When Fyodor Dostoevsky proclaims that he is a "realist in a higher sense," it is because the facts are irrelevant to his truth. And it is in this spirit that Apollonio approaches Dostoevsky’s work, reading through the facts--the text--of his canonical novels for the deeper truth that they distort, mask, and, ultimately, disclose. This sort of reading against the grain is, Apollonio suggests, precisely what these works, with their emphasis on the hidden and the private and their narrative reliance on secrecy and slander, demand. In each work Apollonio focuses on one character or theme caught in the compromising, self-serving, or distorting narrative lens. Who, she asks, really exploits whom in Poor Folk? Does "White Nights" ever escape the dream state? What is actually lost--and what is won--in The Gambler? Is Svidrigailov, of such ill repute in Crime and Punishment, in fact an exemplar of generosity and truth? Who, in Demons, is truly demonic? Here we see how Dostoevsky has crafted his novels to help us see these distorting filters and develop the critical skills to resist their anaesthetic effect. Apollonio's readings show how Dostoevsky's paradoxes counter and usurp our comfortable assumptions about the way the world is and offer access to a deeper, immanent essence. His works gain power when we read beyond the primitive logic of external appearances and recognize the deeper life of the text.

Fyodor Dostoevsky’s novel The Gambler is one of the most profound literary works to treat the phenomenon of gambling with a remarkable depth of psychological analysis and a wide-ranging cultural and philosophical exploration of obsessive behavior, from addictive gambling to erotic passion. This novel delves into the cultural, psychological, and philosophical issues surrounding games of chance such as temporality, freedom, rebellion, choice, uncertainty, determinism, and creativity. This is the first book in English dedicated to The Gambler. This volume considers the phenomenon of gambling from a broad interdisciplinary perspective, focusing not only on medical and psychological concepts of gambling as pathology, but also on the broader cultural, philosophical, religious, and aesthetic aspects of the problem. What triggers fascination with risk-taking and various aleatory activities? What are the relations between gambling, play, and creativity? Can gambling be seen as a form of social or existential rebellion and protest or even a quest for freedom? Scholars from a variety of fields, including psychiatry, psychology, philosophy, literary studies, and musicology, have contributed to this volume and analyzed Dostoevsky’s view of gambling as a fundamental problem of human existence, with implications in the realms of philosophy, religion, and aesthetics.

Confronting Bakhtin’s formative reading of Dostoevsky to recover the ways the novelist stokes conflict and engages readers—and to explore the reasons behind his adversarial approach Like so many other elements of his work, Fyodor Dostoevsky’s deliberate deployment of provocation was both prescient and precocious. In this book, Lynn Ellen Patyk singles out these forms of incitement as a communicative strategy that drives his paradoxical art. Challenging, revising, and expanding on Mikhail Bakhtin’s foundational analysis in Problems of Dostoevsky’s Poetics, Patyk demonstrates that provocation is the moving mover of Dostoevsky’s poetics of conflict, and she identifies the literary devices he uses to propel plot conflict and capture our attention. Yet the full scope of Dostoevsky’s provocative authorial activity can only be grasped alongside an understanding of his key themes, which both probed and exploited the most divisive conflicts of his era. The ultimate stakes of such friction are, for him, nothing less than moral responsibility and the truth of identity. Sober and strikingly original, compassionate but not uncritical, Dostoevsky’s Provocateurs exposes the charged current in the wiring of our modern selves. In an economy of attention and its spoils, provocation is an inexhaustibly renewable and often toxic resource.

Fyodor Dostoevsky's The Brothers Karamazov is unquestionably one of the greatest works of world literature. With its dramatic portrayal of a Russian family in crisis and its intense investigation into the essential questions of human existence, the novel has had a major impact on writers and thinkers across a broad range of disciplines, from psychology to religious and political philosophy. This proposed reader's guide has two major goals: to help the reader understand the place of Dostoevsky's novel in Russian and world literature, and to illuminate the writer's compelling and complex artistic vision. The plot of the novel centers on the murder of the patriarch of the Karamazov family and the subsequent attempt to discover which of the brothers bears responsibility for the murder, but Dostoevsky's ultimate interests are far more thought-provoking. Haunted by the question of God's existence, Dostoevsky uses the character of Ivan Karamazov to ask what kind of God would create a world in which innocent children have to suffer, and he hoped that his entire novel would provide the answer. The design of Dostoevsky's work, in which one character poses questions that other characters must try to answer, provides a stimulating basis for reader engagement. Having taught university courses on Dostoevsky's work for over twenty years, Julian W. Connolly draws upon modern and traditional approaches to the novel to produce a reader's guide that stimulate the reader's interest and provides a springboard for further reflection and study.

Recounting the murder of an elderly woman by a student expelled from university, Crime and Punishment is a psychological and political novel that portrays the strains on Russian society in the middle of the nineteenth century. Its protagonist, Raskolnikov, moves in a world of dire poverty, disillusionment, radicalism, and nihilism interwoven with religious faith and utopianism. In Dostoevsky's innovative style, which he called fantastic realism, the narrator frequently reports from within the protagonist's mind. The depiction of the desperate lives of tradespeople, students, alcoholics, prostitutes, and criminals gives readers insight into the urban society of St. Petersburg at the time. The first part of this book offers instructors guidance on editions and translations, a map of St. Petersburg showing locations mentioned in the novel, a list of characters and an explanation of the Russian naming system, and recommendations for further reading. In the second part, essays analyze key scenes, address many of Dostoevsky's themes, and consider the roles of ethics, gender, money, Orthodox Christianity, and social justice in the narrative. The volume concludes with essays on digital media, film adaptations, and questions of translation.

The gruesome double-murder upon which the novel Crime and Punishment hinges leads its culprit, Raskolnikov, into emotional trauma and obsessive, destructive self-reflection. But Raskolnikov's famous philosophical musings are just part of the full philosophical thought manifest in one of Dostoevsky's most famous novels. This volume, uniquely, brings together prominent philosophers and literary scholars to deepen our understanding of the novel's full range of philosophical thought. The seven essays treat a diversity of topics, including: language and the representation of the human mind, emotions and the susceptibility to loss, the nature of agency, freedom and the possibility of evil, the family and the failure of utopian critique, the authority of law and morality, and the dialogical self. Further, authors provide new approaches for thinking about the relationship between literary representation and philosophy, and the way that Dostoevsky labored over intricate problems of narrative form in Crime and Punishment. Together, these essays demonstrate a seminal work's full philosophical worth--a novel rich with complex themes whose questions reverberate powerfully into the 21st century.

Crime and Punishment: A Reader’s Guide focuses on narrative strategy, psychology, and ideology. Martinsen demonstrates how Dostoevsky first plunges the reader into Raskolnikov’s fevered brain, creating sympathy for him, and she explains why most readers root for him to get away from the scene of the crime. Dostoevsky subsequently provides outsider perspectives on Raskolnikov’s thinking, effecting a conversion in reader sympathy. By examining the multiple justifications for murder Raskolnikov gives as he confesses to Sonya, Dostoevsky debunks rationality-based theories. Finally, the question of why Raskolnikov and others, including the reader, focus on the murder of the pawnbroker and forget the unintended murder of Lizaveta reveals a narrative strategy based on shame and guilt.