THE GOSPEL TEXT IN DOSTOYEVSKY'S WORKS IN THE LIGHT OF GENERAL FORM-PRODUCING PRINCIPLES

The artistic functions of the Gospel text in Dostoyevsky’s The Double, Notes from the Underground and The Idiot are examined in the light of Losev’s aesthetic theory. The focus is on the fact that the categories of Prime-image, Myth, Name take important place both in Losev’s aesthetics and Dostoyevsky’s poetics. Dynamics of the form-producing process is described by Losev as a dialectical way of the movement of Image towards Prime-image, its purpose is their complete equation. In Dostoyevsky’s works this dynamics is already apparent at onomapoetics: hero’s name actualizes dialectical relations between the character and its ideal prototype. These relations are materialized in diverse interactions of the artistic and the Gospel texts. Gospel text is actively involved in the process of formation; it carries interpenetration of architectonics and of composition aspects of artistic form, organizes artistic teleology of the writer’s works. Teleological direction of artistic myth created by Dostoyevsky embodies teleology of Absolute Myth of Sacred history.