Academic literature on the topic 'Alyosha Karamazov'

This article analyzes the vision of Dostoevsky’s The Brothers Karamazov as a narrative riff on Kant’s three basic questions. The novel shows what it means to live out “What can I know?” “What ought we do?” and “What may we hope?” It argues that this approach, combined with a rejection of the modernist dichotomy of “faith vs. reason,” overcomes the problems many critics see in the text. Ivan lives out a “first critique materialism”; Zosima and Alyosha show how to live out a “revised second critique solidarity”; the evolution of Grushenka and Dmitri—both “different people” in the final third of the novel than they were earlier—demonstrates “what we may hope.” Dostoevsky does, despite some critics’ claims, offer realistic responses to Ivan’s profound challenges to faith in the often-excerpted chapters, “Rebellion” and “The Grand Inquisitor.” The essay suggests that the lessons the novel teaches are applicable in our own world, where grace is also fragile. Grace can be rejected, as it is by Ivan, yet also be found in and through flawed vessels like Zosima, Alyosha, Grushenka, and Dmitri.

For nearly a century, the interpretation of Vladimir Sergeevich Solov′ev (1853–1900) has been locked in a “mythopoeic method” of the Symbolist conceit rooted in Europe-widefin de sièclecultural developments. Solov′ev's posterity has come to see him as a mystic prophesying the folly of reason and mass politics, whereas his contemporaries saw him as the model for both Ivan and Alyosha Karamazov in Fedor Dostoevskii'sThe Brothers Karamazov—a dramatization of the “politics of the self” within the secularization frame. The story of the gap between these two images reveals the historicity of the Symbolist conceit. More broadly, it shows how the Russian authors of this myth participated in transnational prewar and interwar discourses about mass politics, culture, and violence that expand the typical chronological and geographical boundaries associated with these developments.

The poem "The Grand Inquisitor" is part of the novel "The Brothers Karamazov," written by Ivan Karamazov about Christian freedom of will and told by him to his brother Alyosha, who rightly perceived it as an Orthodox theodicy. The article presents an intertextual analysis of the precedent texts used by F. M. Dostoevsky in the poem "The Grand Inquisitor". In particular, the meanings of direct quotations from the New Testament, especially its last book, the Revelation of John the Theologian, and the translated apocrypha "The Walking of the Virgin in Torment" are interpreted; medieval Western European mysteries in the paraphrase of V. Hugo; poetic quotations from the works of A. S. Pushkin, V. A. Zhukovsky, F. I. Tyutchev, which linked together the axiological concepts of the narrative text. Appeals to the precedent texts of world literature contribute to the disclosure of the multifaceted symbolism of the poem, which glorifies the spiritual freedom of humanity as an act of faith, and help to generalize and deepen its axiological discourse. The author analyzes the speech and behavioral tactics of the Grand Inquisitor, based on the substitution of concepts characteristic of the techniques of "black rhetoric". In contrast to the Grand Inquisitor's distortion of cause-and-effect relations and the concepts of good and evil, and his denial of the idea of Christian freedom, direct and indirect quoting of texts that have become part of the heritage of world culture creates a text rich in axiological meanings, designed to influence the spiritual space of the reader, enriching it and orienting it to the correct understanding of eternal truths.

The dream about an earthly paradise, rediscovery of an original, absolutely harmonic paradisal life is, in Dostoevskij's opinion, one of the deepest and the most valuable dreams of the human heart. The spiritual course of any human being has its own history, it is born from thesis (babtism), goes through antithesis (crises) and finishes in synthesis (beauty). A man comes from the Eden Paradise and aims at heaven. So, a man in course of his spiritual life is in a real split into two paradises: the Eden Paradise from which he is coming from and the Kingdom of God where he is aiming at. The midpoint of the life course is accompanied by a crisis, that can also be described as separation from the the paradise. The characters of novels by Dostoevskij failed due to the fact, that they were not able to admit their presence between two "paradise states" and so their ideas about earthly paradise establishment were being corrupted. In our piece of work we are going to follow four trends: 1. Time corruption, incorrectly understood sense of history. The tendency to return back where a man came from, in an origenestic, cyclic interpretation of a comeback is apparent in a story The Dream of a Ridiculous Man. Another extreme shows marxism ideas going around Europe which deny both the importance and the sense of...