The second edition of the Diary of a Writer (1876-1877) marked a crucial point in Dostoevskii's literary career. In spite of critics' attacks, many ordinary readers were overwhelmed by Dostoevskii's charisma and began writing to him from different parts of Russia, expressing their views of the moral, social and political issues dealt with in the Diary. Such success was guaranteed also by the original rhetorical style of the Diary of a Writer, which aimed to involve readers and persuade them to share Dostoevskii's beliefs. By concentrating on new material, consisting of correspondence between Dostoevskii and his readers, and applying a new methodology, reader-response criticism and genre studies, the author investigates how Dostoevskii's rhetoric in the Diary of a Writer affected the Russian reading public, transformed Dostoevskii's image in Russian society, and reawakened national identity.

Dostoevsky's Democracy offers a major reinterpretation of the life and work of the great Russian writer by closely reexamining the crucial transitional period between the early works of the 1840s and the important novels of the 1860s. Sentenced to death in 1849 for utopian socialist political activity, the 28-year-old Dostoevsky was subjected to a mock execution and then exiled to Siberia for a decade, including four years in a forced labor camp, where he experienced a crisis of belief. It has been influentially argued that the result of this crisis was a conversion to Russian Orthodoxy and reactionary politics. But Dostoevsky's Democracy challenges this view through a close investigation of Dostoevsky's Siberian decade and its most important work, the autobiographical novel Notes from the House of the Dead (1861). Nancy Ruttenburg argues that Dostoevsky's crisis was set off by his encounter with common Russians in the labor camp, an experience that led to an intense artistic meditation on what he would call Russian "democratism." By tracing the effects of this crisis, Dostoevsky's Democracy presents a new understanding of Dostoevsky's aesthetic and political development and his role in shaping Russian modernity itself, especially in relation to the preeminent political event of his time, peasant emancipation.

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.

Conversations with Dostoevsky presents a series of fictional conversations between George Pattison and Russian novelist Fyodor Dostoevsky. The conversations deal with a range of topics including suicide, guilt, the Bible, nationalism, war, and God. The volume also includes commentaries which contextualize the issues discussed in the conversations.

"Provides an innovative theoretical framework for an analysis that integrates structural and narratological considerations with thematic (religious and ethical) aspects, by focusing on the characters' interactivity as the most fundamental level on which the ethical systems of the novel are enacted. Examines the questions of what ethical bases are put forward by the novel, what faith-issues and philosophical world-views they derive from, and how, in terms of structuring and narration rather than simply thematically, they are presented in the novel ... Through the concept of scripting, the author shows how the ethical becomes the foundation for the narratological in The idiot"--Page 4 of cover

Profane Challenge and Orthodox Response in Dostoevsky’s Crime and Punishment presents for the first time an examination of this great novel as a work aimed at winning back “target readers”, young contemporary radicals, from Utilitarianism, nihilism, and Utopian Socialism. Dostoevsky framed the battle in the context of the Orthodox Church and oral tradition versus the West. He relied on knowledge of the Gospels as text received orally, forcing readers to react emotionally, not rationally, and thus undermining the very basis of his opponents’ arguments. Dostoevsky saves Raskol’nikov, underscoring the inadequacy of rational thought and reminding his readers of a heritage discarded at their peril. This volume should be of special interest to secondary and university students, as well as to readers interested in literature, particularly, in Russian literature, and Dostoevsky.

'Dostoevsky and the Dynamics of Religious Experience' deals with the religious dimension of the novelist’s life and fiction. The book is structured through six clearly defined and self-reliant essays that take into account past and current criticism and offers a close textual analysis on Dostoevsky's works, including 'The Double', 'Notes from Underground', 'Crime and Punishment', 'The Idiot', 'The Devils' and an in-depth study of 'The Brothers Karamazov'.

Scholars have long been fascinated by the creative struggles with genre manifested throughout Dostoevsky’s career. In The Novel in the Age of Disintegration, Kate Holland brings historical context to bear, showing that Dostoevsky wanted to use the form of the novel as a means of depicting disintegration brought on by various crises in Russian society in the 1860s. This required him to reinvent the genre. At the same time he sought to infuse his novels with the capacity to inspire belief in social and spiritual reintegration, so he returned to some older conventions of a society that was already becoming outmoded. In thoughtful readings of Demons, The Adolescent, A Writer’s Diary, and The Brothers Karamazov, Holland delineates Dostoevsky’s struggle to adapt a genre to the reality of the present, with all its upheavals, while maintaining a utopian vision of Russia’s future mission.

How Russian Literature Became Great explores the cultural and political role of a modern national literature, orchestrated in a Slavonic key but resonating far beyond Russia's borders. Rolf Hellebust investigates a range of literary tendencies, philosophies, and theories from antiquity to the present: Roman jurisprudence to German Romanticism, French Enlightenment to Czech Structuralism, Herder to Hobsbawm, Samuel Johnson to Sainte-Beuve, and so on. Besides the usual Russian suspects from Pushkin to Chekhov, Hellebust includes European writers: Byron and Shelley, Goethe and Schiller, Chateaubriand and Baudelaire, Dante, Mickiewicz, and more. As elsewhere, writing in Russia advertises itself via a canon of literary monuments constituting an atemporal "ideal order among themselves" (T.S. Eliot). And yet this is a tradition that could only have been born at a specific moment in the golden nineteenth-century age of historiography and nation-building. The Russian example reveals the contradictions between immutability and innovation, universality and specificity at the heart of modern conceptions of tradition from Sainte-Beuve through Eliot and down to the present day. The conditions of its era of formation—the prominence of the crucial literary-historical question of the writer's social function, and the equation of literature with national identity—make the Russian classical tradition the epitome of a unified cultural text, with a complex narrative in which competing stories of progress and decline unfold through the symbolic biographical encounters of the authors who constitute its members. How Russian Literature Became Great thus offers a new paradigm for understanding the paradoxes of modern tradition.

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.