Psichologinės priemonės, palaikančios žmogaus egzistenciją kalėjime

LTStraipsnyje analizuojamos psichologinės žmogaus egzistenciją kalėjime palaikančios priemonės. Pagrindiniu šaltiniu pasirinktas rusų literatūros klasiko Fiodoro Dostojevskio (1821–1881) romanas „Užrašai iš mirusiųjų namų“ (1861–1862), parašytas remiantis jo asmenine politinio kalinio patirtimi (1849–1859). Autorius virš niūraus gyvenimo kalėjime, skurdžios buities ir nuteistųjų nužmoginimo iškelia pastangas išlikti žmogumi ir kalėjimo sistemos užslopintus asmens gerumo pradmenis. Straipsnyje svarstoma, kodėl kaliniai būdami toje pačioje aplinkoje jaučiasi skirtingai. Nuteistųjų psichologinė poreikių tenkinimo elgsena atitiko amerikiečių psichologo Abraham’o Maslow’o sudarytą žmogaus poreikių hierarchiją ir pasikeitusią laisvės sampratą. Išgyventi padėjo kitoks kalėjime praleisto laiko suvokimas, kaip neegzistuojantis žmogaus gyvenime, ir fizinis darbas, kaip būdas užsimiršti. Pagrindiniai žodžiai: Fiodoras Dostojevskis, Užrašai iš mirusiųjų namų, psichologija, egzistencija.

ENThe novel Notes from the House of the Dead by Fyodor Mikhailovich Dostoevsky (1821–1881), a classic of Russian literature, depicts the life of a prisoner experienced by the author himself. He suffered this punishment for his involvement in unauthorized revolutionary activities led by the public fi gure Mikhail Petrashevsky (1821–1866). The so-called Petrashevsky Society brought together intellectuals and discussed the ideas of state reform and abo lition of slavery. However, the community ceased to exist in 1849 imposing a punishment on its members. In novel F. Dostoevsky allowed some of the characters to remain psycho logically resilient despite the environment around them. This was facilitated by the means of satisfying basic human needs, symbolizing freedom, and working as forgetting. Most of the characters are not given names, the cha racter traits are presented as if to suit every prisoner. For example, the desire to meet needs was common to all prisoners, not to one specifically. In addi tion, calmer prisoners were more likely not to give in to dehumanization. The author states in the minds of the main character that just as there are good and bad people in freedom, so there are personalities on both sides in prison. In prison, it is hoped to find some humanity – good between evil. There were two types of prisoners in the Notes from the House of the Dead – more aggressive and calmer. It was the paintings of the latter that reflected the psychological measures that helped to survive the time of imprisonment. It is a return to morality, seeking answers to the questions of what is good and what is not. In a depressing environment, even the slightest attempt to survive the darkness is noticeable. F. Dostoevsky depicts the picture of a prisoner revealing both sides of it – inhuman degeneration and human potential.The reasons for the good or bad feeling and adaptation of the prisoners were the relationship to conscience, differences in living conditions in prison and prison, the ability to adapt, and religiosity. F. Dostoevsky raises the idea that prisoners do not feel and understand the meaning of punishment diffe rently due to the conscience. For some, it has become helpful in showing the pain of the damage done and causing a sense of regret. The desire for an ea sier life becomes a pretext to behave criminally when one no longer tolerates living physically and psychologically in the existing environment of freedom and disregards the norms of ethical behavior. Religious prisoners felt stronger spiritually, without losing their last hope of enduring their allotted time in captivity, portraits of their personalities presented in a brighter, more opti mistic way. The non-religious were gloomier, more closed, more trafficked, prone to breaking the prison order, seeing no meaning in life. An analysis of the satisfaction of essential human needs according to Abra ham Maslow’s hierarchy of needs revealed that it is necessary for a person to find even the slightest (perhaps seeming only as a symbol in comparison with the possibilities in freedom) ways to satisfy them for their own mental well being. Buying better food than given in prison made me feel the pleasure of satisfaction. The need for security was met by craft activities that made money. Money gave a sense of the right to decide how to deal with it. And it is also an expression of freedom. Friendship with another prisoner met the needs of love. The connections made provided emotions of self-replenishment, close ness, respect, and joy, as well as helping to distance oneself from the depressing mood of the prison. The needs for assessment were reflected in the confidence of the prisoner as a person who would do nothing wrong.Although this hap pens on rare occasions (when a prison elder visits prisoners unaccompanied by guards and goes to church), it promotes mutual respect for humanity. Theatrical activities allow you to express your creativity by meeting the needs of self actualization and briefly forget about the prison space. The individual functions performed reflect the best abilities of the person. It also unites for a common goal that teaches to cooperate, to see the need of another person. The convicts felt freedom through the concepts of time (past, future, sta gnant time), ritual calculation and space. For F. Dostoevsky himself, freedom was the driving force of both his life and his work. The perception of the con cept of freedom by prisoners has revealed that it is idealized and will be more valuable when released than in pre-trial detention. The exit from prison sees a parallel to the resurrection of Jesus, providing emotions of bliss. It should be noted that the convict does not recognize the flow of time and the present of the prison, which is unpleasant for him. The prisoner psychologically displaces the perception of the present time, and the time spent in prison is not counted in life. The concept of freedom in relation to space has acquired the experience of infinite fullness. Space took two forms – “narrow-wide” and “self-alien”. The contrast between “narrow-wide” is visible in the premises of the prison and the factory where he worked. The opposition of the “own-foreign” space is noticeable in the perception of the reality of life. The comparison that there is an allusion in the prison as if there is an allusion to the moment of short-live dness – the stay is short, after all, you always return home where you are good. Finally, compulsory prison work served as a mean. [...] Keywords: Fyodor Dostoevsky, Notes from the House of the Dead, psychology, existence.

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