The importance of Dostoevsky for Western culture is recognized by all critics. From the first appearance of his novels, ideas, insights and problems in his works continue to be studied, explored and interpreted from various areas of culture: literature, psychology, sociology and anthropology, but not all.
This is because the center of his works, especially the great works, there is the man. Dostoevsky, in fact, explored the man like few other authors, revealing that hides the infinite problematic.
Not always, of course, I learned to decipher fully revealed by his research, but I tried to tell his experiences, le sue folgoranti illuminazioni e anche le sue allucinazioni e i suoi sogni.
Certo, molti ed illustri critici si sono da sempre cimentati con rigore nella lettura delle opere di Dostoevskij. Di proposito, non ho voluto seguire tutta questa letteratura critica, impossibile da abbracciare e dominare, data la sua dimensione e, per lo più, ancora in crescita continua, perché più si scava e si interpreta il pensiero di Dostoevskij e più si trovano nuovi elementi e nuovi spunti di riflessione.
Del resto, ho limitato la mia ricerca alla ricostruzione della prospettiva etica cosi come emerge dai grandi romanzi.
Anche qui, ovviamente, non mancano saggi critici di notevole valore. Ho analizzato quelli che ho ritenuto più pertinenti the theme and even more accessible, as is clear from the list of References.
Of particular interest and utility to the present work seemed to me, among others, the work of Pareyson [1] , Cantoni [2] and the introductory essay by Vittorio Strada [3] the Italian edition dell'Idiota. For the brief concluding remarks, I was also useful essay Givone [4] , not because it contains explicit references to the works of Dostoyevsky, but because it serves to frame the thinking of the writer in the cultural movement of Romanticism. Of particular interest were also the essays contained in this volume collective work The drama of freedom [5] .
would like at this point, made clear that this research is not intended as an exposition of the various interpretations that I found in different authors, highlighting converging or diverging points of view on this issue, but simply wants to focus on the centrality of the texts of our author, so for him to speak through her construction of events and characters that are most related to his ethical perspective. This effort forced me to read all the novels of Dostoevsky and reconstruct as closely as possible thought and figures. I hope that this type of work, although certainly less important from a critical standpoint, may be no less interesting for the purpose of listening and almost literally true of the thought of Dostoevsky's caught in its evolution, through insights, doubts, criticisms, suggestions and questions that are in different stories and different characters in a tangle of nuances certainly not easy. Somehow, I have tried to unravel this tangle detecting the presence of the theme of ethics in the various characters and other elements, present in different works, trying to rebuild a maturation process on the topic, to identify the final proposal and the limits thereof.
I have articulated, therefore, work in two parts: the first part reconstructs the diverse experience of evil, that Dostoevsky is essential for the revival and the discovery of the property, within a path that must be personal and not shared within an ideology. Dostoevsky was always haunted by the presence of evil, seen as pure freedom to do anything with complete autonomy and freedom, in search of his goal, regardless of the consequences that these actions, designed to achieve the objective pursued, can bring. In this regard I shall examine the diseased freedom that Dostoevsky, in my opinion he wished to convey through the novel Notes from underground, trying to highlight the sadistic behavior of the protagonist and his total inability to relate to one's neighbor, generating around him a kind of empty space that will live in complete inability to love.
This will result in inability to love pure and free will, verifiable through the hallucinatory behavior and thoughts of Raskolnikov, the main character of Crime and Punishment. The shocking news of this character is that he does not dwell only evil but also the sympathy for people less fortunate.
After all, this is the ongoing struggle between God and the devil that is the battlefield in the hearts of men. Raskolnikov is all evil, at first, and then, after sin, redemption.
short, Raskolnikov is a man in constant struggle between good and evil, which examines himself in the hope of being able to take the road that leads final armistice, the final regeneration, the discovery of a moral free from suffering.
This analysis, taking into account other moves are symbolic of Dostoevsky's novels, such as, The Brothers Karamazov or demons. All the novels of Dostoevsky, especially those concerning his second term, just to be clear to those later Notes from Underground, can lend indiscriminately to investigate the goodness and evil inside the human soul. Dostoevsky has never created a novel topic, and it is for this reason that every novel offers the possibility to extrapolate from its internal elements that lead to the generation of the new man, which is the ethical end of Dostoevsky. The idea of \u200b\u200bclosure, in this first part of the quest for freedom will be sick the concepts about the Poem of the Grand Inquisitor, bishop of the Roman Catholic Church that is forced, as it follows its own logic advocated a strict order to the stake to Jesus Christ Like a heretic. Jesus for the Bishop of Seville was wrong because she believed humans too, giving him freedom of will, the man for the Grand Inquisitor, however, should not have freedom of choice, otherwise lives a life punctuated by pain and suffering. The main error committed by Jesus, the Grand Inquisitor, was not wanting to tie the man's faith for miracles, for example with the three temptations that the devil has brought the desert. Jesus does not consider it worthy of note a faith bound by the miracle, if that were true this would only be a constraint and freedom, man must be free to believe in absolute freedom. The Poem of the Grand Inquisitor offers the opportunity to dig the notion that Dostoevsky's freedom, then that is the cornerstone of ethics training.
The second part of this paper is dedicated to the pursuit of positive liberty, in its various forms that result in small and large figures represented from the small Iljùša or Holy Zosima, which find their highest representation through Prince Myshkin, who escapes the rationalism prevailing in the society of his time being guided by emotions in order to establish an authentic contact with others. Dostoevsky was able to give this figure a goodness out of the ordinary. Myshkin, paradoxically, unlike Raskolnikov, has never experienced the dark side of freedom that leads to suffering and its atonement for their sins, so as to generate the redemption and the consequent birth profoundly moral man. He is able to love the man as himself, according to the commandment of Christ, and to consider the neighbor as an inalienable part of himself, which he can not do without and it can not be deprived.
In conclusion this is the great lesson dostoevskiana: atonement for the sins of suffering (except in some rare cases such as Prince Myshkin who has never known sin) can lead to spiritual rebirth and the generation of the new man.
This is because the center of his works, especially the great works, there is the man. Dostoevsky, in fact, explored the man like few other authors, revealing that hides the infinite problematic.
Not always, of course, I learned to decipher fully revealed by his research, but I tried to tell his experiences, le sue folgoranti illuminazioni e anche le sue allucinazioni e i suoi sogni.
Certo, molti ed illustri critici si sono da sempre cimentati con rigore nella lettura delle opere di Dostoevskij. Di proposito, non ho voluto seguire tutta questa letteratura critica, impossibile da abbracciare e dominare, data la sua dimensione e, per lo più, ancora in crescita continua, perché più si scava e si interpreta il pensiero di Dostoevskij e più si trovano nuovi elementi e nuovi spunti di riflessione.
Del resto, ho limitato la mia ricerca alla ricostruzione della prospettiva etica cosi come emerge dai grandi romanzi.
Anche qui, ovviamente, non mancano saggi critici di notevole valore. Ho analizzato quelli che ho ritenuto più pertinenti the theme and even more accessible, as is clear from the list of References.
Of particular interest and utility to the present work seemed to me, among others, the work of Pareyson [1] , Cantoni [2] and the introductory essay by Vittorio Strada [3] the Italian edition dell'Idiota. For the brief concluding remarks, I was also useful essay Givone [4] , not because it contains explicit references to the works of Dostoyevsky, but because it serves to frame the thinking of the writer in the cultural movement of Romanticism. Of particular interest were also the essays contained in this volume collective work The drama of freedom [5] .
would like at this point, made clear that this research is not intended as an exposition of the various interpretations that I found in different authors, highlighting converging or diverging points of view on this issue, but simply wants to focus on the centrality of the texts of our author, so for him to speak through her construction of events and characters that are most related to his ethical perspective. This effort forced me to read all the novels of Dostoevsky and reconstruct as closely as possible thought and figures. I hope that this type of work, although certainly less important from a critical standpoint, may be no less interesting for the purpose of listening and almost literally true of the thought of Dostoevsky's caught in its evolution, through insights, doubts, criticisms, suggestions and questions that are in different stories and different characters in a tangle of nuances certainly not easy. Somehow, I have tried to unravel this tangle detecting the presence of the theme of ethics in the various characters and other elements, present in different works, trying to rebuild a maturation process on the topic, to identify the final proposal and the limits thereof.
I have articulated, therefore, work in two parts: the first part reconstructs the diverse experience of evil, that Dostoevsky is essential for the revival and the discovery of the property, within a path that must be personal and not shared within an ideology. Dostoevsky was always haunted by the presence of evil, seen as pure freedom to do anything with complete autonomy and freedom, in search of his goal, regardless of the consequences that these actions, designed to achieve the objective pursued, can bring. In this regard I shall examine the diseased freedom that Dostoevsky, in my opinion he wished to convey through the novel Notes from underground, trying to highlight the sadistic behavior of the protagonist and his total inability to relate to one's neighbor, generating around him a kind of empty space that will live in complete inability to love.
This will result in inability to love pure and free will, verifiable through the hallucinatory behavior and thoughts of Raskolnikov, the main character of Crime and Punishment. The shocking news of this character is that he does not dwell only evil but also the sympathy for people less fortunate.
After all, this is the ongoing struggle between God and the devil that is the battlefield in the hearts of men. Raskolnikov is all evil, at first, and then, after sin, redemption.
short, Raskolnikov is a man in constant struggle between good and evil, which examines himself in the hope of being able to take the road that leads final armistice, the final regeneration, the discovery of a moral free from suffering.
This analysis, taking into account other moves are symbolic of Dostoevsky's novels, such as, The Brothers Karamazov or demons. All the novels of Dostoevsky, especially those concerning his second term, just to be clear to those later Notes from Underground, can lend indiscriminately to investigate the goodness and evil inside the human soul. Dostoevsky has never created a novel topic, and it is for this reason that every novel offers the possibility to extrapolate from its internal elements that lead to the generation of the new man, which is the ethical end of Dostoevsky. The idea of \u200b\u200bclosure, in this first part of the quest for freedom will be sick the concepts about the Poem of the Grand Inquisitor, bishop of the Roman Catholic Church that is forced, as it follows its own logic advocated a strict order to the stake to Jesus Christ Like a heretic. Jesus for the Bishop of Seville was wrong because she believed humans too, giving him freedom of will, the man for the Grand Inquisitor, however, should not have freedom of choice, otherwise lives a life punctuated by pain and suffering. The main error committed by Jesus, the Grand Inquisitor, was not wanting to tie the man's faith for miracles, for example with the three temptations that the devil has brought the desert. Jesus does not consider it worthy of note a faith bound by the miracle, if that were true this would only be a constraint and freedom, man must be free to believe in absolute freedom. The Poem of the Grand Inquisitor offers the opportunity to dig the notion that Dostoevsky's freedom, then that is the cornerstone of ethics training.
The second part of this paper is dedicated to the pursuit of positive liberty, in its various forms that result in small and large figures represented from the small Iljùša or Holy Zosima, which find their highest representation through Prince Myshkin, who escapes the rationalism prevailing in the society of his time being guided by emotions in order to establish an authentic contact with others. Dostoevsky was able to give this figure a goodness out of the ordinary. Myshkin, paradoxically, unlike Raskolnikov, has never experienced the dark side of freedom that leads to suffering and its atonement for their sins, so as to generate the redemption and the consequent birth profoundly moral man. He is able to love the man as himself, according to the commandment of Christ, and to consider the neighbor as an inalienable part of himself, which he can not do without and it can not be deprived.
In conclusion this is the great lesson dostoevskiana: atonement for the sins of suffering (except in some rare cases such as Prince Myshkin who has never known sin) can lead to spiritual rebirth and the generation of the new man.
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