Fyodor Dostoevsky


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Fyodor Dostoevsky, a Russian novelist, wrote in Brothers Karamazov: "Ivan said: the death of an innocent child is seen to be an inescapable objection to God's goodness, (therefore) I hasten to give back my entrance ticket (to Heaven).
With psychological insight that rivals the great novels of Fyodor Dostoevsky, the twenty-one linked narratives that make up the collection present us with everyday people, with everyday problems — and teach us to love and respect the former, and bear the latter.
The narrative is permeated with Cem's awareness of other literary texts, including those of Jules Verne, Fyodor Dostoevsky and Dante, as metaphor for his own predicaments or perceptions.
This contrasted poetry and prose by Fyodor Dostoevsky and Boris Pasternak, who were persecuted by the Czarist and Communist regimes respectively.
Drawing on ideas by those like Charles Baudelaire, Fyodor Dostoevsky, Edward Said, Guy Debord, Hannah Arendt, David Foster Wallace, and Jane Jacobs, he discusses professionalism and amateurism in the context of government, knowledge, city spaces, work, democracy, hobbies, and politics.
My literary godfathers beyond the sea are Franz Kafka, Fyodor Dostoevsky, Albert Camus, Dino Buzzati.
One A320 has been named after Aleksei German, a film director and a screenwriter, while the other after Fyodor Dostoevsky, a world-known classical writer.
Fyodor Dostoevsky, Crime and Punishment (Part V, Chap IV)
These thinkers, in particular, are Fyodor Dostoevsky (1821-1881) and Max Scheler (1874-1928).
Martin realized his passion for writing through calligraphy, and his fascination for reading through authors such as Enid Blyton, Alexander Dumas, Fyodor Dostoevsky and Julio Cortazar.
The famous aphorism, "Without God, everything is permitted" is credited to Fyodor Dostoevsky and is too often used to suggest that atheists have a free pass to behave badly.
By comparing French and English translations of various passages drawn from the works of Leo Tolstoy, Anton Chekhov, Fyodor Dostoevsky, and several of their contemporaries, Davison provides a detailed analysis of translation choices privileged in particular by Mansfield and Virginia Woolf and what their translations reveal about their own ongoing concerns as they set out as writers and publishers between 1915 and 1923.