about self: 23 yo vet student; he/him; a media analysis enthusiast, a huge bird nerd, and an artist once in a blue moon.
multifandom. love classic lit, animanga, some bits and pieces of games and danmei. lately most interested in: golden kamuy, bungou stray dogs, qiang jin jiu, works of fyodor dostoevsky and edgar allan poe.
activity is sporadic, determined by my levels of obsession and procrastination.
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so frustrating when you go to see if anyone has written about homoerotic subtext in dostoevsky's work and you get maybe one academic article and the rest is substacks summarizing the book in question and one (1) person on reddit earnestly trying to engage in discussion before being immediately shot down. i'm not saying the man was an #ally or anything but there's a throughline particularly in his later works that at the very fucking least implies that a) he was aware that people can be gay b) he utilized this in some of his Great Works to explore human psychology. like can we please talk about netochka nezvanova being thrown out onto the street after she and katya are found kissing. or nastasya psychologically manipulating aglaya by writing her love letters in the idiot. or trusotsky goading velchaninov into kissing him on the mouth and confessing his love, which velchaninov calls "shameful and unnatural and immoderate" in the eternal husband. or stavrogin using his charisma to radicalize young men into heavily eroticized violence in demons. can we please talk about it. i feel like i'm in an echo chamber.
dostoevsky employed a rather putin-esque rhetoric towards homosexuality, considering it a western vice that would destabilize russia, as shown from this quote by his colleague varvara v timofeevna (c. 1873, trans by irene zohrab)
so it wasn't as though he was writing it in by accident. in fact, it's extremely easy to read this passage and understand some of the examples i gave above as being purposeful. in idiot, rogozhin and nastasya both use queerness to manipulate myshkin and aglaya respectively. both characters are "damaged goods" both mentally and in terms of sexual development, leading to perversion. in the cases of trusotsky and stavrogin, both characters are explicitly villainous and their villainy comes in part from their willingness to corrupt other men by any means possible, including sexually.
i can't think of any god-fearing excuse for whatever the hell happens in netochka nezvanova. the state tried to execute him because they knew that if he wrote a complete novel with a lesbian protagonist he would be too powerful. sad!
obviously this isn't woke or anything, and there were authors writing in the same period and similar circumstances who wrote much more liberal viewpoints into their works. however dostoevsky was a conservative & intensely religious man, so this isn't exactly surprising. i just wish that people could talk about this subtext without being shot down or ignored. these toxic relationships are among the most interesting parts of dostoevsky's novels to me as a gay person and i'm sick of people pretending that dostoevsky couldn't have been a) an incredible writer b) a conservative christian c) purposefully engaging with a spectre of queerness.
anyway. here are some articles i've found that do discuss the topic. i haven't had a chance to read through all of them, but they at least look interesting (all free and available for download)
dostoevsky and the (missing) marriage plot by anna a. berman (2021)
dostoevsky's comley boy: homoerotic desire and aesthetic strategies in a raw youth by susanne fusso (2000)
+ fusso has a whole book called "discovering sexuality in dostoevsky"
a falliable narrator and an inscrutable object: desire as structure in dostoevsky's the eternal husband by james phillips (2024)
"mann-mannliche" love in dostoevsky's fiction (an approach to the possessed) by irene zohrab (2002)
dostoevsky in europe: "the life of a great sinner" as source material for "the possessed" and "the adolescent", and ulrichs's confessional 'third sex' theory and some court cases in germany by irene zohrab (2001)
dostoyevsky: epilepsy, mysticism, and homosexuality by j.r. maze (1981)
myshkin's queer failure: (mis)reading masculinity in dostoevskii's the idiot by connor doak (2019)
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oh my god we did have tattoos apparently. seems the practise died out about 100 years ago, but there was this one russian ethnographer in the 1910s and 1920s, s i rudenko, (my brain autofills sergey ilyich but i have no idea actually,) who took a wonderfully deep interest in the indigenous arts of yugra, and committed a particularly large amount of attention to documenting the tattoos he found
yes the picture is absolutely terrible. some of his earlier works have better printed photos, actually. this work, his 1910 work ‘графическое искусство остяков и вогулов’ (‘the visual arts of the khantys and mansis’) reprinted in 1929 in материалы по этнографии россии. т. 4. вып. 2 (materials on the ethnography of russia, volume 4 issue 2), was just either printed horribly to begin with or at some point it was scanned stupidly. it's okay the rest of this post is line drawings
also note those are the hands of two different people although that might be obvious to sighted people idk
so generally it's an assemblage of different sorts of tattoos at different distances down the arm/hand
that repeating abstract banded thing across or behind the knuckles, then further down near the wrist you might put a drawing (in this case it's a tamga, a type of tribe/clan identifier that was popular with nearby turkic peoples but not so popular with uralic peoples), and some horizontal lines in between; that is the structure here. most of the banded patterns were named some variation of ‘arrowhead.’ they vaguely resemble the repeating ornamental patterns used on clothing, but the medium makes the style significantly different. (clothing patterns are outside the scope of this post.) note that in this figure, all subfigures are from mansis except for #3, which is from a khanty.
here are some examples of banded patterns:
out of these drawings, all are of khanty hands except for #5, an unspecified samoyed (probably selkup), and #9, a mansi. i'd speculate that the crosses are medical. no 3 is apparently a ‘mythical beast’ of unknown denomination; i am not up to date on khanty folklore, and the only mythical beasts i know of are mammoths. er, they knew mammoths existed, but they considered them water spirits, since their remains were usually found in bogs; that kind of mammoth.
the people with these tattoos are mostly listed as aged in their 60s and 70s; the youngest is 40.
then there's the bird drawings:
these are all mansi forearms with the pattern just described as ‘bird,’ except for #3, which is a hand with a pattern described as a wood grouse. the people with these tattoos are mostly listed as aged in their 30s; the youngest is 27, and there is an outlier at 63.
ob-ugrians distinguished and distinguish a great many birds in art, but it is possible these are indeed meant not to represent any specific bird. nevertheless i find this highly unlikely because of how much #4 in particular resembles common depictions of a cuckoo bird, with the longer pine branch tail. cuckoo birds are among the most culturally important birds, for mansis.
folklore dictates that, alongside ducks, they are the souls of the dead. (ducks arrive after winter, hence they are the souls of those who died in the winter; cuckoo birds arrive after summer, hence they are the souls of those who died in the summer. there is a good deal more to it than that but that is the basic idea.) being alive, you must have one within you somewhere, and if you lose it, you are doomed to insomnia or other mental health issues; hence, it is good to have a depiction of it nearby, to remind it where it's supposed to stay. often people put carvings of cuckoos or ducks on graves, to suggest the soul stick around; and also sometimes on the cradles of newborns, so that their souls do not abandon them early.
so i guess it'd make sense to put it on one's hand i dunno. in my case i'd be a lost cause. i grew up sleeping on rocks and in really shoddy tents and on planes and benches and so on, so i don't even sleep when i sleep anymore, i stay alert and watch out with the one eye i keep open. and, well, i consider myself dead and soulless, anyway… no, i do not believe a tattoo of a cuckoo would be effective, for me.
but ah it is a dead tradition anyhow. i am somewhat of a materialist when it comes to indigenous identity. the tradition would only be meaningful to me if it represented a personal connection between whoever recommended, taught, or did it to me. i have great appreciation for gospodin rudenko, but i do not consider reading his ethnographic paper a sufficiently meaningful connection to my indigenous heritage, i'm afraid to say. maybe if they let me back into russia one day, and i'd make friends at торум маа, and i'd discuss this with them, and we thought it'd be a good idea to resurrect the tradition… but that is a different timeline, a different me, a different future and a different present. oh well
nevertheless i can do my own thing. a medical tattoo across my ailing hands would be nice. i'll workshop some designs and do a stick and poke eventually, hopefully. i like the idea of abstract banding on the hands and a glyph near the wrist. and all the parallel lines. i expect those are medical, too
by the way i'd recommend reading that paper just to gaze at all the drawings. what do you get, when you ask the average ob-ugrian reindeer herder in 1910 to draw you something? i find the results very relatable. my favourite is this drawing of a tree and a woodpecker by a 31 year old mansi named timofey (the russian equivalent of timothy):
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