Dostoevskian


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Adj.1.Dostoevskian - of or relating to or in the style of Feodor Dostoevski
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into Dostoevskian psychology, for what constitutes recognition is not
Her brother dropped out of college to teach English in Russia, from where he occasionally sends me a Dostoevskian story full of darkness and snow and human suffering.
Significantly, however, the Dostoevskian hero is no longer an 'objectified image, but a fully weighted discourse [slovo], pure voice; we do not see him, we hear him' (Bakhtin 1994b: 52; 1984: 53): the interaction between seeing, between intentionally impelled discourses sharing a single plane within the novel.
Carthage explores similar territory [to that of We Were the Mulvaneys] with a new, Dostoevskian rigour.
Rife with Dostoevskian scandal (recalling perhaps the "explanation" and failed suicide of Ippolit in The Idiot), the grossly inappropriate and semi-comic treatment of what should be the most serious scene of the film is not only deliberate, in which respect the film itself parallels the theatrics of the holy fool, but in Slavoj Zizek's view, embodies what "elevates Tarkovsky above cheap religious obscurantism.
I conclude this paper rejecting Simon Blackburn's idea that 'Anscombe's thought was a version of the Dostoevskian claim that if God is dead everything is permitted' (Blackburn, 2005, 11) by saying that the work of Anscombe and Foot let us know that ethics survives the death of God.
Caryl Emerson has described Dostoevskian polyphony as "a dialogue of ideas" in which readers, characters, and author communicate on an "equal plane" ("The First Hundred Years" 128), but the dialogue we find in Tolstoy raises doubts about whether two individuals can occupy an "equal plane" for even a short amount of time.
While he follows Dostoevsky's model on the level of plot structure, Kurosawa unsettled the dynamics of the Dostoevskian chronotope by placing his own narrative at the margins of his own country.
Part Dostoevskian angel, part Nabokovian nymphet--witness her moue of seductive disgust when Faust secretly touches her at her brother's funeral--Margarete hovers eerily in the image, her already-ethereal flesh blanched to alabaster by Delbonnel's uncanny lighting, like an extraterrestrial conjured by Canova.
Neither Dostoevskian doubles nor Conradian secret sharers, they are nonetheless bound: Lena the life-principle, Joe the thanatos-principle.
A figure of Dostoevskian intensity, Trigano bitterly accuses Moses of selling out, betraying his original vision for a popular style, more realistic, more psychological.