The Gospel text in Dostoevsky's works in the light of general form-producing principles

The artistic functions of 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 Dostoevsky'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 Dostoevsky's works this dynamics is already apparent at onomapoetiks: hero's name actualizes dialectical relations between character and its ideal prototype. These relations are realized in diverse interactions of artistic text and Gospel text. Gospel text is actively involved in the process of formation, 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 Dostoevsky embodies teleology of Absolute Myth of Sacred history.