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The Idiot (pre-reform Russian: Идіотъ; post-reform Russian: Идиот, romanized: Idiót) is a novel by the 19th-century Russian author Fyodor Dostoevsky. It was first published serially in the journal The Russian Messenger in 1868–1869.
The Idiot was a 2018 Pulitzer Prize Finalist in Fiction. [6] According to the literary review aggregator Book Marks, the novel received mostly positive reviews from critics. [7] Writing for The New York Times, Dwight Garner describes how "Each paragraph is a small anthology of well-made observations."
Semiotic literary criticism, also called literary semiotics, is the approach to literary criticism informed by the theory of signs or semiotics.Semiotics, tied closely to the structuralism pioneered by Ferdinand de Saussure, was extremely influential in the development of literary theory out of the formalist approaches of the early twentieth century.
It was adapted by Edmund Barclay from the novel The Idiot by Fyodor Dostoevsky. [2] Barclay's adaptation has been called a "radio masterpiece". [3] It was one of a series of classical novel adaptations by Barclay for the Australian Broadcasting Corporation (ABC); Leslie Rees listed The Idiot among the best of these. [4]
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Over time, this set of lectures took the form of an online book, Semiotics for Beginners. [14] The text attracted the attention of numerous other lecturers in search of materials to augment their own lectures. [15] Chandler credits the philosopher A. C. Grayling with encouraging him to submit his online work for print publication.
Hypertext, in semiotics, is a text which alludes to, derives from, or relates to an earlier work or hypotext (a subsequent of a hypotext). [1]For example, James Joyce's Ulysses could be regarded as one of the many hypertexts deriving from Homer's Odyssey; Angela Carter's "The Tiger's Bride" can be considered a hypertext which relates to an earlier work, or hypotext, the original fairy-story ...
The pseudonym "idiot" need not be understood in the ordinary sense as now used. According to the original Greek, idiota means private (also as a soldier), simple, or peculiar, and it is probable that the writer in question employed it in this sense to signify that he was a person of no consequence.