On the formats and properties of F.M. Dostoevsky’s narrative pragmatics. Part one: fictional works

The article examines the goals and objectives that Dostoevsky set for himself, forming the plots and narrative mode of his artistic works, in the aspect of creative teleology and within the framework of establishing a dialogical connection with his recipient, which was reflected in the form of a certain set of techniques in the structure of his artistic works. With their help, the reader’s attention was actualized, the resources of his memory and creative intention were attracted as perception factors. Within the framework of this necessary live communication with the implicit reader, the exchange of remarks, questions and assumptions, which took a significant number of different forms, the writer maintained a state of “positively acceptable” attitude on the part of the reader to his text. The article hypothesizes that the prototype of Dostoevsky’s implicit reader was his brother, Mikhail Mikhailovich (1820-1864), in a literary and aesthetic dialogue with whom the creative credo of the future author of the Brothers Karamazov was developed, many ideas that later formed the basis of his works received their initial forms. The article traces the dynamics, from early creativity (1844-1849), through the “Siberian period” (1854-1859) to the late period of creativity (1860-1880), a set of poetic figures peculiar to each period, who maintained a dialogue with the reader. The conclusion is made about the great role played in the structure of the writer’s artistic works by the dialogue with the recipient, designed in the form of a set of replicas specific to each period of his work.