This article is devoted to the study of intercultural communication within the field of literary studies, the relevance of which is determined by the increasing role of intercultural communicative competence as a significant resource for the successful development of the individual in modern society. Of particular interest in this context is the interaction between national literary traditions and the ways in which representatives of one cultural space perceive the artistic heritage of another. A representative example of such interaction is the reception of F. M. Dostoevsky’s creativity in Italy, determined by the specific features of Italian cultural consciousness, the continuity of the classical tradition, and the characteristics of the historical and literary context. The aim of the study is to identify the nature of the interaction between F. M. Dostoevsky’s artistic heritage and the Italian cultural and literary tradition, as well as to determine the specific features of the perception of his philosophy and poetics in Italy. The study examines the reception of the writer’s artistic world by Italian critics and readers, as well as the forms of creative engagement with his philosophical and aesthetic ideas by Italian authors. The scientific novelty of the study lies in a comprehensive examination of the nature and degree of demand for Dostoevsky’s literary heritage in Italy from a historical perspective and in the context of the contemporary digital era. It has been established that the initial reception of the writer’s creativity by Italian critics was accompanied by difficulties associated with the unconventional architecture of his works, the heightened emotionality of his characters, and the complexity of their psychological world. At the same time, Italian authors highly appreciated Dostoevsky’s mastery in revealing the inner world of an individual experiencing a spiritual crisis and a dramatic moral choice. The motif of crime and punishment proved to be the most widely embraced, receiving various interpretations in Italian literature. The concept of Christian realism and the idea of the individual’s moral rebirth were perceived ambiguously, while the writer’s philosophical heritage was also interpreted in the context of existentialism, the problem of the “little man,” and criticism of “underground” ideology. The study concludes that the reception of F. M. Dostoevsky’s creativity in Italy represents a significant phenomenon of intercultural interaction, reflecting the enduring dialogue between Russian and Italian cultures and retaining its relevance in the contemporary literary and cultural space.