Dostoevskian


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  • adj

Synonyms for Dostoevskian

of or relating to or in the style of Feodor Dostoevski

References in periodicals archive ?
It is in this regard that he is most like Dostoevsky, and it is this aspect of his work that makes yet more appropriate the Dostoevskian parallels in The Power and the Glory.
conclusion from a Dostoevskian perspective, Fuchs finds "little of
He was introduced thus by Prof David Fuller: "A religious leader known nationally for humour and balanced judgement; an inhabitant of two ghettos, Jewish and homosexual; an isolated, semi-suicidal, Dostoevskian depressive: Lionel Blue is, or has been, all of these, and it is his own view that whatever strength an affectionate public finds in his down-to-earth, religiously-based wisdom draws mightily on the difficulties and failures which have been his best teachers.
14) This Dostoevskian sociomachia culminated, of course, in Marxism which, as Berdyaev put it, "seeks to take the place of Christianity.
In Stalingrad, he confronts a landscape resembling that of a Dostoevskian novel.
Contino argues that the kenotic saint is especially evident in the Dostoevskian role of confessor--those, like Sonia in Crime and Punishment, Tikhon in The Demons, and Zosima in The Brothers Karamazov, who are able to follow Christ by emptying themselves of egotism in order to enter into an understanding of the suffering of the confessing sinner.
If this could be considered in religious terms, we would have something like a parody of a Dostoevskian apotheosis of suffering by the chosen ten thousand strong.
A Dostoevskian novel of ideas, Snow is both a political thriller and a novel about loneliness, love, happiness, and cultural identity.
But I was deeply interested in Wright's Dostoevskian character-digging (the dialogue between him and the lawyer Max) especially in the last pages.
Replete with reminiscences of Dostoevskian scandals, the farcical, carnivalesque atmosphere comes to the fore in "Little Fool" in the confluence of religious, mythical, and carnal motifs, with baptisms, hangings, and ascension to heaven during a time of cholera, where bodily functions, lust, and faith alike are depicted in a no-holds-barred manner that leaves the reader entranced and clamoring for more.
Its pace was breathtaking, yet the climactic scenes were moments of meditation, of Dostoevskian hope and despair: "Bigger simply is but his being holds in check all inhuman logic.
The death of great souls caught in the minutiae of everyday reality evokes a Dostoevskian character who could easily come from Notes from Underground.
And now let's imagine the condition of a man who emerges into the light, the light of life, from his dark corner, where, as it turns out, he could have stayed quietly forever, not having to live in the light for even one single day; imagine that you were thrown with one sweep, on someone's whim, into your old age with its worn-out slippers, into a Dostoevskian bathhouse full of spiders, into Rimbaud's dreams about precipices, into a room with the meta-morphosed Gregor Samsa, into a Cortazarian chamber with snow-white gutters, in general into all that which tells you or, more precisely, assures you that your life is over, that it is no more.
The author distrusts the "official" level of social life but focuses on the defective and the deviate in nature itself - that is to say, "otherness" in its most radical sense, as symbolized by homosexual love, by the dwarfishness of Vittorio, and by the Dostoevskian "idiocy" of the hero himself.
Lynch takes at face value the tortured arguments by which Wright's unhappy killers attempt to claim their crimes as liberations of personality, but he does identify very well the structural parallels and multiple subtextual allusions that link a late work like The Outsider (1953) to the Dostoevskian oeuvre in general.