Dostoyevskian


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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.
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Adj.1.Dostoyevskian - of or relating to or in the style of Feodor Dostoevski
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References in periodicals archive ?
Scott is very drawn to the Dostoyevskian Weber of Politics as a Vocation with its strong sense of realpolitik.
Despite her stories being like Hitchcock commingled with a Dostoyevskian ambiance, she is regarded as a literary writer.
MANILA -- "Norte" tells the Dostoyevskian stories of a law school dropout and an impoverished couple whose fates are linked, and altered, by the brutal murder of a loan shark.
His Dostoyevskian cri de coeur--"Can I ever be forgiven?
A fully Dostoyevskian character, Carton begins as a lower-class dandy, reckless, cynical, indolent, devoid of ambition, negligent, indifferent toward his own abilities and God-given talents.
In the act of committing murder, Rojack is a Dostoyevskian character, possessed of his own sickness but also of his dreams of aesthetics and ascesis.
His books make all the right postmodern noises, but their energy lies in their besotted relationship to an older, Dostoyevskian tradition, in which we feel the desperate impress of the confessing author, however recessed and veiled.
Written by different authors, Janos is described as a "holy idiot," (21) "wise fool" (22) and "a Dostoyevskian holy fool.
The elements of this story seem drawn from the Dostoyevskian lower depths but reconfigured by a stern moralist, a sort of Contra Notes from Underground.
He ponders spiritual matters in Bresson and his contemporaries from such perspectives as tragedy and homily in Days of Wrath, close encounters of a devilish kind in Pialat's Under the Sun of Satan, mirabile visu et dictu in Loach's Raining Stones and Rohmer's A Tale of Winter, the space of time and the sound of silence in Ozon's Under the Sand and Tsai's What Time Is It There, The Passion of Christ and the new cinema of violence, and Dostoyevskian surges and Bressonian spirits in Kerrigan's Keane and Bresson's Une Femme douce.
Focusing on the mother's vanity, the father's materialism and the daughter's ingratitude, David Golder could serve as a melodrama for the Yiddish stage, yet its Dostoyevskian intensity makes it difficult to put down.
Fielding's domestic novel at least once edges towards a nightmarish Dostoyevskian tale; Sergeant Atkinson, who has a long-running crush on Amelia, wakes up from a dream and thinks he has strangled his apparently blood-soaked wife; he has been dreaming that he was dispatching Amelia's would-be seducer Colonel James (Bk.