The two-fold image as Dostoevsky’s creative principle has been repeatedly observed and described from different perspectives in accordance with different research tasks. In this article, attention will be focused on the description of the two-fold image, its structure and functions, by Dostoevsky himself within the framework of his reflection on his creative method, as part of what can be called his own theory of creativity. In 1876, Dostoevsky describes the structure of a two-fold image from three different angles on three occasions over a short period of time: from the point of view of the structure as such; from the point of view of its manifestation and revelation in a work of fiction; from the point of view of its application as a working construct in a particular case for a particular person. Dostoevsky understands the two-fold image as a profound insight about the world and man, a fundamental philosophy of personality that provides the reader with clues to a personal transformation. At the same time, he always speaks about the second component of the image absolutely transparently to himself—but covertly to the reader, assuming that it is the enigmatic nature of its deep core that compels the reader to look at and listen to the implicit concept, making the image a working, transforming tool.

中文翻译：

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陀思妥耶夫斯基作品中的双重形象与人格哲学

作为陀思妥耶夫斯基创作原则的双重形象，根据不同的研究任务，从不同的角度被反复观察和描述。在这篇文章中，重点将集中在陀思妥耶夫斯基自己在反思其创作方法的框架内对双重图像、其结构和功能的描述，作为他自己的创造力理论的一部分。1876 年，陀思妥耶夫斯基在短时间内从三个不同的角度在三个场合描述了双重图像的结构：从结构的角度；从它在小说作品中的表现和启示的角度来看；从它在特定情况下作为特定人的工作结构的应用的角度来看。陀思妥耶夫斯基将双重形象理解为对世界和人的深刻洞察，一种基本的人格哲学，为读者提供了个人转变的线索。同时，他总是对自己绝对透明地谈论图像的第二个组成部分——但对读者却是隐蔽的，假设正是其深层核心的神秘性质迫使读者去观察和倾听隐含的概念，使图像成为一种有效的转换工具。