The Brothers Karamazov. By Fyodor Dostoevsky. Trans. Richard Pevear and Larissa Volokhonsky. San Francisco: North Point Press, 1990. 796 pp. - Crime and Punishment. By Fyodor Dostoevsky. Trans. David McDuff.New York: Viking, 1991. 647 pp.

Slavic Review ◽  
1994 ◽  
Vol 53 (1) ◽  
pp. 309-310
Author(s):  
Liza Knapp
Keyword(s):  
San Francisco ◽  
Fyodor Dostoevsky ◽  
Crime And Punishment ◽  
The Brothers Karamazov ◽  
Brothers Karamazov

Dostoevsky, Confession, and the Evolutionary Origins of Conscience

2020 ◽  
Vol 4 (2) ◽  
pp. 19-32
Author(s):  
Tom Dolack
Keyword(s):  
World Literature ◽  
Human Mind ◽  
Human Condition ◽  
Late Nineteenth Century ◽  
Group Norms ◽  
Fyodor Dostoevsky ◽  
Crime And Punishment ◽  
Evolutionary Origins ◽  
The Brothers Karamazov ◽  
Brothers Karamazov

Abstract Fyodor Dostoevsky is renowned as one of the greatest psychologists in world literature, but what we know about the origins and the workings of the human mind has changed drastically since the late nineteenth century. If Dostoevsky was such a sensitive reader of the human condition, do his insights hold up to modern research? To judge just by the issue of the psychology of confession, the answer appears to be: yes. The work of Michael Tomasello indicates that the human conscience evolved in order to make people obey group norms. From this I draw the proposition that confession should be best directed to the group as a whole, and not to an individual. Judging by Raskolnikov in Crime and Punishment and an assortment of characters in The Brothers Karamazov, this appears to be exactly how confession works in Dostoevsky's novels: sin is against all, so forgiveness must be from all.

Between Nihilism and Transcendence: Camus's Dialogue with Dostoevsky

2015 ◽  
Vol 77 (2) ◽  
pp. 217-242
Author(s):  
Sean Illing
Keyword(s):  
Political Philosophy ◽  
Fyodor Dostoevsky ◽  
The Brothers Karamazov ◽  
Brothers Karamazov ◽  
Practical Implications

AbstractThis article examines the influence of Fyodor Dostoevsky on Albert Camus's political philosophy of revolt. The aim is to clarify Camus's reactions to the problems of absurdity, nihilism, and transcendence through an analysis of his literary and philosophical engagement with Dostoevsky. I make three related claims. First, I claim that Camus's philosophy of revolt is informed in crucial ways by Dostoevsky's accounts of religious transcendence and political nihilism. Second, that Camus's conceptualization of the tension between nihilism and transcendence corresponds to and is personified by the dialogue between Ivan Karamazov and Father Zossima in Dostoevsky'sThe Brothers Karamazov. Finally, that Camus uses his novelThe Plagueto bridge the moral and metaphysical divide between these two characters. In particular, I argue that Camus offers a distinct vision of revolt inThe Plague, which clarifies both the practical implications of revolt and his philosophical rejoinder to Dostoevsky.

scholarly journals The Last Newspaper Fyodor Dostoevsky Read (Based on the Collections of Vladimir Dahl State Museum of the History of Russian Literature)

2020 ◽  
pp. 197-218
Author(s):  
Pavel E. Fokin
Keyword(s):  
Russian Literature ◽  
Intellectual Life ◽  
Fyodor Dostoevsky ◽  
The Brothers Karamazov ◽  
State Museum ◽  
History Of ◽  
Fatal Illness ◽  
Brothers Karamazov ◽  
New Time

Throughout Dostoevsky's life, reading newspapers was one of the most important sources of his inspiration. Reading newspapers, Dostoevsky drew on real factual material that reflected both the characteristic phenomens of the postreform Russian reality and the most incredible “adventures” of lost human souls and hearts. Daily acquaintance with the latest news from Russian and world life was an essential necessity for Dostoevsky. Even while abroad, he regularly visited libraries to read the most recent Russian newspapers. Journalism was inherent in his type of thinking and personality. He began his literary career as a newspaper feuilletonist; in 1873–1874, he edited the Grazhdanin (The Citizen) weekly; in1876–1877, his monojournal A Writer's Diary was focused on Russian and European periodicals. In 1881, having completed his novel The Brothers Karamazov, Dostoevsky decided to resume the publication of A Writer's Diary. He prepared only one issue which came out on the day of his funeral. The manuscript collection of the Vladimir Dahl State Museum of the History of Russian Literature contains Anna Dostoevskaya’s collection that includes a memorial copy of the last newspaper read by Dostoevsky on the eve of his fatal illness, the Novoe Vremya (The New Time) newspaper, No. 1764 dated January 25 (February 6) 1881. This item is a valuable biographical material and allows one to put additional touches on the picture of Dostoevsky's intellectual life of his last days. The article provides an overview of the newspaper’s contents contextualized within Dostoevsky's spiritual, political, and aesthetic interests and particularly within the articles included in the first issue of The Diary of a Writer for 1881 and the preparatory materials for it.

Fyodor Dostoevsky: The Brothers Karamazov

1994 ◽  
Vol 38 (1) ◽  
pp. 172 ◽  
Author(s):  
Curt Whitcomb ◽  
W.J. Leatherbarrow
Keyword(s):  
Fyodor Dostoevsky ◽  
The Brothers Karamazov ◽  
Brothers Karamazov

Philosophical Anthropology and Dostoevsky's “Legend of the Grand Inquisitor”

1964 ◽  
Vol 26 (3) ◽  
pp. 353-377 ◽  
Author(s):  
Ellis Sandoz
Keyword(s):  
Political Science ◽  
Political Thought ◽  
Philosophical Anthropology ◽  
The Political ◽  
The Novel ◽  
Great Work ◽  
Fyodor Dostoevsky ◽  
The Brothers Karamazov ◽  
Grand Inquisitor ◽  
Brothers Karamazov

The political thought of Fyodor Dostoevsky grows out of his opposition to nihilism, atheistic humanism, and socialism in much the same way as the philosophy of Plato grew out of his opposition to the sophists. Indeed, the parallel of Dostoevsky's thought with that of Plato is to be seen in some further aspects of this fundamental opposition. Both the Russian master of the novel and the Hellenic founder of political science confronted adversaries for whom “Man is the measure of all things” and each based his opposition on the principle “God is the Measure,” to use Plato's formulation. This declaration, echoing like a thunderclap across more than twenty centuries of history, found consummate expression in the last great work of each writer: the Laws and The Brothers Karamazov.

scholarly journals To Be or Not to Be God—The Issue of Authorial Power in Dostoevsky

Religions ◽  
2021 ◽  
Vol 12 (7) ◽  
pp. 506
Author(s):  
Alexander Zholkovsky
Keyword(s):  
The Other ◽  
Crime And Punishment ◽  
Playing God ◽  
The Brothers Karamazov ◽  
Grand Inquisitor ◽  
Brothers Karamazov

This paper problematizes the now widely accepted concept of Dostoevsky’s dialogism, which alleges the ‘Author’s’ equal empowerment of all his characters. Using examples from Crime and Punishment and The Brothers Karamazov, Zholkovsky focuses on instances of ‘scene-staging’ based on the ‘scripts’ devised and enacted by some characters, that are ‘read,’ with varying success, by their targets. He documents the resulting ‘discursive combat’ among the characters, with special attention paid to those ‘playing god’ and thus, the more ‘authorial’ among them. In several cases, the would-be ‘divine’ manipulation is shown to be consistently subverted by the Dostoevskian narrative. However, in one instance, where Aliosha Karamazov charitably scripts Captain Snegirev’s behavior, the ensuing discussion of this episode, in Aliosha’s conversations with Lise Khokhlakova, upholds Aliosha’s right to play god with the Other—“for the Other’s own good”, of course (not unlike the Grand Inquisitor).

scholarly journals The important semiotic indicators of Dostoyevsky's emotional image

2016 ◽  
Vol 3 (4) ◽  
pp. 3-8 ◽  
Author(s):  
Z.Z. Iskhakova ◽  
L.K. Gyulbyakova ◽  
M.V. Zhuravleva
Keyword(s):  
Fyodor Dostoevsky ◽  
The Brothers Karamazov ◽  
The Subject ◽  
Brothers Karamazov ◽  
Key Characters

This article is devoted to finding the emotional semiotic character of F. Dostoevsky that is expressed by the key characters' behaviour in 'The Gambler', 'Idiot', 'The Brothers Karamazov'. The object of the study is emotionally painted speeches of characters in his works. The subject of the study is emotive signs indices in emotional texts of Fyodor Dostoevsky

Sign in / Sign up

Export Citation Format

Share Document