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Author Guidelines

Languages of publication are Russian and English. At the discretion of the editorial staff, contributions in other languages may also be accepted.

 Articles should generally consist of 6,000-9,000 words (including footnotes, work cited, image captions and tables). In exceptional cases (where the format or the type of material dictates), longer articles will be accepted. Book reviews are generally no more than 2,000 words in length.

 All manuscripts should be double-spaced and typed with Times New Roman font size 12.

- Please include a short abstract in Russian or English (max 300 words) and 3-7 key words. Manuscripts written in Russian should also include the title, abstract, and key words in English.

 - All manuscripts will receive double-blind review. Do not provide a separate title page – add the title of submission to the top of the article’s first page. Remove any information that will reveal the author’s identity – including acknowledgements of your institution and references to your own work. Please remove any meta-data hidden in electronic files.



 Style and formatting issues to keep in mind: 

  • Russian names for texts in English are to be rendered in traditional transliteration. Particularly, we use the transliteration Fyodor Dostoevsky (not Fedor Dostoevskii or Dostoyevsky).
  • For texts in Russian: when citing titles or text in the old orthography, make sure that your usage is consistent (either modernize or transliterate in the old form).
  • Please check your manuscript to ensure that first names are provided for all individuals when they are first mentioned. 
  • When the cited items have DOIs, the authors should add DOI links.


Use italics in the following cases:

a. Non-English words (non-Russian words for texts in Russian);

b. Titles of books, volumes, journals, movies, etc. (but: for titles of articles and essays use double inverted commas).



 Quotation marks:

For English texts: use double inverted commas (“ ”) and single inverted commas (‘ ’) for secondary quotations.

For Russian texts: use guillemets for quotations (« ») and double inverted commas (“ ”) for secondary quotations.

 Short in-text quotations of a text in verse: please write the lines consecutively and divide them by a slash; e.g.:

As foretold in the closing of the poem, “he throws / The gage of vengeance for a thousand woes”. The Vespers of Palermo powerfully performs those consequences.

 Block quotations

Passages longer than three lines should be quoted in block quotation with Times New Roman font size 10 and reduced left margin.

 Omissions in quotations

Omissions within quotations should be marked by an ellipsis in square brackets; e.g.:

That is to say, the process of realizing the aesthetic object [. . .] is a process of consistently transforming a linguistically conceived verbal whole into the architectonic whole of an aesthetically consummated event.


Note numbers: after punctuation marks, e.g.:

…philosophical paradox of an ontologically predicable ‘not-nothing’,16 or, alternatively, of a precartesian scepticism rooted in a painful awareness of radical unknowing.



 Quotes to Dostoevsky’s work in the original should be indicated by in-text brackets and reference to the first 30 volume Academic edition:

- Ф. М. Достоевский, Полное собрание сочинений, в 30 тт. (Ленинград: Наука, 1972-1990), abbreviated: ПСС;

or to the 35 volume current Academic edition:

- Ф. М. Достоевский, Полное собрание сочинений и писем, в 35 тт. (Санкт-Петербург: Наука, 2013-), abbreviated: ПССП.

The abbreviation should be followed by: volume number; page number(s) - e.g.:

Какой же выход предлагает сам Достоевский? «Да в сущности и не надо даже раздавать непременно имения, – ибо всякая непременность тут, в деле любви, похожа будет на мундир, на рубрику, на букву […]. Тачка опять-таки мундир» (ПСС 25; 61)


References to Russian bibliography should be in Cyrillic.


References style:

for Books

Robert L. Belknap, The Genesis of The Brothers Karamazov: The Aesthetics, Ideology, and Psychology of Text Making (Evanston: Northwestern University Press, 1990), pp. 15-17.

Alfred Bém, Tajemství osobnosti Dostojevského: několik kritických kapitol, překlad Anna Tesková (Praha: J. Otto, [1928]).

Jacques Catteau, La Création littéraire chez Dostoïevski (Paris: Institut d’études slaves, 1978).

Horst-Jürgen Gerigk, Ein Meister aus Russland. Beziehungsfelder der Wirkung Dostojewskijs. Vierzehn Essays (Heidelberg: Universitätsverlag Winter, 2010), S. 89-90.

Игорь Л. Волгин, Последний год Достоевского, предисл. Дмитрия Лихачeва (Москва: АСТ, 2017), с. 233.

Георгий М. Фридлендер, Достоевский и мировая литература (Москва: Худож. лит., 1979).


for Articles or essays in books or journals

Evel Gasparini, “Il cosiddetto Cristianesimo di Dostoevskij”, in Sante Graciotti (Ed.), Dostoevskij nella coscienza d’oggi (Firenze: Sansoni, 1981), p. 138

Renate Hansen-Kokoruš, “Dostoevsky in Nabokov’s The Gift”, in Жан-Филипп Жаккар и Ульрих Шмид (под ред.), Достоевский и русское зарубежье ХХ века (“Dostoevsky Monographs; 1) (Санкт-Петербург: Буланин, 2008), рр. 247-259.

Richard A. Peace, “Dostoevsky and the Syllogism”, Dostoevsky Studies. New Series, vol. 9, 2005, pp. 72-79.

Lena Szilárd, “Своеобразие мотивной структуры Бесов”, Dostoevsky Studies. Journal of the International Dostoevsky Society, vol. 4, 1983, с. 139-164.

Николай П. Анциферов, “Петербург Достоевского”, in Николай П. Анциферов, Душа Петербурга. Быль и миф Петербурга. Петербург Достоевского (Москва: Книга, 1991), с. 15-228.

Леонид П. Гроссман, “Город и люди Преступления и наказания”, in Федор М. Достоевский, Преступление и наказание (Москва: Гослитиздат, 1939), с. 3-52.

Юрий М. Лотман и Борис А. Успенский, “Отзвуки концепции ‘Москва - Третий Рим’ в идеологии Петра Первого (к проблеме средневековой традиции в культуре барокко)”, in Юрий М. Лотман, История и типология русской культуры (Санкт-Петербург: Искусство, 2002), с. 349-362.

Наталья А. Тарасова, “Проблемы подготовки реального комментария (на материале романа Ф. М. Достоевского «Идиот»)”, Про­блемы исторической поэтики, т. 17, № 3, 2019, с. 149-185. DOI: 10.15393/

P.S. After the first reference, author’s name and page number should suffice. Name and minimal title will only be needed if an author has more than one work listed:

Belknap, p. 15

Лотман и Успенский, c. 351.

Or, in case if an author has more than one work listed:

Belknap, Genesis… p. 15.


Images and Tables

Images and tables that are an essential component of your article should be submitted as TIFF or JPEG files at a minimum resolution of 300 dpi. Do not place image files in your text document. Submit scans of each image with their captions and source credits. In the text, close to where each image is discussed, be sure to indicate where each image should appear (e.g., <Figure 1 near here>). It is your responsibility to secure any needed permissions (for print and electronic publication) and document these to us in writing. Obtaining proper permissions can take up to a year, so please contact permission holders before you first submit your article.


Timing: Submissions will receive double-blind review. Ordinarily we will report back to authors about their submissions within four months.


If you have any questions or concerns, please contact or  We look forward to working with you and to seeing your article in the pages of Dostoevsky Studies.

Thank you!


Submission Preparation Checklist

All submissions must meet the following requirements.

  • The submission has not been previously published, nor is it before another journal for consideration (or an explanation has been provided in Comments to the Editor).
  • The submission file is in OpenOffice, Microsoft Word or RTF document file format.
  • Where available, URLs for the references have been provided.
  • The text adheres to the stylistic and bibliographic requirements outlined in the Author Guidelines, which is found in About the Journal.

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Last update: June 2019