In the stories in this volume Dostoevsky explores both the figure of the dreamer divorced from reality and also his own ambiguous attitude to utopianism, themes central to many of his great novels. In White Nights the apparent idyll of the dreamer's romantic fantasies disguises profound loneliness and estrangement from 'living life'. Despite his sentimental friendship with Nastenka, his final withdrawal into the world of the imagination anticipates the retreat into the 'underground' of many of Dostoevsky's later intellectual heroes. A Gentle Creature and The Dream of a Ridiculous Man show how such withdrawal from reality can end in spiritual desolation and moral indifference and how, in Dostoevsky's view, the tragedy of the alienated individual can be resolved only by the rediscovery of a sense of compassion and responsibility towards fellow human beings. This new translation captures the power and lyricism of Dostoevsky's writing, while the introduction examines the stories in relation to one another and to his novels. ABOUT THE SERIES: For over 100 years Oxford World's Classics has made available the widest range of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, helpful notes to clarify the text, up-to-date bibliographies for further study, and much more.
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几度读得胸闷气短难以继续,不是恨也不是耻。和《白夜》的主题相似,都是“梦想家”对于女性客体的臆想和操弄以及对自我的辩解,然而与后者以女性的幻想为主要材料不同,陀氏在这里让叙述者和读者对女性的内在性的所有探索都徒劳无功,只留给她(和我们)一个强烈的gesture——自杀。
评分几度读得胸闷气短难以继续,不是恨也不是耻。和《白夜》的主题相似,都是“梦想家”对于女性客体的臆想和操弄以及对自我的辩解,然而与后者以女性的幻想为主要材料不同,陀氏在这里让叙述者和读者对女性的内在性的所有探索都徒劳无功,只留给她(和我们)一个强烈的gesture——自杀。
评分几度读得胸闷气短难以继续,不是恨也不是耻。和《白夜》的主题相似,都是“梦想家”对于女性客体的臆想和操弄以及对自我的辩解,然而与后者以女性的幻想为主要材料不同,陀氏在这里让叙述者和读者对女性的内在性的所有探索都徒劳无功,只留给她(和我们)一个强烈的gesture——自杀。
评分几度读得胸闷气短难以继续,不是恨也不是耻。和《白夜》的主题相似,都是“梦想家”对于女性客体的臆想和操弄以及对自我的辩解,然而与后者以女性的幻想为主要材料不同,陀氏在这里让叙述者和读者对女性的内在性的所有探索都徒劳无功,只留给她(和我们)一个强烈的gesture——自杀。
评分几度读得胸闷气短难以继续,不是恨也不是耻。和《白夜》的主题相似,都是“梦想家”对于女性客体的臆想和操弄以及对自我的辩解,然而与后者以女性的幻想为主要材料不同,陀氏在这里让叙述者和读者对女性的内在性的所有探索都徒劳无功,只留给她(和我们)一个强烈的gesture——自杀。
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