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Perhaps nowhere are the book's composite strengths more evident than in its chapter on the "topodialogic narrative" of Western Eyes and its further intersections with Dostoevski.
This ambivalence turns into the "antagonism to the principle of pleasure" (BC 72) that Trilling finds in Notes from Underground and subsequent works in which "the influence of Dostoevski is definitive" (BC 77).
In The Brothers Karamazov, Fyodor Dostoevski states that "the earth is soaked from its crust to its very centre with the tears of humanity".
Perhaps morality is essentially dependent upon God so that, for example, duties or laws depend upon a Lawgiver, and rights are granted to us by our Creator, but Dostoevski may have had something different in mind.
Other important sights in Moscow include several remaining homes of important writers like Pushkin, Tolstoy, and Dostoevski.
Dostoevski intrudes to point out that "the author of these notes and the 'Notes' themselves are, of course, imaginary.
Instead the priest points to local concerts with top-flight performers, to well-schooled, broadly experienced professionals and to fishermen who read Dickens, Tolstoy and Dostoevski.
Vladimir Spasovich, a brilliant law teacher and defense lawyer, but somewhat less noted than Koni, would be vilified by Dostoevski in the 1870s for his defense in some of the more important jury trials of the day.
Last, Haac mentions the far-reaching influence of Spiridion and of Sand's ideas about moral reforms on such luminaries as Ernest Renan, Matthew Arnold, Margaret Fuller, Emerson, and Dostoevski.
2) Scorsese recalls, "I felt close to the character by way of Dostoevski.
My dad drew up a list of European literature for me to read, and I devoted considerable time to the work of Tolstoy, Dostoevski, Stendhal, Hardy, and other writers.
Nishitani looks for the "theology of history" of Niebuhr and Hromadka as it emerges in their encounter with various facets of "communism", including its theoretical foundations, its 19th century ancestry in the "passionate humanism" of Russian writers like Dostoevski, Turgenev and Gogol (in Hromadka's view), and in its expressions in movements, primarily Soviet communism.
Before the Bolshevik Revolution, Russian national identity was rooted both in familiar notions of ethnic identity and blood and in a peculiarly Russian sense of universalism--what Dostoevski called "world openness"--that grew out of the Russian Orthodox Church.
One has read and re-reads Nietzsche, Dostoevski, and even Frankl.
A contemporary of Dostoevski and Tolstoy, Leskow's religious vision probably led him to write less panoramic and more narrowly focused stories than did his more famous contemporaries; hence, he never achieved their universal appeal.