joseph F. Smith Building, Provo, UT 84602, U.S.A.

https://orcid.org/0000-0001-9988-4077

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Jordan, Katya. “‘It’s All One Big Fantasy’: The Critique of Modernity in Dostoevsky’s novel The Idiot”. Dostoevsky and World Culture. Philological journal, no. 2 (14), 2021, pp. 65-88. (In Russ.) https://doi.org/10.22455/2619-0311-2021-2-65-88
Received: 22 Dec. 2020
Published: 25 Jun. 2021
Issue: 2021 no. 2(14)
Department: HERMENEUTICS. SLOW READING
Pages: 65-88
DOI: https://doi.org/10.22455/2619-0311-2021-2-65-88
UDK: 821.161.1.0
BBK: 83.3(2Рос=Рус)
Keywords: Dostoevsky, The Idiot, the Russian idea, modernity, nationalism, exile, nostalgia, Peter Wagner
Abstract: The opposition between Europe and Russia runs through Dostoevsky’s novel The Idiot, culminating in Mme Epanchina’s declaration that both Europe and the Russians who travel to Europe are “one big fantasy” [Dostoevsky, 2002, p. 615]. In the novel, Dostoevsky uses the exile trope as a literary tool for expressing his Russian idea. Although the spiritual underpinnings of Dostoevsky’s nationalism have been well studied, the secular side of this concept bears further exploration. Peter Wagner argues that nationalism constitutes a response to the nostalgia that is developed in exile following one’s breaking away from tradition. Nineteenth-century nationalism specifically “was an attempt to recreate a sense of origins in the face of the disembedding effects of early modernity and capitalism” [Wagner, 2001, p. 103]. By applying Wagner’s theoretical framework to Dostoevsky’s narrative, the author demonstrates that in its secular essence, Dostoevsky’s nationalism is not a merely localized manifestation of a uniquely Russian sentiment, but a symptom of a larger phenomenon that was taking place in late nineteenth-century Europe. Because Mme Epanchina gets to say the final word in Dostoevsky’s novel, her role and the subtleties of her message will be the primary focus of the present analysis.

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