A Devil's Vaudeville: The Demonic in Dostoevsky's Major Fiction

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Northwestern University Press, May 24, 2005 - Literary Criticism - 210 pages
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"Real" demons do rear their heads in Dostoevsky's writing; but what of the demonic more broadly interpreted such as the unclean forces--so diffuse, ugly, and ubiquitous--found throughout Russian folklore, in Christian demonology, and in the demon-figure of European Romanticism? These are the "demonic markers" that William J. Leatherbarrow traces through Dostoevsky's fiction, with a view to discovering the cultural genealogy, nature, and significance of these inscriptions. Whether found in the voices of particular characters or those of the narrator and implied author, these demonic markers contaminate much of the narrative terrain of Dostoevsky's major fiction. They also, as Dostoevsky scholar Leatherbarrow clearly demonstrates, function as a coherent semiotic system and serve as a rhetoric through which that fiction mediates its most pressing ideological and artistic concerns.

In fresh, often surprising readings of Dostoevsky's individual works, Leatherbarrow shows how such a "language" articulates a series of concerns linked to views expressed elsewhere--in Dostoevsky's journalism and letters--on the question of Russia's relationship to Western Europe. His study also explores the narrative and generic implications of the way Dostoevsky inscribes the demonic in his fictional works--implications that point to a new understanding of familiar concepts in the work of this Russian master. Highly original, deftly argued and written, Leatherbarrow's work offers Dostoevsky specialists and general readers alike an opportunity to rediscover and reassess the rich complexities of some of the world's greatest literature.
  

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Contents

DeWning the Demonic
27
Crime and Punishment
66
The Idiot
94
The Devils
116
The Brothers Karamazov
140
Conclusion The Kingdom of Devils
178
Notes
183
Selected Bibliography
197
Index
207
Copyright

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Page 8 - The chronotope is the place where the knots of narrative are tied and untied. It can be said without qualification that to them belongs the meaning that shapes narrative.
Page 9 - Carnival is not a spectacle seen by the people; they live in it, and everyone participates because its very idea embraces all the people.
Page 9 - The mask is connected with the joy of change and reincarnation, with gay relativity and with the merry negation of uniformity and similarity; it rejects conformity to oneself.

About the author (2005)

William J. Leatherbarrow is professor of Russian at the University of Sheffield, where he also heads the School of Modern Languages and Linguistics.

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