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The Insulted & Injured, published soon after Dostoevsky's political imprisonment, clearly foreshadows his later preoccupation with unconscious psychological drives & their external effects on the lives of his characters. Where his later works carry these drives to inevitably dramatic conclusions, The Insulted & Injured confines them within the smaller boundaries of everyday event. In this story the impulse toward self-abnegation in love, which appears so markedly in both Vanya & Natasha, isn't itself enough to direct their lives; instead, it combines with their social world & the mundane ambitions of Prince Valkovsky to defeat their hope of happiness. Of all the characters in the novel, only Natasha's lover, the Prince's son Alyosha-the person least driven to mold life to his own terms-emerges untouched. Here are, to a greater extent than in Dostoevsky's more familiar works, flesh-&-blood people as we see them around every day. They are made up of both good & evil, of will & acceptance. Unfailingly they command interest & illuminate understanding.
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Униженные и оскорбленные, Fjodor Michajlovič Dostojevskij, Michail M. Dostoevskij
- Taal
- Jaar van publicatie
- 1998
- product-detail.submit-box.info.binding
- (Paperback)
Betaalmethoden
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- Taal
- Russisch
- Uitgever
- АСТ
- Jaar van publicatie
- 1998
- Formaat
- Paperback
- Aantal pagina's
- 635
- ISBN10
- 5237004830
- ISBN13
- 9785237004830
- Reeks
- Tags
- Fictie, Historische romans, Klassiekers, 19e Eeuw, Rusland, Russische literatuur, Armoede, Rijkdom, Classicisme, Pink October
- Eerste editie
- 1861
- Oorspronkelijke titel
- Униженные и оскорблённые (Unižennyje i oskorbljonnyje)
- Beoordeling
- 4,25 van 5
- Aantekening
- The Insulted & Injured, published soon after Dostoevsky's political imprisonment, clearly foreshadows his later preoccupation with unconscious psychological drives & their external effects on the lives of his characters. Where his later works carry these drives to inevitably dramatic conclusions, The Insulted & Injured confines them within the smaller boundaries of everyday event. In this story the impulse toward self-abnegation in love, which appears so markedly in both Vanya & Natasha, isn't itself enough to direct their lives; instead, it combines with their social world & the mundane ambitions of Prince Valkovsky to defeat their hope of happiness. Of all the characters in the novel, only Natasha's lover, the Prince's son Alyosha-the person least driven to mold life to his own terms-emerges untouched. Here are, to a greater extent than in Dostoevsky's more familiar works, flesh-&-blood people as we see them around every day. They are made up of both good & evil, of will & acceptance. Unfailingly they command interest & illuminate understanding.