Where Bobok Is Buried: The Theosophical Roots of Dostoevski's “Fantastic Realism”

  title={Where Bobok Is Buried: The Theosophical Roots of Dostoevski's “Fantastic Realism”},
  author={Ilya Yu. Vinitsky},
  journal={Slavic Review},
  pages={523 - 543}
In addition to examining the ideological and artistic origins of Fedor Dostoevskii's portrayal of the underworld in his short “cemetery story” “Bobok” (1873), Ilya Vinitsky probes the theosophical context of Dostoevskii's “fantastic realism.” Vinitsky considers this story a programmatic “theosophical menippea” that artistically “voices” and “tests” Emanuel Swedenborgs doctrine of posthumous self-exposure of the wicked souls who are no longer restrained by “fear of the law, of the loss of… 
1 Citations
The Vision of an Axe. Dostoevsky and Astronautics
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in minute detail, and it is instructive to see it treated within the broader context of other important European commissions of the eighteenth century. In a close reading of the monument as visual
Heaven and Its Wonders and Hell: From Things Heard and Seen
Series: Everyman's library. Theology & philosophy ; no. 379. Notes: Title within ornamental border; illustrated lining-papers. Introduction by J. Howard Spalding. Bibliography: p. xiv.
O zhizni dushi po vozsoedinenii eia s telom, vo vseobshchem voskresenii mertvykh
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      Here the leftist sadrist uses the meaningless word bobok to discredit Dostoevskii as the author of the antinihilist apocalyptic Devils
        / Who is this? The Devils? Wait! / Bobok, bobok, bobok! / A n d then he took off running, / Madly at full speed
            As certain commentators have noted, the conversation overheard by Dostoevskii's narrator resembles the dogs' correspondence in Gogol"s "Diary of a Madman
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