Addressed to all readers of Dostoevsky, as well as to teachers, students, and specialists, this lucidly-written study approaches the underground manm Raskolnikov, and Ivan and Alyosha Karamazov as lucidly imagined beings whose feelings, behaviours, and ideas are expressions of their personalities and experience.

This carefully crafted ebook: "The Best Russian Plays and Short Stories by Dostoevsky, Tolstoy, Chekhov, Gorky, Gogol and many more" is formatted for your eReader with a functional and detailed table of contents. It is said that if you haven't read the great Russian playwrights and authors then you haven't read anything at all. This edition represents a collection of some of the greatest Russian plays and short stories: Plays The Inspector General Savva The Life of Man Short Stories The Queen of Spades The Cloak The District Doctor The Christmas Tree And The Wedding God Sees The Truth, But Waits How A Muzhik Fed Two Officials The Shades, A Phantasy The Signal The Darling The Bet Vanka Hide And Seek Dethroned The Servant One Autumn Night Her Lover Lazarus The Revolutionist The Outrage An Honest Thief A Novel in Nine Letters An Unpleasant Predicament Another Man's Wife The Heavenly Christmas Tree The Peasant Marey The Crocodile Bobok The Dream of a Ridiculous Man Mumu The Shot St. John'S Eve An Old Acquaintance The Mantle The Nose Memoirs Of A Madman A May Night The Viy Knock, Knock, Knock The Inn Lieutenant Yergunov's Story The Dog The Watch Essays On Russian Novelists Lectures On Russian Novelists

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.

Consequences of Consciousness shows how great Russian authors conversed with each other through their fictions as they explored both the limits and the autonomy of subjective consciousness.

What did Dickens mean to Dostoevsky, and what did the Russian writer owe to England’s greatest entertainer? Many of Dickens’ readers, including George Gissing and Edmund Wilson, have recognized that his achievement needs to be compared with Dostoevsky’s, and they have suspected, or assumed an influence. N M Lary’s book shows what the literary influence really or probably was.

For six decades, writer and editor Robert A. Parker has followed up each book he reads, mainly novels, with an evaluation of that book. His comments are informed by an independent critical view that balances a moral and literary sensibility. In this second of six volumes, the authors covered range from Henri Daniel-Rops to Jose Maria Gironalla. They include Don DeLillo, Peter Dexter, E. L. Doctorow, Umberto Eco, Shusaku Endo, Louise Erdrich, William Faulkner, F. Scott Fitzgerald, John Fowles, E. M. Forster, Carlos Fuentes, and Gabriel Garcia Marquez, as well as a few mystery authors and historians. The commentaries are listed alphabetically by author, and the books by the date of publication for each author. The writers here represent a broad range of writing styles, cultural influences, and moral philosophies. And all are rated on their literary achievement, the effectiveness of plot, character, and setting, plus their recognition of the moral, ethical, and spiritual values of mankind.

A study of the responses of major English novelists of the early twentieth century to Dostoevsky's work.

A Plot of Her Own presents compelling new readings of major texts in the Russian literary canon, all of which are readily available in translation. The female protagonists in the works examined are inextricably linked with the fundamental issues raised by the novels they inform; the interpretations offered strive not to be reductive or doctrinaire, not to be imposed from the outside but to arise from the texts themselves and the historical circumstances in which they were written. Authors discussed include Pushkin, Dostoevsky, Tolstoy, and Bulgakov, and the novels considered range from Fathers and Children to Zamyatin's anti-Utopian We. Throughout, the contributors new visions expand our understanding of the words and reveal new significance in them.

This book illuminates the connectedness of Dostoevsky's literary art with his philosophical and psychological brilliance. Two Fyodor Dostoevsky conferences originating at the University of North Texas set the stage for this volume. Scholars contributed original papers focusing on how Dostoevsky's literary art and philosophical insights enrich one another. Fyodor Dostoevsky wrote and thought polyphonically. His polyphonic method is both his special literary technique and his distinctive way of probing theological, social, and philosophical depths. As Bakhtin and Terras suggest, all Dostoevsky's major literary inventions--from the underground man to the vitriolic Grushenka--are products of his ability to listen profoundly to his own characters. Like the genius author-redactor of 1 and 2 Samuel, he reports the heights and depths of human emotion and behavior, whether exploring the anatomy of dysfunctional families, making the heart soar with Zosima's vision of forgiveness, or giving Ivan Karamazov full rein to challenge theism. Dostoevsky's characters transform themselves into irregular verbs whose fierce independence emerges only because of their desperate and inescapable interdependence. His major characters are text, subtext, and context for each other. They play inside each other's head and answer in one way or another.