Dostoevsky: Language, Faith and FictionBaylor University Press, 2008 - 290 psl. Rowan Williams explores the intricacies of speech, fiction, metaphor, and iconography in the works of one of literature's most complex, and most complexly misunderstood, authors. Williams' investigation focuses on the four major novels of Dostoevsky's maturity (Crime and Punishment, The Idiot, Devils, and The Brothers Karamozov). He argues that understanding Dostoevsky's style and goals as a writer of fiction is inseparable from understanding his religious commitments. Any reader who enters the rich and insightful world of Williams' Dostoevsky will emerge a more thoughtful and appreciative reader for it. |
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Rezultatai 1–3 iš 53
31 psl.
... already , at the beginning of the narra- tive , been told that he does in fact return to the world in hidden form again and again throughout history " to visit his children at least for an instant ” [ 324 ] . The kiss establishes ...
... already , at the beginning of the narra- tive , been told that he does in fact return to the world in hidden form again and again throughout history " to visit his children at least for an instant ” [ 324 ] . The kiss establishes ...
121 psl.
... already there . Thus Golyadkin and Raskolnikov repeatedly and as it were automatically de - realize the oth- ers in their environment dramatically so in the case of Raskolnikov's crimes . But they are neither of them setting out to ...
... already there . Thus Golyadkin and Raskolnikov repeatedly and as it were automatically de - realize the oth- ers in their environment dramatically so in the case of Raskolnikov's crimes . But they are neither of them setting out to ...
206 psl.
... already , in the ear lier parts of the narrative , flagged as a , or the , coordinating theme of the novel . If we are to understand what Mitya suffers and accepts , we need to understand not just Mitya as a character but the very ...
... already , in the ear lier parts of the narrative , flagged as a , or the , coordinating theme of the novel . If we are to understand what Mitya suffers and accepts , we need to understand not just Mitya as a character but the very ...
Turinys
Introduction I | 14 |
Being toward Death | 63 |
The Last Word? Dialogue and Recognition III | 111 |
Autorių teisės | |
Nerodoma skirsnių: 5
Kiti leidimai - Peržiūrėti viską
Pagrindiniai terminai ir frazės
acceptance actual Alyosha Alyosha Karamazov atheism Bakhtin becomes believe biblical Brothers Karamazov chap chapter character Christ Christian claim commitment confession context Crime and Punishment death demonic Devil diabolical dialogue discussion divine Dosto Dostoevsky Dostoevsky's fiction Dostoevsky's Poetics echoes essay Evdokimov evsky's fact faith father Ferapont freedom Fyodor Fyodor Dostoevsky God's holy human icon Idiot imagination incarnate Inquisitor Ivan Ivan Karamazov Ivan's Karamazov kind Kirillov language Leatherbarrow Lizaveta means Mitya moral murder Myshkin narrative narrator Nastasya novel novelist Orthodox Paissy person possible presented Problems of Dostoevsky's Pyotr question radical Raskolnikov reader reality reconciliation refusal relation religious Rogozhin Rowan Williams Russian seen Semiosphere sense Shatov significant simply Smerdyakov Solovyov someone Sonya sort spiritual Stavrogin story suffering suicide taking responsibility theme theological things Tikhon Tikhon of Zadonsk tion truth Underground University Press Vaudeville Verkhovensky vision Vladimir Lossky words Writer's Diary Zosima