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Dostoevsky's experiment with projective mechanisms and the theft of identity in “The Double.”

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A future revolutionary, Alesha Karamazov is, at nineteen, an inexperienced boy who lives in a monastery and who has been considered strange since birth. Fedor Dostoevskii endows him with hysteria—then a serious psychopathology with convulsions that were clinically seen as analogous to epilepsy, the "morbus sacer" from which Dostoevskii himself suffered. Recognized as an epidemic problem, hysteria in this novel is elaborately deployed as a symbol of Russia's social ills and the underlying cause of farreaching personality changes in Alesha (for better or worse), preparing him for a heroic destiny. Although hysteria was soon altered and later eliminated as a clinical syndrome, James L. Rice enables us to read the novel for the first time in the light of documented medical history.
Article
By tracing a pattern through Fedor Dostoevskii's early stories—especially The Double, “The Landlady,” and Netochka Nezvanova—in which characters are bound to each other as interacting aspects of a larger personality, Yuri Corrigan explores the problem of individual identity. Entering into debate with classical studies of the self in Dostoevskii from Mikhail Bakhtin to Nikolai Berdiaev, Corrigan explores how the active suppression of memory and interiority in Dostoevskii's early characters gives rise to the mechanism of intersecting selves, in which the inner architecture of one personality is extended throughout numerous consciousnesses. Through an analysis of these relationships, Corrigan examines how Dostoevskii synthesizes two traditions of doubling in his early writing—the “cognitive” dualism of self-consciousness and the “psychic” dualism of the unconscious—to form a tripartite model of personality that will be important for his later novels.
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