The Reception of Dostoyevsky’s Artistic Heritage in Italy: From ‘Madhouse Shakespeare’ to ‘Political Prophet’

This article presents an analysis of the reception of the artistic heritage of F. M. Dostoyevsky in Italy. It is evident that the most celebrated Russian author in Italy was not fully comprehended or esteemed during the initial decade following his demise. This can be attributed, at least in part, to the shortcomings of the initial Italian translations of his works, which failed to adequately capture the nuances of his writing, particularly the numerous biblical allusions that constitute a distinctive ethical code within the context of his oeuvre. Nevertheless, at the turn of the century, allusions to concepts, plot motifs, and artistic features of his poetics can be found in the texts of the most renowned Italian writers. The article examines selected works by Italian authors, illustrating how their approach to the artistic legacy of the Russian writer evolves. Initially, there is a tendency to emulate the motif of ‘crime and punishment’. However, as the analysis progresses, there is a discernible shift towards a profound grasp of his fundamental concepts and axiological depth, namely ‘eschatological optimism’. This entails the notion that the soul of the protagonists is capable of resurrection through mercy. Consequently, the extent of comprehension of Dostoyevsky’s texts is directly correlated with the dissemination of his legacy. This is exemplified by the allusions to the motifs of his works in the Italian comic series Dylan Dog.