In considering Dostoevsky's 'The Idiot', a novel less easily defined in terms of plot and ideas than his other major fictional works, Sarah Young addresses problems in the novel unresolved by previous interpretations, and in doing so fills a significant gap in Dostoevsky studies.
In considering Dostoevsky's 'The Idiot', a novel less easily defined in terms of plot and ideas than his other major fictional works, Sarah Young addresses problems in the novel unresolved by previous interpretations, and in doing so fills a significant gap in Dostoevsky studies.
Sarah Young is a Leverhulme Special Research Fellow in the Department of Russian and Slavonic Studies at the University of Nottingham, UK.
Inhaltsangabe
Acknowledgements A Note on Transliterations and Translations Introduction I. Reading The Idiot: The Hero and Other Problems II. Interactive Narrating in the Idiot: The Scripting Impulse 1. The Disappearing Heroine I. Creating the Heroine: Rogozhin's Story II. Nastas'ia Filippovnas's Lie: The Struggle Against Objectification III. The Heroine Appears: Two Skandaly IV. The Heroine Disappears: Control and Interpretation V. Confrontation and Reverberation VI. Freedom and Necessity: The Ideological Heroine 2. Compassionate Realism and the Principles of Saintly Scripting 1. The Foundations of Myshkin's Script in Narrative II. The Foundations of Myshkin's Script in Action III. The Foundations of Myshkin's Script in Experience IV. Rocking the Foundations 3. Self and other in Dostoevsky's Aesthetic Activity I. Ippolit and the Other II. Time, Narration and the Other III. The Narrator's Novel IV: Challenging the Narrator's Novel Conclusion Abbreviations Notes Bibliography
Acknowledgements A Note on Transliterations and Translations Introduction I. Reading The Idiot: The Hero and Other Problems II. Interactive Narrating in the Idiot: The Scripting Impulse 1. The Disappearing Heroine I. Creating the Heroine: Rogozhin's Story II. Nastas'ia Filippovnas's Lie: The Struggle Against Objectification III. The Heroine Appears: Two Skandaly IV. The Heroine Disappears: Control and Interpretation V. Confrontation and Reverberation VI. Freedom and Necessity: The Ideological Heroine 2. Compassionate Realism and the Principles of Saintly Scripting 1. The Foundations of Myshkin's Script in Narrative II. The Foundations of Myshkin's Script in Action III. The Foundations of Myshkin's Script in Experience IV. Rocking the Foundations 3. Self and other in Dostoevsky's Aesthetic Activity I. Ippolit and the Other II. Time, Narration and the Other III. The Narrator's Novel IV: Challenging the Narrator's Novel Conclusion Abbreviations Notes Bibliography
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