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This book, first published in 1978, demonstrates how Dostoyevsky's novels grew directly out of the pressures of their creator's tormented experience and personality. Ronald Hingley draws upon important fresh source material, which includes the definitive Soviet edition of Dostoyevsky's works with drafts and variants, Soviet research on the circumstances of his father's death, and a newly deciphered section of the diary of his second wife, Anna. Hingley considers with his analysis all Dostoyevsky's works, the ideas they contain, their varying artistic success, and their contemporary critical reception. He convincingly present's Dostoyevsky's genius at its most powerful when most on the attack.

Is cruelty a problem for politics? For Hannah Arendt, the answer was no. On her view, a compassionate response towards persons suffering cruelty is best avoided because compassion can only become political by transforming incommunicable individual pain into abstract suffering. At crucial moments in her argument in On Revolution, she cites the great Russian novelist Fyodor Dostoyevsky as an ally. However, I argue that Arendt misrepresents Dostoyevsky. Through a critical examination of his mature novels, I show how suffering is communicable and compassion is political for Dostoyevsky. By attending to this theme in his writings, I argue that Dostoyevsky sheds light on the problem of cruelty in a way that Arendt's framework cannot. This suggests that he is more at home with theorists like Judith Shklar who "put cruelty first" than with Arendt, although in favoring compassion I argue that he departs from Shklar's liberalism of fear and offers a more constructive, hopeful political vision.

Julio Jurenito – a 1924 Modernist novel by Ilya Ehrenburg, written hot on the heels of the 1917 Revolution and is distinguished by both a wide intertextual spectrum and an acute satirical orientation in relation to all ideological trends and factions. The article focuses on references of the novel by Ilya Ehrenburg to the legacy of Dostoevsky – primarily – The Brothers Karamazov. Ilya Ehrenburg resets Dostoevsky's features – his protagonists and some elements of plot – into the reality of European history of the First World War, Russian Revolution and Civil War. But also, Ehrenburg goes beyond Dostoevsky's semantic continuum, replacing the author's sense of History as a process striving for its endpoint with a History in which an end is fundamentally impossible, and there is always at least the potential to put the flow of event on pause and rewrite their mistakes. As well, the idea important for Dostoevsky that of the moral damage of the modern atheist-minded person is transformed into a demonstration of the people's inclination to create idols and devoutly worship the latter. Ilya Ehrenburg's novel is grounded on an interpretation of Dostoevsky, perfected through the prism of the traditions of the Jewish Enlightenment.

With Dostoyevsky's Idiot and Aquinas' Dumb Ox as guides, this book seeks to recover the elemental mystery of the natural law, a law revealed only in wonder. If ethics is to guide us along the way, it must recover its subordination; description must precede prescription. If ethics is to invite us along the way, it cannot lead, either as politburo, or even as public orthodoxy. It cannot be smugly symbolic but must be by way of signage, of directionality, of the open realization that ethical meaning is en route, pointing the way because it is within the way, as only sign, not symbol, can point to the sacramental terminus. The courtesies of dogma and tradition are the road signs and guideposts along the longior via, not themselves the termini. We seek the dialogic heart of the natural law through two seemingly contradictory voices and approaches: St. Thomas Aquinas and his famous five ways, and Fyodor Dostoyevsky's holy idiot, Prince Myshkin. It is precisely the apparent miscellany of these selected voices that provide us with a connatural invitation into the natural law as subordinated, as descriptive guide, not as prescriptive leader. -- back cover

Twenty years ago, 15 new states emerged from the wreck of the Soviet Union, uneven shards from a broken monolith. One story turned into 15. Most Soviet watchers have been struggling to keep up ever since. How to tell these multiple stories? In retrospect, it is evident that Western commentators failed to predict or explain what has happened to these countries: their lurches from one crisis to another, weird hybrid political systems, unstable stability. So here is a not entirely frivolous suggestion: How about skipping the political science textbooks when it comes to trying to understand the former Soviet Union and instead opening up the pages of Nikolai Gogol, Anton Chekhov, and Fyodor Dostoyevsky? This is not just a thought experiment; the works these authors wrote in the 19th and early 20th centuries turn out to be surprisingly applicable to today's politics in a broad swath of the former Soviet space, whether it's the unexpected fragility of Putin's authoritarian rule in Russia or the perpetually failed efforts to modernize next-door Ukraine. Adapted from the source document.

The paper discusses the philosophical understanding of the deep relationship of faith and knowledge in the philosophy of F.M. Dostoyevsky. The author continues to use different methodological approaches - metaphysical, dialectical, hermeneutic and phenomenological, and reveals the essence of this issue using the philosophy of the relationship between faith and knowledge proposed by F.M. Dostoyevsky. In Dostoyevsky 's system there are no main and secondary beginnings, but there is a central one - Absolute. The variety of connections and relations of the beginnings of his metaphysical system are presented in the pages of his artistic works. Through this variety the world, man, infinity, eternity, man in the dynamics of his changes, the most important attributes of human being (including faith and knowledge) are constructed. Faith has another important feature: faith in Christ for F.M. Dostoevsky is faith in Man. And Man is somehow endowed with knowledge. Therefore, faith and knowledge will necessarily be refracted through the main object of description (and research) of the writer and philosopher – a Man. Attributive unity can be seen in the fact that faith and knowledge are interrelated and inseparable elements acquired by man in his holistic development of a single spiritual beginning, in which both the attitude of man towards himself and his inner world expressed primarily in faith, and the experience of human interaction with the surrounding world, nature, space, expressed mainly in knowledge are reflected. The way of Man, his formation, faith in the way of Man and the changes in himself and in the world taking place are the most interesting for F.M. Dostoyevsky. He seeks to find answers to eternal, so called "cursed" questions in his Philosophy. In many ways, the answers he received are not only new and topical, but also contain an enduring metaphysical and, therefore, absolute meaning.

This work is presented as part of eLangdell Press' Law and Literature Collection. It was selected based on a review of syllabi in this discipline."The law and literature movement focuses on the interdisciplinary connection between law and literature. This field has roots in two major developments in the intellectual history of law—first, the growing doubt about whether law in isolation is a source of value and meaning, or whether it must be plugged into a large cultural or philosophical or social-science context to give it value and meaning; and, second, the growing focus on the mutability of meaning in all texts, whether literary or legal. Those who work in the field stress one or the other of two complementary perspectives: law in literature (understanding enduring issues as they are explored in great literary texts) and law as literature (understanding legal texts by reference to methods of literary interpretation, analysis and critique).This movement has broad and potentially far reaching implications with regards to future teaching methods, scholarship, and interpretations of legal texts. Combining literature's ability to provide unique insight into the human condition through text with the legal framework that regulates those human experiences in reality gives a democratic judiciary a new and dynamic approach to reaching the aims of providing a just and moral society. It is necessary, in practical thought and discussion about the use of legal rhetoric, to understand text's role in defining human experience." Source: http://en.wikipedia.org/wiki/Law_and_literature