By Joseph Frank
In this e-book, acclaimed Dostoevsky biographer Joseph Frank explores essentially the most vital features of 19th and 20th century Russian tradition, literature, and background. Delving into the differences of the Russian novel in addition to the conflicts among the non secular peasant international and the proficient Russian elite, Between faith and Rationality monitors the cogent reflections of 1 of the main exceptional and flexible critics within the field.
Frank's essays offer a discriminating examine 4 of Dostoevsky's most renowned novels, speak about the controversy among J. M. Coetzee and Mario Vargas Llosa at the factor of Dostoevsky and evil, and confront Dostoevsky's anti-Semitism. the gathering additionally examines such issues as Orlando Figes's sweeping survey of the background of Russian tradition, the lifetime of Pushkin, and Oblomov's impact on Samuel Beckett. Investigating the omnipresent non secular subject matter that runs all through Russian tradition, even within the antireligious Chekhov, Frank argues that no different significant ecu literature used to be as a lot preoccupied because the Russian with the tensions among faith and rationality. Between faith and Rationality highlights this targeted caliber of Russian literature and tradition, delivering insights for basic readers and specialists alike.
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Extra resources for Between religion and rationality : essays in Russian literature and culture
Katherine Strelsky, ed. with intro. by Edward Wasiolek (Chicago, 1967), 7–8. I have utilized this translation for my further quotations from the notebooks. 8 PSS, 9:141. , 142. ”10 It is as if Dostoevsky were on the point here of fusing the two, with the idiot taking on some of the attributes of the son; but the connection will not be made until much later. Nonetheless, it is striking that on the margin of this page Dostoevsky scribbles the following sentence, repeated almost verbatim in the novel: “The one thing in the world is spontaneous compassion.
19 Prince Myshkin, indeed, inherits a fortune just after the action gets under way; and while the other characters are struck by his “strangeness,” they ﬁnd his moral purity to be more impressive and disturbing than a source of merriment. ’s La Dame aux Camelias, a work referred to in the text (it also served Giuseppe Verdi for his opera La Traviata). In both works, a beautiful woman who has been socially disgraced, but is still capable of nourishing the ﬁnest feelings, is asked to sacriﬁce herself in the name of family honor.
30 CHAPTER TWO trip to Europe, Dostoevsky had been bitten by a passion for roulette (he never gambled excessively in any other way) and had even written a novella, The Gambler (1866), whose depiction of the psychological ravages of a gambling fever remains unsurpassed. Ironically enough, he had met Anna Grigoryevna when she had come to help him as a stenographer to meet a deadline with this text; and he had proposed marriage by depicting himself as someone who had to choose between disastrously surrendering to his gambling mania or being rescued by the stability of a new loving attachment.