Bookbot

The Insulted and Humiliated

Uložiť

Hodnotenie knihy

Viac o knihe

The Insulted and Injured, published soon after Dostoevsky's political imprisonment, clearly foreshadows his later preoccupation with unconscious psychological drives and their external effects on the lives of his characters. Where his later works carry these drives to inevitably dramatic conclusions, The Insulted and Injured confines them within the smaller boundaries of everyday events. In this story, the impulse toward self-abnegation in love, which appears so markedly in both Vanya and Natasha, isn't itself enough to direct their lives; instead, it combines with their social world and the mundane ambitions of Prince Valkovsky to defeat their hope of happiness. Of all the characters in the novel, only Natasha's lover, the Prince's son Alyosha—the person least driven to mold life to his own terms—emerges untouched. Here are, to a greater extent than in Dostoevsky's more familiar works, flesh-and-blood people as we see them around every day. They are made up of both good and evil, of will and acceptance. Unfailingly they command interest and illuminate understanding.

Nákup knihy

The Insulted and Humiliated, Fiodor Michajlovič Dostojevskij

Jazyk
Rok vydania
Väzba
(pevná)
Akonáhle sa objaví, pošleme e-mail.

Doručenie

Platobné metódy

4,3
Veľmi dobrá
99+ Hodnotenie

Tu nám chýba tvoja recenzia

Titul
The Insulted and Humiliated
Jazyk
anglicky, rusky
Väzba
pevná
Série
Prvé vydanie
1861
Pôvodný názov
Униженные и оскорблённые (Unižennyje i oskorbljonnyje)
Hodnotenie
4,25 z 5
Anotácia
The Insulted and Injured, published soon after Dostoevsky's political imprisonment, clearly foreshadows his later preoccupation with unconscious psychological drives and their external effects on the lives of his characters. Where his later works carry these drives to inevitably dramatic conclusions, The Insulted and Injured confines them within the smaller boundaries of everyday events. In this story, the impulse toward self-abnegation in love, which appears so markedly in both Vanya and Natasha, isn't itself enough to direct their lives; instead, it combines with their social world and the mundane ambitions of Prince Valkovsky to defeat their hope of happiness. Of all the characters in the novel, only Natasha's lover, the Prince's son Alyosha—the person least driven to mold life to his own terms—emerges untouched. Here are, to a greater extent than in Dostoevsky's more familiar works, flesh-and-blood people as we see them around every day. They are made up of both good and evil, of will and acceptance. Unfailingly they command interest and illuminate understanding.