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“Wealth without work Pleasure without conscience Science without humanity Knowledge without character Politics without principle Commerce without morality Worship without sacrifice. https://vidjambov.blogspot.com/2023/01/book-inventory-vladimir-djambov-talmach.html
Dostoevsky is one of Russia's greatest novelists and a major influence in modern debates about religion, both in Russia and the West. This collection brings together Western and Russian perspectives on the issues raised by the religious element in his work. The aim of this collection is not to abstract Dostoevsky's religious 'teaching' from his literary works, but to explore the interaction between his Christian faith and his writing. The essays cover such topics as temptation, grace and law, Dostoevsky's use of the gospels and hagiography, Trinitarianism, and the Russian tradition of the veneration of icons, as well as reading aloud, and dialogism. In addition to an exploration of the impact of the Christian tradition on Dostoevsky's major novels, Crime and Punishment, The Idiot and The Brothers Karamazov, there are also discussions of lesser-known works such as The Landlady and A Little Boy at Christ's Christmas Tree.
This study offers a literary analysis and theological evaluation of the Christian themes in the five great novels of Dostoevsky - 'Crime and Punishment', 'The Idiot', 'The Adolescent', 'The Devils' and 'The Brothers Karamazov'. Dostoevsky's ambiguous treatment of religious issues in his literary works strongly differs from the slavophile Orthodoxy of his journalistic writings. In the novels Dostoevsky deals with Christian basic values, which are presented via a unique tension between the fictionality of the Christian characters and the readers' experience of the existential reality of their religious problems. This study is based on a balanced method of literary analysis and theological evaluation of the texts, avoiding free theological association as well as hermeneutical mixing with the non-literary writings of Dostoevsky. The study starts by discussing the main recent studies of Dostoevsky's religion. It then describes Dostoevsky's original literary method in dealing with religious issues - his use of paradoxes, contradictions and irony. 'Christian Fiction and Religious Realism in the Novels of Dostoevsky' ultimately deconstructs Dostoevsky as an Orthodox writer, and reveals that the Christian themes in his novels are not ecclesiastical or confessionally theological ones, but instead are expressions of a fundamentally Christian anthropology and biblical ethics.
Fyodor Dostoevsky was not a theologian, and his books are not books of theology. However, there is a “living way” that emerges from the study of his life and work, convictions made manifest in the details of his own life and the lives of his characters. Utilizing James William McClendon’s conception of biography as theology, Dr. Dumitru Sevastian explores the lived convictions that emerge from three distinct periods in Dostoevsky’s life, the pre-Siberian, Siberian, and post-Siberian, each represented by one of his novels, The Poor Folk, The House of the Dead, and The Brothers Karamazov. What emerges is a powerful expression of faith formed in community and tempered in suffering, an example relevant to all Christians seeking to model their lives and relationships on the dying and resurrected Christ.
Everything we do, say, and think reflects our fundamental worldview. Whether we realize it or not, basic beliefs about God, man, good and evil, history, and the future inevitably shape how we view and interact with the world. In this accessible student's guide, Phil Ryken, author and current president of Wheaton College, explains the distinguishing marks of a distinctly Christian worldview—exploring the existence of God, the nature of creation, the role of grace, and God's plan for the future. Written for both Christians and non-Christians, this handy resource will help believers develop a cohesive worldview while offering unbelievers a succinct introduction to the foundational tenets of the Christian faith.
Fyodor Dostoevsky's The Brothers Karamazov is unquestionably one of the greatest works of world literature. With its dramatic portrayal of a Russian family in crisis and its intense investigation into the essential questions of human existence, the novel has had a major impact on writers and thinkers across a broad range of disciplines, from psychology to religious and political philosophy. This proposed reader's guide has two major goals: to help the reader understand the place of Dostoevsky's novel in Russian and world literature, and to illuminate the writer's compelling and complex artistic vision. The plot of the novel centers on the murder of the patriarch of the Karamazov family and the subsequent attempt to discover which of the brothers bears responsibility for the murder, but Dostoevsky's ultimate interests are far more thought-provoking. Haunted by the question of God's existence, Dostoevsky uses the character of Ivan Karamazov to ask what kind of God would create a world in which innocent children have to suffer, and he hoped that his entire novel would provide the answer. The design of Dostoevsky's work, in which one character poses questions that other characters must try to answer, provides a stimulating basis for reader engagement. Having taught university courses on Dostoevsky's work for over twenty years, Julian W. Connolly draws upon modern and traditional approaches to the novel to produce a reader's guide that stimulate the reader's interest and provides a springboard for further reflection and study.
Vladimir Nabokov complained about the number of Dostoevsky's characters "sinning their way to Jesus." In truth, Christ is an elusive figure not only in Dostoevsky's novels, but in Russian literature as a whole. The rise of the historical critical method of biblical criticism in the nineteenth century and the growth of secularism it stimulated made an earnest affirmation of Jesus in literature highly problematic. If they affirmed Jesus too directly, writers paradoxically risked diminishing him, either by deploying faith explanations that no longer persuade in an age of skepticism or by reducing Christ to a mere argument in an ideological dispute. The writers at the heart of this study understood that to reimage Christ for their age, they had to make him known through indirect, even negative ways, lest what they say about him be mistaken for cliche, doctrine, or naïve apologetics. The Christology of Dostoevsky, Leo Tolstoy, Mikhail Bulgakov, and Boris Pasternak is thus apophatic because they deploy negative formulations (saying what God is not) in their writings about Jesus. Professions of atheism in Dostoevsky and Tolstoy's non-divine Jesus are but separate negative paths toward truer discernment of Christ. This first study in English of the image of Christ in Russian literature highlights the importance of apophaticism as a theological practice and a literary method in understanding the Russian Christ. It also emphasizes the importance of skepticism in Russian literary attitudes toward Jesus on the part of writers whose private crucibles of doubt produced some of the most provocative and enduring images of Christ in world literature. This important study will appeal to scholars and students of Orthodox Christianity and Russian literature, as well as educated general readers interested in religion and nineteenth-century Russian novels.
Any reader of Dostoevsky is immediately struck by the importance of religion within the world of his fiction. That said, it is very difficult to locate a coherent set of religious beliefs within Dostoevsky’s works, and to argue that the writer embraced these beliefs. This book provides a trenchant reassessment of his religion by showing how Dostoevsky used his writings as the vehicle for an intense probing of the nature of Christianity, of the individual meaning of belief and doubt, and of the problems of ethical behavior that arise from these questions. The author argues that religion represented for Dostoevsky a welter of conflicting views and stances, from philosophical idealism to nationalist messianism. The strength of this study lies in its recognition of the absence of a single religious prescription in Dostoevsky's works, as well as in its success in tracing the background of the ideas animating Dostoevsky’s religious probing.
Recent books by, among others, Sam Harris, Richard Dawkins, and Christopher Hitchens have thrust atheism firmly into the popular, media, and academic spotlight. This so-called New Atheism is arguably the most striking development in western socio-religious culture of the past decade or more. As such, it has spurred fertile (and often heated) discussions both within, and between, a diverse range of disciplines. Yet atheism, and the New Atheism, are by no means co-extensive. Interesting though it indeed is, the New Atheism is a single, historically and culturally specific manifestation of positive atheism (the that there is/are no God/s), which is itself but one form of a far deeper, broader, and more significant global phenomenon. The Oxford Handbook of Atheism is a pioneering edited volume, exploring atheism—understood in the broad sense of 'an absence of belief in the existence of a God or gods'—in all the richness and diversity of its historical and contemporary expressions. Bringing together an international team of established and emerging scholars, it probes the varied manifestations and implications of unbelief from an array of disciplinary perspectives (philosophy, history, sociology, anthropology, demography, psychology, natural sciences, gender and sexuality studies, literary criticism, film studies, musicology) and in a range of global contexts (Western Europe, North America, post-communist Europe, the Islamic world, Japan, India). Both surveying and synthesizing previous work, and presenting the major fruits of innovative recent research, the handbook is set to be a landmark text for the study of atheism.