This is a new interpretation of Dostoevsky's novel The Brothers Karamazov that scrutinizes it as a performative event (the “polyphony” of the novel) revealing its religious, philosophical, and social meanings through the interplay of mentalités or worldviews that constitute an aesthetic whole. This way of discerning the novel's social vision of sobornost' (a unity between harmony and freedom), its vision of hope, and its more subtle sacramental presuppositions, raises Tilley's interpretation beyond the standard “theology and literature” treatments of the novel and interpretations that treat the novel as providing solutions to philosophical problems. Tilley develops Bakhtin's thoughtful analysis of the polyphony of the novel using communication theory and readers/hearer response criticism, and by using Bakhtin's operatic image of polyphony to show the error of taking "faith vs. reason", argues that at the end of the novel, the characters learned to carry on, in a quiet shared commitment to memory and hope.

Fyodor three son's, the youthful Alyosha, the impetuous Dmitri, and the logical Ivan, are involved in several triangular love affairs. Throughout their encounters, the family is confronted with love, murder, and an exhilarating trial.

This work closely examines the trial of Dmitri Karamazov as the springboard to explaining and critically assessing Dostoevsky’s legal and moral philosophy. The author connects Dostoevsky’s objections to Russia’s acceptance of western juridical notions such as the rule of law and an adversary system of adjudication with his views on fundamental human nature, the principle of universal responsibility, and his invocation of unconditional love. Central to Dostoevsky’s vision is his understanding of the relationship between the dual human yearnings for individualism and community. In the process, the author related Dostoevsky’s conclusions to the thought of Plato, Augustine, Anselm, Dante, Kierkegaard, Schopenhauer, Nietzsche, and Sartre. Throughout the work, the author compares, contrasts, and evaluates Dostoevsky’s analyses with contemporary discussions of the rule of law, the adversary system, and the relationship between individualism and communitarianism.

‘The Grand Inquisitor’ is a short story that appears in one of Dostoevsky’s most famous works, ‘The Brothers Karamazov’, but it is often read independently due to its standalone story and literary significance. In the tale, Jesus comes to Seville during the Spanish Inquisition and performs miracles but is soon arrested and sentenced to be burned. The Grand Inquisitor informs Jesus that the church no longer needs him as they are stronger under the direction of Satan. ‘The Grand Inquisitor’ is incredibly interesting and compelling for its philosophical discussion about religion and the human condition. The main debate put forth in the poem is whether freedom or security is more important to mankind, as an all-powerful church can provide safety but requires its followers to abandon their free will. This tale remains remarkably influential among philosophers, political thinkers, and novelists from Friedrich Nietzsche and Noam Chomsky to David Foster Wallace and beyond. Dostoevsky’s writing is both inventive and provocative in this timeless story as the reader is free to come to their own conclusions. ‘The Grand Inquisitor’ should be read by anyone interested in philosophy or politics. Fyodor Dostoevsky (1821-1881) was a famous Russian writer of novels, short stories, and essays. A connoisseur of the troubled human psyche and the relationships between the individuals, Dostoevsky’s oeuvre covers a large area of subjects: politics, religion, social issues, philosophy, and the uncharted realms of the psychological. He is most famous for the novels ‘Crime and Punishment’, ‘The Idiot’, and ‘The Brothers Karamazov’. James Joyce described Dostoevsky as the creator of ‘modern prose’ and his literary legacy is influential to this day as Dostoevsky’s work has been adapted for many movies including ‘The Double’ starring Jesse Eisenberg.

The story of four brothers and the role they play in their fathers death.

The Brothers Karamazov is a murder mystery, a courtroom drama, and an exploration of erotic rivalry in a series of triangular love affairs involving the “wicked and sentimental” Fyodor Pavlovich Karamazov and his three sons―the impulsive and sensual Dmitri; the coldly rational Ivan; and the healthy, red-cheeked young novice Alyosha. Through the gripping events of their story, Dostoevsky portrays the whole of Russian life, is social and spiritual striving, in what was both the golden age and a tragic turning point in Russian culture. This award-winning translation by Richard Pevear and Larissa Volokhonsky remains true to the verbal inventiveness of Dostoevsky’s prose, preserving the multiple voices, the humor, and the surprising modernity of the original. It is an achievement worthy of Dostoevsky’s last and greatest novel.

A NEW YORK TIMES NOTABLE BOOK Once in a great while a writer comes along who can truly capture the drama and passion of the life of a family. David James Duncan, author of the novel The River Why and the collection River Teeth, is just such a writer. And in The Brothers K he tells a story both striking and in its originality and poignant in its universality. This touching, uplifting novel spans decades of loyalty, anger, regret, and love in the lives of the Chance family. A father whose dreams of glory on a baseball field are shattered by a mill accident. A mother who clings obsessively to religion as a ward against the darkest hour of her past. Four brothers who come of age during the seismic upheavals of the sixties and who each choose their own way to deal with what the world has become. By turns uproariously funny and deeply moving, and beautifully written throughout, The Brothers K is one of the finest chronicles of our lives in many years. Praise for The Brothers K “The pages of The Brothers K sparkle.”—The New York Times Book Review “Duncan is a wonderfully engaging writer.”—Los Angeles Times “This ambitious book succeeds on almost every level and every page.”—USA Today “Duncan’s prose is a blend of lyrical rhapsody, sassy hyperbole and all-American vernacular.”—San Francisco Chronicle “The Brothers K affords the . . . deep pleasures of novels that exhaustively create, and alter, complex worlds. . . . One always senses an enthusiastic and abundantly talented and versatile writer at work.”—The Washington Post Book World “Duncan . . . tells the larger story of an entire popular culture struggling to redefine itself—something he does with the comic excitement and depth of feeling one expects from Tom Robbins.”—Chicago Tribune