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When Fyodor Dostoevsky proclaims that he is a "realist in a higher sense," it is because the facts are irrelevant to his truth. And it is in this spirit that Apollonio approaches Dostoevsky’s work, reading through the facts--the text--of his canonical novels for the deeper truth that they distort, mask, and, ultimately, disclose. This sort of reading against the grain is, Apollonio suggests, precisely what these works, with their emphasis on the hidden and the private and their narrative reliance on secrecy and slander, demand. In each work Apollonio focuses on one character or theme caught in the compromising, self-serving, or distorting narrative lens. Who, she asks, really exploits whom in Poor Folk? Does "White Nights" ever escape the dream state? What is actually lost--and what is won--in The Gambler? Is Svidrigailov, of such ill repute in Crime and Punishment, in fact an exemplar of generosity and truth? Who, in Demons, is truly demonic? Here we see how Dostoevsky has crafted his novels to help us see these distorting filters and develop the critical skills to resist their anaesthetic effect. Apollonio's readings show how Dostoevsky's paradoxes counter and usurp our comfortable assumptions about the way the world is and offer access to a deeper, immanent essence. His works gain power when we read beyond the primitive logic of external appearances and recognize the deeper life of the text.
Fyodor Dostoevsky’s novel The Gambler is one of the most profound literary works to treat the phenomenon of gambling with a remarkable depth of psychological analysis and a wide-ranging cultural and philosophical exploration of obsessive behavior, from addictive gambling to erotic passion. This novel delves into the cultural, psychological, and philosophical issues surrounding games of chance such as temporality, freedom, rebellion, choice, uncertainty, determinism, and creativity. This is the first book in English dedicated to The Gambler. This volume considers the phenomenon of gambling from a broad interdisciplinary perspective, focusing not only on medical and psychological concepts of gambling as pathology, but also on the broader cultural, philosophical, religious, and aesthetic aspects of the problem. What triggers fascination with risk-taking and various aleatory activities? What are the relations between gambling, play, and creativity? Can gambling be seen as a form of social or existential rebellion and protest or even a quest for freedom? Scholars from a variety of fields, including psychiatry, psychology, philosophy, literary studies, and musicology, have contributed to this volume and analyzed Dostoevsky’s view of gambling as a fundamental problem of human existence, with implications in the realms of philosophy, religion, and aesthetics.
Recounting the murder of an elderly woman by a student expelled from university, Crime and Punishment is a psychological and political novel that portrays the strains on Russian society in the middle of the nineteenth century. Its protagonist, Raskolnikov, moves in a world of dire poverty, disillusionment, radicalism, and nihilism interwoven with religious faith and utopianism. In Dostoevsky's innovative style, which he called fantastic realism, the narrator frequently reports from within the protagonist's mind. The depiction of the desperate lives of tradespeople, students, alcoholics, prostitutes, and criminals gives readers insight into the urban society of St. Petersburg at the time. The first part of this book offers instructors guidance on editions and translations, a map of St. Petersburg showing locations mentioned in the novel, a list of characters and an explanation of the Russian naming system, and recommendations for further reading. In the second part, essays analyze key scenes, address many of Dostoevsky's themes, and consider the roles of ethics, gender, money, Orthodox Christianity, and social justice in the narrative. The volume concludes with essays on digital media, film adaptations, and questions of translation.
Combines shame studies and literary criticism to uncover new perspectives on Dostoevsky as writer and psychologist, with his lying characters as case studies.
Crime and Punishment: A Reader’s Guide focuses on narrative strategy, psychology, and ideology. Martinsen demonstrates how Dostoevsky first plunges the reader into Raskolnikov’s fevered brain, creating sympathy for him, and she explains why most readers root for him to get away from the scene of the crime. Dostoevsky subsequently provides outsider perspectives on Raskolnikov’s thinking, effecting a conversion in reader sympathy. By examining the multiple justifications for murder Raskolnikov gives as he confesses to Sonya, Dostoevsky debunks rationality-based theories. Finally, the question of why Raskolnikov and others, including the reader, focus on the murder of the pawnbroker and forget the unintended murder of Lizaveta reveals a narrative strategy based on shame and guilt.
In this book Paul Contino offers a theological study of Dostoevsky’s final novel, The Brothers Karamazov. He argues that incarnational realism animates the vision of the novel, and the decisions and actions of its hero, Alyosha Fyodorovich Karamazov. The book takes a close look at Alyosha’s mentor, the Elder Zosima, and the way his role as a confessor and his vision of responsibility “to all, for all” develops and influences Alyosha. The remainder of the study, which serves as a kind of reader’s guide to the novel, follows Alyosha as he takes up the mantle of his elder, develops as a “monk in the world,” and, at the end of three days, ascends in his vision of Cana. The study attends also to Alyosha’s brothers and his ministry to them: Mitya’s struggle to become a “new man” and Ivan’s anguished groping toward responsibility. Finally, Contino traces Alyosha’s generative role with the young people he encounters, and his final message of hope.
Confronting Bakhtin’s formative reading of Dostoevsky to recover the ways the novelist stokes conflict and engages readers—and to explore the reasons behind his adversarial approach Like so many other elements of his work, Fyodor Dostoevsky’s deliberate deployment of provocation was both prescient and precocious. In this book, Lynn Ellen Patyk singles out these forms of incitement as a communicative strategy that drives his paradoxical art. Challenging, revising, and expanding on Mikhail Bakhtin’s foundational analysis in Problems of Dostoevsky’s Poetics, Patyk demonstrates that provocation is the moving mover of Dostoevsky’s poetics of conflict, and she identifies the literary devices he uses to propel plot conflict and capture our attention. Yet the full scope of Dostoevsky’s provocative authorial activity can only be grasped alongside an understanding of his key themes, which both probed and exploited the most divisive conflicts of his era. The ultimate stakes of such friction are, for him, nothing less than moral responsibility and the truth of identity. Sober and strikingly original, compassionate but not uncritical, Dostoevsky’s Provocateurs exposes the charged current in the wiring of our modern selves. In an economy of attention and its spoils, provocation is an inexhaustibly renewable and often toxic resource.
The idea of light and darkness is one of the central ideas of the Symbolist movement, since this is a movement of contrasts. It encompasses the major themes of Symbolism, such as good and evil, beauty and ugliness, the visible and the invisible, and the divine and the earthly. This volume brings together a range of studies in order to understand the notion of light and darkness and a variety of its Symbolist interpretations. It also stresses the interdisciplinary nature of the concepts of light and darkness in Symbolism, as well as the cohabitation and symbiosis of both, which are together or separately at the core of this movement.
Engaging the Passion gathers an impressive array of scholars to survey how the death of Jesus has been portrayed and represented in Scripture, liturgy and music, literature, art and film, and theology and ethics—from the first to the twenty-first centuries. The contributors approach the passion from a variety of perspectives—diversely Christian, Jewish, Muslim, and secular. Their voices differ as well, from the challenging to the comforting and from the academic to the confessional. They address the faithful, the skeptical, and the curious.
While Dostoevsky’s relation to religion is well-trod ground, there exists no comprehensive study of Dostoevsky and Catholicism. Elizabeth Blake’s ambitious and learned Dostoevsky and the Catholic Underground fills this glaring omission in the scholarship. Previous commentators have traced a wide-ranging hostility in Dostoevsky’s understanding of Catholicism to his Slavophilism. Blake depicts a far more nuanced picture. Her close reading demonstrates that he is repelled and fascinated by Catholicism in all its medieval, Reformation, and modern manifestations. Dostoevsky saw in Catholicism not just an inspirational source for the Grand Inquisitor but a political force, an ideological wellspring, a unique mode of intellectual inquiry, and a source of cultural production. Blake’s insightful textual analysis is accompanied by an equally penetrating analysis of nineteenth-century European revolutionary history, from Paris to Siberia, that undoubtedly influenced the evolution of Dostoevsky’s thought.