Katy Masuga
- Published in print:
- 2011
- Published Online:
- March 2012
- ISBN:
- 9780748641185
- eISBN:
- 9780748651986
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9780748641185.003.0003
- Subject:
- Literature, 20th-century Literature and Modernism
This chapter studies Fyodor Dostoevsky, another of Miller's writing influences, showing him as a way to prevent the paradox of simultaneous living and creative expression in writing. It shows how ...
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This chapter studies Fyodor Dostoevsky, another of Miller's writing influences, showing him as a way to prevent the paradox of simultaneous living and creative expression in writing. It shows how Miller's writing considers the question of how a text is read and also examines the importance of distinguishing between the writer and the persona.Less
This chapter studies Fyodor Dostoevsky, another of Miller's writing influences, showing him as a way to prevent the paradox of simultaneous living and creative expression in writing. It shows how Miller's writing considers the question of how a text is read and also examines the importance of distinguishing between the writer and the persona.
- Published in print:
- 2010
- Published Online:
- June 2013
- ISBN:
- 9781846312373
- eISBN:
- 9781846316173
- Item type:
- chapter
- Publisher:
- Liverpool University Press
- DOI:
- 10.5949/UPO9781846316173.004
- Subject:
- Society and Culture, Social Groups
This chapter discusses the borderlands of epilepsy. It reviews the monks, Robert Louis Stevenson's Strange Case of Dr Jekyll and Mr Hyde and the untimely death of Arthur Thomas Myers. These ideas and ...
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This chapter discusses the borderlands of epilepsy. It reviews the monks, Robert Louis Stevenson's Strange Case of Dr Jekyll and Mr Hyde and the untimely death of Arthur Thomas Myers. These ideas and disparate events are all part of the circuit of culture that shapes epilepsy narratives well into the twentieth century. This chapter shows the success of Fyodor Mikhailovitch Dostoevsky in negotiating from the borderlands an enunciative position that compelled medical engagement and dialogue that goes some way in addressing the unliveable oppositions confronting Myers. It also suggests the conflict faced by Myers as a physician and an epileptic at the end of the nineteenth century.Less
This chapter discusses the borderlands of epilepsy. It reviews the monks, Robert Louis Stevenson's Strange Case of Dr Jekyll and Mr Hyde and the untimely death of Arthur Thomas Myers. These ideas and disparate events are all part of the circuit of culture that shapes epilepsy narratives well into the twentieth century. This chapter shows the success of Fyodor Mikhailovitch Dostoevsky in negotiating from the borderlands an enunciative position that compelled medical engagement and dialogue that goes some way in addressing the unliveable oppositions confronting Myers. It also suggests the conflict faced by Myers as a physician and an epileptic at the end of the nineteenth century.
Arthur Versluis
- Published in print:
- 2006
- Published Online:
- October 2011
- ISBN:
- 9780195306378
- eISBN:
- 9780199850914
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195306378.003.0014
- Subject:
- Religion, History of Christianity
This chapter examines the thoughts of essayist Fyodor Dostoevsky and political philosopher Nicholas Berdyaev on the relation between communism and Roman Catholicism. In one of his major works, ...
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This chapter examines the thoughts of essayist Fyodor Dostoevsky and political philosopher Nicholas Berdyaev on the relation between communism and Roman Catholicism. In one of his major works, Dostoevsky have suggested that communism had its origin in some aspects of Roman Catholicism. Berdyaev acknowledged that Dostoevsky foresaw the demonic aspect of the Russian Revolution and the demonic metaphysics of revolution. However, Berdyaev believed that it is not so important whether communism has part of its origin in Catholicism and that what matters is the underlying dynamic of heretic-hunting itself. He asserted that the root of the Inquisition was fanaticism and suggested a parallelism with the emergence and growth of communism.Less
This chapter examines the thoughts of essayist Fyodor Dostoevsky and political philosopher Nicholas Berdyaev on the relation between communism and Roman Catholicism. In one of his major works, Dostoevsky have suggested that communism had its origin in some aspects of Roman Catholicism. Berdyaev acknowledged that Dostoevsky foresaw the demonic aspect of the Russian Revolution and the demonic metaphysics of revolution. However, Berdyaev believed that it is not so important whether communism has part of its origin in Catholicism and that what matters is the underlying dynamic of heretic-hunting itself. He asserted that the root of the Inquisition was fanaticism and suggested a parallelism with the emergence and growth of communism.
Bruce V. Foltz
- Published in print:
- 2013
- Published Online:
- May 2014
- ISBN:
- 9780823254644
- eISBN:
- 9780823261024
- Item type:
- chapter
- Publisher:
- Fordham University Press
- DOI:
- 10.5422/fordham/9780823254644.003.0010
- Subject:
- Philosophy, Philosophy of Science
The same bias that allows Lynn White Jr. to posit Western Christianity as normative for the Christian tradition as such allows Western interpreters of Dostoevsky to regard the affirmation of nature’s ...
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The same bias that allows Lynn White Jr. to posit Western Christianity as normative for the Christian tradition as such allows Western interpreters of Dostoevsky to regard the affirmation of nature’s holiness in his writings, deeply resonant of Russian Orthodoxy, as nevertheless somehow pagan and aberrant. In fact, Dostoevsky’s characterization of nature draws upon central features of Orthodox spirituality as a whole: its emphasis upon divine energies at work in the world; its teachings concerning divine logoi uniquely inherent in each thing; its belief that creation represents the first icon of God, albeit obscured through human fallenness; its view of nature as cosmic liturgy, and redemption as cosmic in scope; and its claim that these truths can be apprehended through the ascetic purification of the heart. These insights are articulated eloquently in the writings of St Isaac of Syria, who in fact exerted a strong influence on Dostoevsky’s own thinking.Less
The same bias that allows Lynn White Jr. to posit Western Christianity as normative for the Christian tradition as such allows Western interpreters of Dostoevsky to regard the affirmation of nature’s holiness in his writings, deeply resonant of Russian Orthodoxy, as nevertheless somehow pagan and aberrant. In fact, Dostoevsky’s characterization of nature draws upon central features of Orthodox spirituality as a whole: its emphasis upon divine energies at work in the world; its teachings concerning divine logoi uniquely inherent in each thing; its belief that creation represents the first icon of God, albeit obscured through human fallenness; its view of nature as cosmic liturgy, and redemption as cosmic in scope; and its claim that these truths can be apprehended through the ascetic purification of the heart. These insights are articulated eloquently in the writings of St Isaac of Syria, who in fact exerted a strong influence on Dostoevsky’s own thinking.
Val Vinokur
- Published in print:
- 2012
- Published Online:
- November 2015
- ISBN:
- 9780231147750
- eISBN:
- 9780231519670
- Item type:
- chapter
- Publisher:
- Columbia University Press
- DOI:
- 10.7312/columbia/9780231147750.003.0001
- Subject:
- Philosophy, Metaphysics/Epistemology
This chapter examines the tension between Russian existentialism and existential “Russianism” by focusing on key moments from Fyodor Dostoevsky’s Notes from Underground and The Brothers Karamazov and ...
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This chapter examines the tension between Russian existentialism and existential “Russianism” by focusing on key moments from Fyodor Dostoevsky’s Notes from Underground and The Brothers Karamazov and from Leo Tolstoy’s Anna Karenina. In particular, it evokes a “Russian existentialism” that avoids the tendency to dwell exclusively on Russian literary angst and instead attends to the range and complexity of the human “about which the Russian novelists ceaselessly wonder.” It also considers “religious” Russian proto-existentialists and literary commentators such as Nikolai Berdyaev and Lev Shestov and locates Emmanuel Levinas within this broader tradition. Furthermore, it discusses the way Dostoevsky and Tolstoy portrayed the cleaving of consciousness—so important to later existentialist thinkers—and raised questions about the meaning of life by dwelling on the issue of theodicy: how to sustain belief in God given the merciless evil that one encounters in the world.Less
This chapter examines the tension between Russian existentialism and existential “Russianism” by focusing on key moments from Fyodor Dostoevsky’s Notes from Underground and The Brothers Karamazov and from Leo Tolstoy’s Anna Karenina. In particular, it evokes a “Russian existentialism” that avoids the tendency to dwell exclusively on Russian literary angst and instead attends to the range and complexity of the human “about which the Russian novelists ceaselessly wonder.” It also considers “religious” Russian proto-existentialists and literary commentators such as Nikolai Berdyaev and Lev Shestov and locates Emmanuel Levinas within this broader tradition. Furthermore, it discusses the way Dostoevsky and Tolstoy portrayed the cleaving of consciousness—so important to later existentialist thinkers—and raised questions about the meaning of life by dwelling on the issue of theodicy: how to sustain belief in God given the merciless evil that one encounters in the world.
- Published in print:
- 2008
- Published Online:
- June 2013
- ISBN:
- 9780804759526
- eISBN:
- 9780804769853
- Item type:
- chapter
- Publisher:
- Stanford University Press
- DOI:
- 10.11126/stanford/9780804759526.003.0001
- Subject:
- Society and Culture, Jewish Studies
This introductory chapter first sets out the book's purpose, to explore the Jewish stereotype in the works of three prominent Russian writers of the nineteenth century—Nikolai Gogol's Taras Bulba, ...
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This introductory chapter first sets out the book's purpose, to explore the Jewish stereotype in the works of three prominent Russian writers of the nineteenth century—Nikolai Gogol's Taras Bulba, Ivan Turgenev's “The Jew,” and Fyodor Dostoevsky's Notes from the House of the Dead. The focus is on the ways in which Gogol, Turgenev, and Dostoevsky exploit the stereotype of the ridiculous Jew for different literary and cultural ends. The chapter then discusses representations of the Jew as devil and homo economicus, the good Jew, the inscribable Jew, Jewish assimilation and conversion, and the Jewish body. An overview of the subsequent chapters is also presented.Less
This introductory chapter first sets out the book's purpose, to explore the Jewish stereotype in the works of three prominent Russian writers of the nineteenth century—Nikolai Gogol's Taras Bulba, Ivan Turgenev's “The Jew,” and Fyodor Dostoevsky's Notes from the House of the Dead. The focus is on the ways in which Gogol, Turgenev, and Dostoevsky exploit the stereotype of the ridiculous Jew for different literary and cultural ends. The chapter then discusses representations of the Jew as devil and homo economicus, the good Jew, the inscribable Jew, Jewish assimilation and conversion, and the Jewish body. An overview of the subsequent chapters is also presented.
Laura Otis
- Published in print:
- 2019
- Published Online:
- April 2019
- ISBN:
- 9780190698904
- eISBN:
- 9780190698935
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780190698904.003.0005
- Subject:
- Psychology, Cognitive Psychology, Social Psychology
Attempts to manifest one’s suffering visually can turn aggressive if the people who have supposedly caused one’s pain refuse to see the results. Metaphors that suggest how pain looks can convey the ...
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Attempts to manifest one’s suffering visually can turn aggressive if the people who have supposedly caused one’s pain refuse to see the results. Metaphors that suggest how pain looks can convey the cutting, wounding aspects of emotional anguish. Fyodor Dostoevsky’s Notes from the Underground associates spite and vengefulness with darkness and dirt and shows how painful encounters can be when a hidden creature reveals himself to others. Franz Kafka’s representation of Gregor Samsa as a monstrous vermin in The Metamorphosis forces Gregor’s family to see the emotions they have aroused by exploiting him. Michael Haneke’s 2005 film Caché depicts a marginalized family determined to make a privileged man see how he has benefited from their deprivation. With a violent literal and metaphoric “cut,” the poor man ensures that the rich one will never stop witnessing the pain he has caused. Manifested visually, emotional pain can show itself through violent transformations of bodies.Less
Attempts to manifest one’s suffering visually can turn aggressive if the people who have supposedly caused one’s pain refuse to see the results. Metaphors that suggest how pain looks can convey the cutting, wounding aspects of emotional anguish. Fyodor Dostoevsky’s Notes from the Underground associates spite and vengefulness with darkness and dirt and shows how painful encounters can be when a hidden creature reveals himself to others. Franz Kafka’s representation of Gregor Samsa as a monstrous vermin in The Metamorphosis forces Gregor’s family to see the emotions they have aroused by exploiting him. Michael Haneke’s 2005 film Caché depicts a marginalized family determined to make a privileged man see how he has benefited from their deprivation. With a violent literal and metaphoric “cut,” the poor man ensures that the rich one will never stop witnessing the pain he has caused. Manifested visually, emotional pain can show itself through violent transformations of bodies.
George Pattison
- Published in print:
- 2012
- Published Online:
- November 2015
- ISBN:
- 9780231147750
- eISBN:
- 9780231519670
- Item type:
- chapter
- Publisher:
- Columbia University Press
- DOI:
- 10.7312/columbia/9780231147750.003.0007
- Subject:
- Philosophy, Metaphysics/Epistemology
This chapter examines the paradox of Christian existentialism by tracing how a number of thinkers take on the troubling theme of “the exception,” which is entailed by Søren Kierkegaard’s argument in ...
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This chapter examines the paradox of Christian existentialism by tracing how a number of thinkers take on the troubling theme of “the exception,” which is entailed by Søren Kierkegaard’s argument in Fear and Trembling concerning the “teleological suspension of the ethical.” More specifically, it considers how Kierkegaard treated the problem of “the exception” to systems of universal ethics in his discussion of Abraham’s response to God’s call to sacrifice his son Isaac as a sign of faith. It also discusses the dilemmas raised by Kierkegaard that were later taken up by Fyodor Dostoevsky and Friedrich Nietzsche. Finally, it explores Christian existential theology in the work of Paul Tillich and Nicholas Berdyaev to show how Christian theorists addressed the possibility of faith in a world where God is invisible or absent.Less
This chapter examines the paradox of Christian existentialism by tracing how a number of thinkers take on the troubling theme of “the exception,” which is entailed by Søren Kierkegaard’s argument in Fear and Trembling concerning the “teleological suspension of the ethical.” More specifically, it considers how Kierkegaard treated the problem of “the exception” to systems of universal ethics in his discussion of Abraham’s response to God’s call to sacrifice his son Isaac as a sign of faith. It also discusses the dilemmas raised by Kierkegaard that were later taken up by Fyodor Dostoevsky and Friedrich Nietzsche. Finally, it explores Christian existential theology in the work of Paul Tillich and Nicholas Berdyaev to show how Christian theorists addressed the possibility of faith in a world where God is invisible or absent.
Joseph Frank
- Published in print:
- 2012
- Published Online:
- September 2012
- ISBN:
- 9780823239252
- eISBN:
- 9780823239290
- Item type:
- chapter
- Publisher:
- Fordham University Press
- DOI:
- 10.5422/fordham/9780823239252.003.0019
- Subject:
- Literature, Criticism/Theory
Gary Saul Morson is best known as the co-author, with Caryl Emerson, of Mikhail Bakhtin: Creation of a Prosaics, which is unquestionably the most complete, well-rounded, and judicious analysis in ...
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Gary Saul Morson is best known as the co-author, with Caryl Emerson, of Mikhail Bakhtin: Creation of a Prosaics, which is unquestionably the most complete, well-rounded, and judicious analysis in English of the works of Mikhail Bakhtin. His first book, devoted to Fyodor Dostoevsky's Diary of a Writer, treats much less the contents of that unique work than the dialectic Morson discerns in it between Utopia and irony. In Narrative and Freedom: The Shadows of Time (1994), he raises the question—and answers it in strikingly innovative ways—of how a world of human beings exercising freedom and ignorant of the future can be depicted in a work of literature whose structure is necessarily limited and closed by the sovereign will of its author. Morson begins with some reflections on the nature of time, and outlines various types of predetermination: eternal recurrence; the presumed foreshadowing of the New Testament by the Old; and the assumptions of Marxists that history's laws have been writ plain for them to read in their own sacred texts.Less
Gary Saul Morson is best known as the co-author, with Caryl Emerson, of Mikhail Bakhtin: Creation of a Prosaics, which is unquestionably the most complete, well-rounded, and judicious analysis in English of the works of Mikhail Bakhtin. His first book, devoted to Fyodor Dostoevsky's Diary of a Writer, treats much less the contents of that unique work than the dialectic Morson discerns in it between Utopia and irony. In Narrative and Freedom: The Shadows of Time (1994), he raises the question—and answers it in strikingly innovative ways—of how a world of human beings exercising freedom and ignorant of the future can be depicted in a work of literature whose structure is necessarily limited and closed by the sovereign will of its author. Morson begins with some reflections on the nature of time, and outlines various types of predetermination: eternal recurrence; the presumed foreshadowing of the New Testament by the Old; and the assumptions of Marxists that history's laws have been writ plain for them to read in their own sacred texts.
Louise McReynolds
- Published in print:
- 2012
- Published Online:
- August 2016
- ISBN:
- 9780801451454
- eISBN:
- 9780801465901
- Item type:
- chapter
- Publisher:
- Cornell University Press
- DOI:
- 10.7591/cornell/9780801451454.003.0005
- Subject:
- History, Russian and Former Soviet Union History
This chapter examines fictional portrayals of murder as a means of understanding how Russian audiences adjusted to the postreform society. A murder with no mystery, Fyodor Dostoevsky's Crime and ...
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This chapter examines fictional portrayals of murder as a means of understanding how Russian audiences adjusted to the postreform society. A murder with no mystery, Fyodor Dostoevsky's Crime and Punishment (1866) established what would become identifiable as the generic conventions of crime fiction in Russia. Crime fiction takes up the ideological challenge of why individuals transgress the boundaries established by the society of which they are members. The emphasis on the why rather than the who, the greater interest in the motive rather than in an identity that must be uncovered, would characterize Russia's fictional forays beyond the law. By the turn of the twentieth century, because of the effects of the reforms and the government's push toward industrialization, crime fiction began changing perceptively, moving away from moral melodramas toward shorter stories that emphasized violence.Less
This chapter examines fictional portrayals of murder as a means of understanding how Russian audiences adjusted to the postreform society. A murder with no mystery, Fyodor Dostoevsky's Crime and Punishment (1866) established what would become identifiable as the generic conventions of crime fiction in Russia. Crime fiction takes up the ideological challenge of why individuals transgress the boundaries established by the society of which they are members. The emphasis on the why rather than the who, the greater interest in the motive rather than in an identity that must be uncovered, would characterize Russia's fictional forays beyond the law. By the turn of the twentieth century, because of the effects of the reforms and the government's push toward industrialization, crime fiction began changing perceptively, moving away from moral melodramas toward shorter stories that emphasized violence.
Joseph Frank
- Published in print:
- 2012
- Published Online:
- September 2012
- ISBN:
- 9780823239252
- eISBN:
- 9780823239290
- Item type:
- chapter
- Publisher:
- Fordham University Press
- DOI:
- 10.5422/fordham/9780823239252.003.0006
- Subject:
- Literature, Criticism/Theory
Yves Bonnefoy knew the works of Fyodor Dostoevsky perfectly and called him, in a lecture of 1979, the greatest of novelists, but there are also good historical grounds for asserting that, besides ...
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Yves Bonnefoy knew the works of Fyodor Dostoevsky perfectly and called him, in a lecture of 1979, the greatest of novelists, but there are also good historical grounds for asserting that, besides Dostoevsky, other aspects of early twentieth-century Russian culture provided an essential element his formation. One was Boris de Schloezer, who played a significant role in France's cultural and particularly musical life as critic en titre for the Nouvelle revue française until his death in 1969. Among Bonnefoy's translations were several works of the émigré Russian philosopher Lev Chestov, including Le Pouvoir des clefs, which played an important role in his own literary and spiritual development. Bonnefoy's own elucidation of the essential creative intuition from which his poetry springs bears an uncanny resemblance to William Wordsworth's description of those “spots of time” that furnished him, Wordsworth, with poetic inspiration.Less
Yves Bonnefoy knew the works of Fyodor Dostoevsky perfectly and called him, in a lecture of 1979, the greatest of novelists, but there are also good historical grounds for asserting that, besides Dostoevsky, other aspects of early twentieth-century Russian culture provided an essential element his formation. One was Boris de Schloezer, who played a significant role in France's cultural and particularly musical life as critic en titre for the Nouvelle revue française until his death in 1969. Among Bonnefoy's translations were several works of the émigré Russian philosopher Lev Chestov, including Le Pouvoir des clefs, which played an important role in his own literary and spiritual development. Bonnefoy's own elucidation of the essential creative intuition from which his poetry springs bears an uncanny resemblance to William Wordsworth's description of those “spots of time” that furnished him, Wordsworth, with poetic inspiration.
Claire Davison
- Published in print:
- 2012
- Published Online:
- January 2016
- ISBN:
- 9780983533955
- eISBN:
- 9781781384930
- Item type:
- chapter
- Publisher:
- Liverpool University Press
- DOI:
- 10.5949/liverpool/9780983533955.003.0029
- Subject:
- Literature, 20th-century Literature and Modernism
This chapter examines a translation of Fyodor Dostoevsky by Virginia Woolf and Samuel Koteliansky, with particular emphasis on Woolf's precise role in the translating process and how this translation ...
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This chapter examines a translation of Fyodor Dostoevsky by Virginia Woolf and Samuel Koteliansky, with particular emphasis on Woolf's precise role in the translating process and how this translation differed from other English and French versions. Woolf's 1925 essay “A Russian Point of View” seemingly flaunts contradictions or ambivalence, in terms of subject as well as authorial stance, creating an underlying tension that remains unresolved to the end. The essay's opening pages do not only draw on Woolf's own publications on Russian literature since 1917, but also interweave her own recycled ideas with an intriguing mish-mash of late-nineteenth and early twentieth-century Russian voices. The chapter then considers how translating as an activity and a concept gave rise to an essential and revealing dynamics in Woolf's creative work as much as in her critical reflections on language, translation, and the meaning of meaning.Less
This chapter examines a translation of Fyodor Dostoevsky by Virginia Woolf and Samuel Koteliansky, with particular emphasis on Woolf's precise role in the translating process and how this translation differed from other English and French versions. Woolf's 1925 essay “A Russian Point of View” seemingly flaunts contradictions or ambivalence, in terms of subject as well as authorial stance, creating an underlying tension that remains unresolved to the end. The essay's opening pages do not only draw on Woolf's own publications on Russian literature since 1917, but also interweave her own recycled ideas with an intriguing mish-mash of late-nineteenth and early twentieth-century Russian voices. The chapter then considers how translating as an activity and a concept gave rise to an essential and revealing dynamics in Woolf's creative work as much as in her critical reflections on language, translation, and the meaning of meaning.
Katie Macnamara
- Published in print:
- 2015
- Published Online:
- May 2018
- ISBN:
- 9780748694419
- eISBN:
- 9781474422277
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9780748694419.003.0010
- Subject:
- Literature, Women's Literature
This chapter offers a reassessment of the relationship between Katherine Mansfield and Virginia Woolf by exploring how Mansfield’s imitation of Fyodor Dostoevsky’s ‘underworld’ influenced Woolf’s ...
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This chapter offers a reassessment of the relationship between Katherine Mansfield and Virginia Woolf by exploring how Mansfield’s imitation of Fyodor Dostoevsky’s ‘underworld’ influenced Woolf’s perspective on Russian literature and on her friend and rival. The chapter charts Woolf’s growing empathy for Mansfield in the years after her death, arguing that this empathy constitutes a form of influence itself, as imitations of Mansfield’s experience are located in Woolf’s diary, criticism, growing feminist sensibility and fiction. Less
This chapter offers a reassessment of the relationship between Katherine Mansfield and Virginia Woolf by exploring how Mansfield’s imitation of Fyodor Dostoevsky’s ‘underworld’ influenced Woolf’s perspective on Russian literature and on her friend and rival. The chapter charts Woolf’s growing empathy for Mansfield in the years after her death, arguing that this empathy constitutes a form of influence itself, as imitations of Mansfield’s experience are located in Woolf’s diary, criticism, growing feminist sensibility and fiction.
Frederick Nolan
- Published in print:
- 1996
- Published Online:
- October 2011
- ISBN:
- 9780195102895
- eISBN:
- 9780199853212
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195102895.003.0023
- Subject:
- Music, Popular
Early in 1932, Samuel Goldwyn, with ten years of independent production now behind him, decided to produce a movie of The Brothers Karamazov based on the book by Fyodor Dostoevsky. He came to this ...
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Early in 1932, Samuel Goldwyn, with ten years of independent production now behind him, decided to produce a movie of The Brothers Karamazov based on the book by Fyodor Dostoevsky. He came to this decision after seeing the photograph of an actress named Anna Sten in an advertisement for a German film based on the book, Der Morder Dimitri Karamazov, then playing in New York. She was reported to be twenty-four years of age, a former student of Stanislavsky, briefly married to Soviet cinernatographer Anatoli Golovnia, and a protegee of director Fyodor Ozep, who had shortened her name and directed her in the film. Goldwyn had a copy of the film rushed out to him in Hollywood and watched it over and over, totally smitten. He immediately dispatched his (and much later Richard Rodgers and Oscar Hammerstein's) publicity chief Lynn Farnol to Europe to sign her, determined she would now star in a Goldwyn version of the Dostoevsky novel.Less
Early in 1932, Samuel Goldwyn, with ten years of independent production now behind him, decided to produce a movie of The Brothers Karamazov based on the book by Fyodor Dostoevsky. He came to this decision after seeing the photograph of an actress named Anna Sten in an advertisement for a German film based on the book, Der Morder Dimitri Karamazov, then playing in New York. She was reported to be twenty-four years of age, a former student of Stanislavsky, briefly married to Soviet cinernatographer Anatoli Golovnia, and a protegee of director Fyodor Ozep, who had shortened her name and directed her in the film. Goldwyn had a copy of the film rushed out to him in Hollywood and watched it over and over, totally smitten. He immediately dispatched his (and much later Richard Rodgers and Oscar Hammerstein's) publicity chief Lynn Farnol to Europe to sign her, determined she would now star in a Goldwyn version of the Dostoevsky novel.
Galya Diment, Gerri Kimber, and W. Todd Martin (eds)
- Published in print:
- 2017
- Published Online:
- January 2019
- ISBN:
- 9781474426138
- eISBN:
- 9781474438681
- Item type:
- book
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474426138.001.0001
- Subject:
- Literature, 20th-century Literature and Modernism
It is hard to overestimate how huge the “Russian influence” was on both Mansfield’s craft as a short story writer and her life choices, including, even, whom she most trusted to treat her ...
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It is hard to overestimate how huge the “Russian influence” was on both Mansfield’s craft as a short story writer and her life choices, including, even, whom she most trusted to treat her tuberculosis. Growing up in New Zealand, young Mansfield began devouring Russian books in translation. The authors she read included Marie Bashkirtseff, Leo Tolstoy, Fyodor Dostoevsky, Ivan Turgenev, Anton Chekhov and Maxim Gorky. After she moved to England, which at the time was undergoing its own passionate affair with all things Russian, Mansfield also discovered Russian art and Russian ballet. Later she became, with S. S. Koteliansky, a co-translator of Chekhov’s and Leonid Andreyev’s letters and autobiographical writings. And yet, other than Joanna Woods’ Katerina: The Russian World of Katherine Mansfield (2001), there have not been any significant publications dealing with this extraordinary aspect of Mansfield’s evolution as an artist and a human being. This volume goes a long way to remedy that. It includes contributions by both English and Russian scholars and explores many aspects of Mansfield’s personal and artistic response to Russian literature, culture, philosophy, and art, as well as to the actual Russians she met in England and — towards the end of her life — in France.Less
It is hard to overestimate how huge the “Russian influence” was on both Mansfield’s craft as a short story writer and her life choices, including, even, whom she most trusted to treat her tuberculosis. Growing up in New Zealand, young Mansfield began devouring Russian books in translation. The authors she read included Marie Bashkirtseff, Leo Tolstoy, Fyodor Dostoevsky, Ivan Turgenev, Anton Chekhov and Maxim Gorky. After she moved to England, which at the time was undergoing its own passionate affair with all things Russian, Mansfield also discovered Russian art and Russian ballet. Later she became, with S. S. Koteliansky, a co-translator of Chekhov’s and Leonid Andreyev’s letters and autobiographical writings. And yet, other than Joanna Woods’ Katerina: The Russian World of Katherine Mansfield (2001), there have not been any significant publications dealing with this extraordinary aspect of Mansfield’s evolution as an artist and a human being. This volume goes a long way to remedy that. It includes contributions by both English and Russian scholars and explores many aspects of Mansfield’s personal and artistic response to Russian literature, culture, philosophy, and art, as well as to the actual Russians she met in England and — towards the end of her life — in France.
Frank Lentricchia and Jody McAuliffe
- Published in print:
- 2003
- Published Online:
- February 2013
- ISBN:
- 9780226472058
- eISBN:
- 9780226472089
- Item type:
- chapter
- Publisher:
- University of Chicago Press
- DOI:
- 10.7208/chicago/9780226472089.003.0004
- Subject:
- Literature, Criticism/Theory
This chapter analyzes the works of Jack Henry Abbott, Norman Mailer, Fyodor Dostoevsky, Martin Scorsese, and Bret Easton Ellis. It presents an account of a man's renewal, a criminal who was half ...
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This chapter analyzes the works of Jack Henry Abbott, Norman Mailer, Fyodor Dostoevsky, Martin Scorsese, and Bret Easton Ellis. It presents an account of a man's renewal, a criminal who was half Irish and half Chinese, one Rufus (a.k.a. Jack) Henry Abbott, which became famous with the help of a famous writer, Norman Mailer, and an ambitious editor at Random House, Errol McDonald. It describes a young gentleman scholar who came to St. Petersburg from the provinces to study the law; the literary antecedent of the Unabomber, another man of words, with educative designs on his society, Rodion Romanovich Raskolnikov. Finally, it analyzes the Martin Scorsese, The King of Comedy.Less
This chapter analyzes the works of Jack Henry Abbott, Norman Mailer, Fyodor Dostoevsky, Martin Scorsese, and Bret Easton Ellis. It presents an account of a man's renewal, a criminal who was half Irish and half Chinese, one Rufus (a.k.a. Jack) Henry Abbott, which became famous with the help of a famous writer, Norman Mailer, and an ambitious editor at Random House, Errol McDonald. It describes a young gentleman scholar who came to St. Petersburg from the provinces to study the law; the literary antecedent of the Unabomber, another man of words, with educative designs on his society, Rodion Romanovich Raskolnikov. Finally, it analyzes the Martin Scorsese, The King of Comedy.
John T. Hamilton
- Published in print:
- 2018
- Published Online:
- January 2019
- ISBN:
- 9780226572826
- eISBN:
- 9780226572963
- Item type:
- chapter
- Publisher:
- University of Chicago Press
- DOI:
- 10.7208/chicago/9780226572963.003.0002
- Subject:
- Literature, Criticism/Theory
The chapter turns to three distinct episodes in literary and intellectual history which illustrate various approaches to language, in order to clarify the basic features of a philology of the flesh: ...
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The chapter turns to three distinct episodes in literary and intellectual history which illustrate various approaches to language, in order to clarify the basic features of a philology of the flesh: 1, The Humanism of Lorenzo Valla (15th century); 2, The Dialogism of Ferdinand Ebner (20th century); and 3, The "Grand Inquisitor" narrative from Dostoevksy's Brothers Karamazov.Less
The chapter turns to three distinct episodes in literary and intellectual history which illustrate various approaches to language, in order to clarify the basic features of a philology of the flesh: 1, The Humanism of Lorenzo Valla (15th century); 2, The Dialogism of Ferdinand Ebner (20th century); and 3, The "Grand Inquisitor" narrative from Dostoevksy's Brothers Karamazov.
Paul Weithman
- Published in print:
- 2011
- Published Online:
- May 2011
- ISBN:
- 9780195393033
- eISBN:
- 9780199894901
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195393033.003.0003
- Subject:
- Philosophy, Political Philosophy
This chapter begins an overview of the interpretation of Rawls that is defended throughout the book. It argues that Rawls must be taken at his word when he says that he recast his view as a political ...
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This chapter begins an overview of the interpretation of Rawls that is defended throughout the book. It argues that Rawls must be taken at his word when he says that he recast his view as a political liberalism to remedy an inconsistency he found in the account of stability presented in Theory of Justice. The chapter distinguishes several kinds of stability and identifies the one with which Rawls was most concerned. It also identifies the threat to stability that was of greatest concern to him – the generalized prisoner's dilemma – and gives a preliminary indication of how he hoped to avert that threat in Theory of Justice.Less
This chapter begins an overview of the interpretation of Rawls that is defended throughout the book. It argues that Rawls must be taken at his word when he says that he recast his view as a political liberalism to remedy an inconsistency he found in the account of stability presented in Theory of Justice. The chapter distinguishes several kinds of stability and identifies the one with which Rawls was most concerned. It also identifies the threat to stability that was of greatest concern to him – the generalized prisoner's dilemma – and gives a preliminary indication of how he hoped to avert that threat in Theory of Justice.
Paul Weithman
- Published in print:
- 2011
- Published Online:
- May 2011
- ISBN:
- 9780195393033
- eISBN:
- 9780199894901
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195393033.003.0012
- Subject:
- Philosophy, Political Philosophy
This chapter says what would have to be shown about other versions of political liberalism to establish that their superiority to Rawls's version. It defends political liberalism against the most ...
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This chapter says what would have to be shown about other versions of political liberalism to establish that their superiority to Rawls's version. It defends political liberalism against the most common objections raised against it. It considers and argues against attempts to locate the foundation of political liberalism in political legitimacy or in a right to equal concern and respect. Finally, it vindicates the suggestion—made in the Introduction—that Rawls's work can be read as an exercise in naturalistic theodicy.Less
This chapter says what would have to be shown about other versions of political liberalism to establish that their superiority to Rawls's version. It defends political liberalism against the most common objections raised against it. It considers and argues against attempts to locate the foundation of political liberalism in political legitimacy or in a right to equal concern and respect. Finally, it vindicates the suggestion—made in the Introduction—that Rawls's work can be read as an exercise in naturalistic theodicy.
Thomas Docherty
- Published in print:
- 2018
- Published Online:
- January 2019
- ISBN:
- 9781526132741
- eISBN:
- 9781526138965
- Item type:
- chapter
- Publisher:
- Manchester University Press
- DOI:
- 10.7228/manchester/9781526132741.003.0004
- Subject:
- Education, Educational Policy and Politics
The contemporary institution fails to understand the real meaning of ‘mass higher education’. A mass higher education should address the concerns of those masses of ‘ordinary people’ who, for ...
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The contemporary institution fails to understand the real meaning of ‘mass higher education’. A mass higher education should address the concerns of those masses of ‘ordinary people’ who, for whatever reasons, do not attend a university. Instead, the contemporary sector simply admits more individuals from lower social and economic classes. Behind this is a deep suspicion of the intellectual whose knowledge marks them out as intrinsically elitist and not ‘of the people’. An intellectual concerned about everyday life is now seen as suspicious, given the normative belief that a university education is about individual competitive self-advancement. This intellectual is now an enemy of ‘the people’, and incipiently one who might even be regarded as criminal in dissenting from conformity with social norms of neoliberalism. There is a history to this, dating from 1945; and it sets up a contest between two version of the university: one sees it as a centre of humane and liberal values, the other as the site for the production of individuals who conform to and individually benefit from neoliberal greed. The genuine exception is the intellectual who dissents; but dissent itself is now seen as potentially criminal.Less
The contemporary institution fails to understand the real meaning of ‘mass higher education’. A mass higher education should address the concerns of those masses of ‘ordinary people’ who, for whatever reasons, do not attend a university. Instead, the contemporary sector simply admits more individuals from lower social and economic classes. Behind this is a deep suspicion of the intellectual whose knowledge marks them out as intrinsically elitist and not ‘of the people’. An intellectual concerned about everyday life is now seen as suspicious, given the normative belief that a university education is about individual competitive self-advancement. This intellectual is now an enemy of ‘the people’, and incipiently one who might even be regarded as criminal in dissenting from conformity with social norms of neoliberalism. There is a history to this, dating from 1945; and it sets up a contest between two version of the university: one sees it as a centre of humane and liberal values, the other as the site for the production of individuals who conform to and individually benefit from neoliberal greed. The genuine exception is the intellectual who dissents; but dissent itself is now seen as potentially criminal.
