Abstract
Dostoevsky realizes the motive of home in an inseparable antinomical connection with the motive of homelessness, which is opposite to it, artistically embodied in the idea of familylessness, wandering, Chaos, and Entropy. The relevance of the study of the motives of home and homelessness lies in the gradual reconstruction of the author's concept of the saving future. In this article, the motives of home and homelessness are considered in several aspects, including toponymic, functional, archetypal and ontological. We tried to demonstrate the implementation of the stated motives at the level of such categories as faith-unbelief, Heaven and Hell, brotherhood and isolation. In the novel Demons , the idea of national soil and separation from it, the possible salvation of a person and the consequences that await society in the event of the dominance of demons and the loss of the primordial brotherhood - the intimate connection between people, is consistently developed. From this point of view, the motives of home and homelessness become significant for the novel space. The archetype of home contains the idea of a saving own circle, which is opposed to the outside world with its hostility, spontaneity, and disaster. Everything that is located outside this circle are elements belonging to the anti-world, and therefore their effect on the microcosm of home is destructive. Analysis of the text confirms that the archetype of Dostoevsky's home is destabilized. Its tightness is broken; the boundaries protecting the interior are permeable. The motive of the home is typically supplanted by the motive of homelessness, and therefore it is natural to consider this motive couple in its antinomical continuity. In the above study, the motives of home and homelessness are considered as ontological: they are associated with the existential level of the work, due to which it is possible to establish the ontological status of the actants and determine the relationship with the so-called initial idea.
Highlights
The humanities differ in their specifics from the natural and technical sciences
The motives of home and homelessness are considered as ontological: they are associated with the existential level of the work, due to which it is possible to establish the ontological status of the actants and determine the relationship with the so-called initial idea
Having established the ontological status of a motive as an element that is persistently repeated in a work, repeatedly, forming its bearing axis, we will invite students to analyze those fragments of texts in which the house is materially objectified
Summary
The humanities differ in their specifics from the natural and technical sciences. If the former are aimed at cognizing some external object for the purpose of certain procedural manipulations with it, the latter presuppose the transformation of the figure, who immerses himself in humanitarian knowledge, i.e. a philologist and a philosopher. The flow of the plot that captivates the reader is perceived more or less holistically if the mechanism of identifying oneself with one of the heroes is triggered This is a natural process: the main task of art is to provide a person with experience without having this experience in reality. Dostoevsky constructs the artistic world in such a way that the reader cannot avoid his “cornerstones” This task of conveying meaning is achieved through multiple repetitions of key elements. When we talk about repetitions, we mean that everything significant is objectified in a work several times, when it is impossible to ignore a certain element This connection of episodes is often scattered in the architectonics of the whole, not “welded” by the plot sequence. The direction of such reading should be chosen in advance
Sign-in/Register to view highlights & summary Sign-in/Register to access full text options 
Free) 
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a call
