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The Hero and the Position of the Author with Regard to the Hero in Dostoevskys Art
The Idea in Dostoevsky
Characteristics of Genre and Plot Composition in Dostoevskys Works
Discourse in Dostoevsky
ii The Heros Monologic Discourse and Narrational Discourse in Dostoevskys Short Novels
iii The Heros Discourse and Narrative Discourse in Dostoevsky
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accent Alyosha artistic Bakhtin become Brothers Karamazov carnival sense carnivalistic characteristic characters confession Constance Garnett construction course creative Crime and Punishment critical death decrowning Devushkin dialogic relationships Dostoevskogo Dostoevsky Dostoevsky's heroes Dostoevsky's novels Dostoevsky's world dream elements epoch everything example expressed external fact field of vision final genre Golyadkin Grossman hero's human idea ideological Ivan Ivan Karamazov Ivan's language laughter Leo Tolstoy Leonid Grossman literary literature living logic means menippea Menippean satire monologic Myshkin mystery play narration Nastasya Nastasya Filippovna Notes from Underground novelistic objectified orientation other's parody person philosophical plane plot point of view polemic polyphonic novel position precisely prose Raskolnikov referential object rejoinders Russian sciousness self-consciousness semantic skaz Smerdyakov social Socratic dialogue someone else's soul speak specific speech Stavrogin's story structure style stylistic stylization theme thought tion Tolstoy tone truth ultimate Underground understanding unity utterance Vyacheslav Ivanov whole word worldview
Page 6 - A plurality of independent and unmerged voices and consciousnesses, a genuine polyphony of fully valid voices is in fact the chief characteristic of Dostoevsky's novels.