Dostoevski


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Dos·to·yev·sky

or Dos·to·ev·ski  (dŏs′tə-yĕf′skē, -toi-, dŭs-), Feodor Mikhailovich 1821-1881.
Russian writer whose works, such as the novels Crime and Punishment (1866), The Idiot (1869), and The Brothers Karamazov (1880), combine religious mysticism with profound psychological insight.

Dos′to·yev′ski·an adj.
References in periodicals archive ?
58) Martin Heidegger, "The Way Back into the Ground of Metaphysics," in Existentialism from Dostoevski to Sartre, ed.
The same omission occurs with regards to Existentialist novels, in which case the focus was Dostoevski, Kafka, Sartre, and Camus.
The embarrassing situation, whose whole depth was explored probably only by Dostoevski, is in a sense the reverse side of that blazing triumphant battle of souls and ideas in which the human spirit can sometimes free itself of all conditions and conditionings.
Her father, Pedro, died when she was 14, but by then he had introduced her to the novels of Zola and Dostoevski.
When asked to name his influences, Hemingway listed Turgenev fifth: "Mark Twain, Flaubert, Stendhal, Bach, Turgenev, Tolstoi, Dostoevski, Chekhov" (Plimpton 27).
The stakes tempting us are surely higher than those Dostoevski depicted and the moral choice suspended in far muddier waters
All the apartment blocks in Dostoevski, the misguided sprawl of Brasilia, the crumbling landings of Cabrini Greens: zones poorly built and cracked apart by wretchedness.
Like his favorite writer Fyodor Dostoevski, Wright understood that while a permissive society might be attractive in the short run, in the long run it experienced madness, despair, and cultural collapse.
See Richard Weisberg, The Brilliant Reactor: The Inquisitor in Crime and Punishment, from The Failure of the Word: The Protagonist as Lawyer in Modern Fiction 48-54 (1984) ("Foreshadowing the theme fully expressed in his final work, and in Camus' novels about the law, Dostoevski indicates that the process of legal investigation contains the potential for imaginative artistry.
In The Brothers Karamazov, Feodor Dostoevski asks the following question, "Imagine that you are creating a fabric of human destiny with the object of making men happy in the end, giving them peace and rest at last, but that it was essential and inevitable to torture to death only one tiny creature .
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).