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Dostoyevsky's notes for Chapter 5 of The Brothers Karamazov. Although written in the 19th century, The Brothers Karamazov displays a number of modern elements. Dostoevsky composed the book with a variety of literary techniques. Though privy to many of the thoughts and feelings of the protagonists, the narrator is a self-proclaimed writer; he ...
"The Grand Inquisitor" is a story within a story (called a poem by its fictional author) contained within Fyodor Dostoevsky's 1880 novel The Brothers Karamazov. It is recited by Ivan Fyodorovich Karamazov, during a conversation with his brother Alexei, a novice monk, about the possibility of a personal and benevolent God.
Ivan Fyodorovich Karamazov (Russian: Ива́н Фёдорович Карама́зов) is a fictional character from the 1880 novel The Brothers Karamazov by Fyodor Dostoevsky. Ivan is 24 years old at the start of the novel; he is the elder brother of Alyosha Karamazov, younger brother of Dmitri Karamazov, and the son of Fyodor Karamazov.
Alexei Fyodorovich Karamazov (Russian: Алексей Карамазов), usually referred to simply as Alyosha, is the protagonist in the 1880 novel The Brothers Karamazov by Fyodor Dostoevsky. He is the youngest of the Karamazov brothers, being nineteen years old at the start of the novel.
The Brothers Karamazov is a 1958 American period drama film [3] directed by Richard Brooks from a screenplay co-written with Julius and Philip Epstein, based on Fyodor Dostoevsky's 1880 novel. It stars Yul Brynner , Maria Schell , Claire Bloom , Lee J. Cobb , Albert Salmi , Richard Basehart , and William Shatner in his film debut.
Fyodor Pavlovich Karamazov (Russian: Фёдор Павлович Карамазов) is a fictional character from the 1879–1880 novel The Brothers Karamazov by Fyodor Dostoevsky. He is the father of Alexei , Ivan, and Dmitri Karamazov, and rumoured also to be the father of his house servant Pavel Fyodorovich Smerdyakov.
This is linked to another fundamental theme of Dostoevsky's work, particularly The Brothers Karamazov: the idea that, in a world where there is no God and no immortality of the soul, everything is permitted. This in turn is linked to the theme of ethical solipsism. [6] The dream as a revelatory crisis. In the case of the Ridiculous Man it is a ...
The second section of Freud's essay turned away from a primary consideration of The Brothers Karamazov to consider the related question of Dostoevsky's gambling. Freud saw gambling as a defiant struggle with Fate (concealing the father figure); [4] the associated guilt was the reason for the gambler's compulsion to lose.