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Notes from Underground (pre-reform Russian: ; post-reform Russian: , Zapski iz podplya; also translated as Notes from the Underground or Letters from the Underworld) is a novella by Fyodor Dostoevsky first published in the journal Epoch in 1864. It is a first-person narrative in the form of a "confession". The work was originally announced by Dostoevsky in Epoch under the title "A Confession".[2]

The novella presents itself as an excerpt from the memoirs of a bitter, isolated, unnamed narrator (generally referred to by critics as the Underground Man), who is a retired civil servant living in St. Petersburg. Although the first part of the novella has the form of a monologue, the narrator's form of address to his reader is acutely dialogized. According to Mikhail Bakhtin, in the Underground Man's confession "there is literally not a single monologically firm, undissociated word". The Underground Man's every word anticipates the words of an other, with whom he enters into an obsessive internal polemic.[3]

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The title of Part 2 is an allusion to the critic Pavel Annenkov's observation that "damp showers and wet snow" were indispensable to writers of the Natural School in Petersburg.[9] Following the title there is an epigraph containing the opening lines from Nekrasov's poem "When from the darkness of delusion..." about a woman driven to prostitution by poverty. The quotation is interrupted by an ellipsis and the words "Etc., etc., etc."[9]

After all this, he still acts terribly toward her, and, before she leaves, he stuffs a five ruble note into her hand, which she throws onto the table (it is implied that the Underground Man had sex with Liza and that the note is payment). He tries to catch her as she goes out to the street, but he cannot find her and never hears from her again. He tries to stop the pain in his heart by "fantasizing."

He recalls this moment as making him unhappy whenever he thinks of it, yet again proving the fact from the first section that his spite for society and his inability to act makes him no better than those he supposedly despises.

When Notes from Underground was written, there was an intellectual ferment on discussions regarding religious philosophy and various 'enlightened' utopian ideas.[11] The work is a challenge to, and a method of understanding, the larger implications of the ideological drive toward a utopian society.[12] Utopianism largely pertains to a society's collective dream, but what troubles the Underground Man is this very idea of collectivism. The point the Underground Man makes is that individuals will ultimately always rebel against a collectively imposed idea of paradise; a utopian image such as The Crystal Palace will always fail because of the underlying irrationality of humanity.

In chapter 11, the narrator refers to his inferiority to everyone around him and describes listening to people as like "listening through a crack under the floor." The word "underground" actually comes from a bad translation into English. A better translation would be a crawl space: a space under the floor that is not big enough for a human, but where rodents and bugs live. According to Russian folklore, it is also a place where evil spirits live.[citation needed]

Daniel Tilles is editor-in-chief of Notes from Poland and assistant professor of history at the Pedagogical University of Krakow. He has written on Polish affairs for a wide range of publications, including Foreign Policy, POLITICO Europe, The Independent and Dziennik Gazeta Prawna.

Stanley Bill is the founder and editor-at-large of Notes from Poland.

He is also Senior Lecturer in Polish Studies and Director of the Polish Studies Programme at the University of Cambridge, where he works on Polish culture, politics and history.

Stanley has spent more than ten years living in Poland, mostly based in Krakw and Bielsko-Biaa. He founded Notes from Poland in 2014 as a blog dedicated to personal impressions, cultural analysis and political commentary. He is committed to the promotion of deeper knowledge and understanding of Poland.

One of the things that I wanted to do with Notes From the Apotheke was to amplify the voices and contributions of BIPOC scholars in ancient Mediterranean studies, at all levels and from all backgrounds. BIPOC in the field are invited to reflect on what brought them to studying the ancient world, as well as offer their opinions on the future of the discipline and share any work they are especially proud of or excited about.

A month ago, I participated in the Presenting the Past Colloquium organized by Peopling the Past. The colloquium was held in Vancouver, British Columbia from March 23-25, 2023. The day before the colloquium started, I was also asked to organize a workshop on some topic related to pedagogy for the Ancient Mediterranean and Near Eastern Studies (AMNE) department at the University of British Columbia. The topic I chose was rubrics.

The big difference to other proposals from filtering the graph view is that I would like to choose the default behaviour for each file or folder whether they should show up in the graph, rather than filtering the entire graph until it shows what I would like.

Sometimes I write a longer text, that is not necessarily part of the network of notes, but references them. The longer the text becomes, and the more references are being made, they will have so much gravity within the graph view, that they tend to obscure the networks shape.

Are there others out there interested in this?

Sortof like something that would enable my workflow - ability to turn off Daily notes from graph view(because my new page template inserts a daily note link and time stamp in everpage, and this clutters the graph view.)

I know that it can be done using tags, but I was asking for the specific option to exclude daily notes from the graph view. I ve tried typing in the specific query every single time, and it is annoying. atleast, if we had sticky filter queries

@Soncro: I like it. Maybe, for flexibility, there could be a graph view search keyword that, if included in the filter query, would revert the graph to temporarily including all of those hidden notes, folders, etc. If the keyword method is not preferred, maybe there could be a hotkey to toggle this functionality.

Learn about me in the 'About' section, where I talk about the history of Notes from the Road as an experimental travelogue. Check out my list of great road trip music by Grateful Dead and Phish. I also keep a bird life list, as well as lifelists for butterflies, damselflies and dragonflies, reptiles and amphibians.

I will continue calmly concerning persons with strong nerves who do notunderstand a certain refinement of enjoyment. Though in certain circumstancesthese gentlemen bellow their loudest like bulls, though this, let us suppose,does them the greatest credit, yet, as I have said already, confronted with theimpossible they subside at once. The impossible means the stone wall! Whatstone wall? Why, of course, the laws of nature, the deductions of naturalscience, mathematics. As soon as they prove to you, for instance, that you aredescended from a monkey, then it is no use scowling, accept it for a fact. Whenthey prove to you that in reality one drop of your own fat must be dearer toyou than a hundred thousand of your fellow-creatures, and that this conclusionis the final solution of all so-called virtues and duties and all suchprejudices and fancies, then you have just to accept it, there is no help forit, for twice two is a law of mathematics. Just try refuting it.

Of course I have myself made up all the things you say. That, too, is fromunderground. I have been for forty years listening to you through a crack underthe floor. I have invented them myself, there was nothing else I could invent.It is no wonder that I have learned it by heart and it has taken a literaryform....

Quite so; but yet it is more imposing on paper. There is something moreimpressive in it; I shall be better able to criticise myself and improve mystyle. Besides, I shall perhaps obtain actual relief from writing. Today, forinstance, I am particularly oppressed by one memory of a distant past. It cameback vividly to my mind a few days ago, and has remained haunting me like anannoying tune that one cannot get rid of. And yet I must get rid of it somehow.I have hundreds of such reminiscences; but at times some one stands out fromthe hundred and oppresses me. For some reason I believe that if I write it downI should get rid of it. Why not try?

This Anton Antonitch lived on the fourth storey in a house in Five Corners, infour low-pitched rooms, one smaller than the other, of a particularly frugaland sallow appearance. He had two daughters and their aunt, who used to pourout the tea. Of the daughters one was thirteen and another fourteen, they bothhad snub noses, and I was awfully shy of them because they were alwayswhispering and giggling together. The master of the house usually sat in hisstudy on a leather couch in front of the table with some grey-headed gentleman,usually a colleague from our office or some other department. I never saw morethan two or three visitors there, always the same. They talked about the exciseduty; about business in the senate, about salaries, about promotions, about HisExcellency, and the best means of pleasing him, and so on. I had the patienceto sit like a fool beside these people for four hours at a stretch, listeningto them without knowing what to say to them or venturing to say a word. Ibecame stupefied, several times I felt myself perspiring, I was overcome by asort of paralysis; but this was pleasant and good for me. On returning home Ideferred for a time my desire to embrace all mankind. ff782bc1db