Disruptive Narratives of Jesus

2015 ◽  
Vol 44 (3) ◽  
pp. 26-35 ◽  
Author(s):  
Catherine Caufield
Keyword(s):  
Short Story ◽  
Jesus Christ ◽  
Narrative Fiction ◽  
The Brothers Karamazov ◽  
Grand Inquisitor ◽  
Last Temptation Of Christ ◽  
Jose Saramago ◽  
Brothers Karamazov

An exploration of ideas of Jesus expressed in five works of narrative fiction: Nikos Kazantazkis’s The Last Temptation of Christ, Vicente Leñero’s Gospel According to Lucas Gavilán, The Gospel According to Jesus Christ, by José Saramago, “The grand Inquisitor” in Fyodor Dostoyevski’s The Brothers Karamazov, and D.H. Lawrence’s short story “The man who died.” This exploration is conducted in dialogue with Feuerbachian perspectives, to which the voices of the hermeneuts Ricoeur and Valdés are brought into conversation regarding diverse ways that meaning is incarnated.

scholarly journals ANTHROPOLOGICAL IDEAL IN THE NOVEL BY DOSTOYEVSKY “THE BROTHERS KARAMAZOV” IN THE RECEPTIONS OF RUSSIAN RELIGIOUS PHILOSOPHERS OF THE FRONTIER

2021 ◽  
pp. 87-94
Author(s):  
Анастасия Николаевна Кошечко ◽  
Алина Сергеевна Шилова
Keyword(s):  
The Novel ◽  
Philosophical Thought ◽  
Research Material ◽  
The Brothers Karamazov ◽  
Christian Worldview ◽  
Grand Inquisitor ◽  
Brothers Karamazov ◽  
Historical Comparative ◽  
Good And Evil ◽  
Further Development

Введение. Предпринята попытка исследования рецепции антропологического идеала в романе Ф. М. Достоевского «Братья Карамазовы» русскими религиозными философами порубежной эпохи XIX–XX вв. Аутентичное понимание и интерпретация ключевых идей писателя о человеческом идеале, его ценностях и смысле жизни возможны только в контексте православной антропологии. Важность этого материала не ограничивается осмыслением проблемы антропологического идеала и его влияния на дальнейшее развитие русской религиозно-философской мысли, позволяет исследовать особенности художественного мира романа, в том числе специфику репрезентации в идейном поле произведения авторского начала, мировоззрения писателя. Материал и методы. Материалом исследования послужили работы В. С. Соловьева «Три речи в память Достоевского», В. В. Розанова «Легенда о Великом инквизиторе», Н. А. Бердяева «Миросозерцание Достоевского», Н. О. Лосского «Достоевский и его христианское миропонимание», канонический текст романа Ф. М. Достоевского «Братья Карамазовы». Используются культурно-исторический, сравнительно-сопоставительный, структурно-типологический методы. Результаты и обсуждение. Наука о Достоевском начинается именно с трудов русских религиозных философов и мыслителей конца XIX – начала XX в., которые идеи о сущности человека, его предназначении, идеале делают содержательным ядром своих размышлений. Итоговый роман Великого Пятикнижия «Братья Карамазовы» как квинтэссенция жизненного и творческого пути Достоевского, неразрывно связанный с духовными и аксиологическими императивами православной антропологии, наиболее часто привлекается религиозными философами для рефлексии ключевых доминант собственных философских концепций, анализа и аргументации идей. Этот материал позволяет исследовать особенности художественного мира романа, специфику репрезентации в идейном поле произведения мировоззрения писателя и авторского начала, антропологического идеала, неразрывно связанного для Достоевского с такими духовными и ценностными доминантами, как Христос, Православие, святость, народность, добро и зло, и выявить его влияние на дальнейшее развитие русской религиозно-философской мысли. Заключение. Антропологический идеал Достоевского, по мысли религиозных философов, опирается на православное учение о человеке, раскрывающее как антиномичность человеческой природы (pro et contra в терминологии писателя), так и бытийную ее устремленность к Богу, Истине, потребность в добре, вне которых личность осознает свое не-бытие. Доминантами антропологического идеала писателя, которые находят отражение в трудах религиозных философов, становятся святость, красота как этическая доминанта личности, укорененность в ценностях и смыслах христоцентричной в своих основаниях русской культуры. Introduction. This article attempts to study the reception of the anthropological ideal in the novel by F. M. Dostoevsky “The Brothers Karamazov” by Russian religious philosophers of the late 19th–20th centuries. Authentic understanding and interpretation of the writer’s key ideas about the human ideal, its values and the meaning of life is possible only in the context of Orthodox anthropology. The importance of this material is not limited to comprehending the problem of the anthropological ideal and its influence on the further development of Russian religious and philosophical thought; moreover, it allows one to explore the peculiarities of the artistic world of the novel, including the specifics of the representation of the author’s principle in the ideological field of the work, the peculiarities of the writer’s worldview. Material and methods. The research material was the work of V. S. Solovyov “Three Speeches in memory of Dostoevsky”, V. V. Rozanov “The Legend of the Grand Inquisitor”, N. А. Berdyaeva “Dostoevsky’s worldview”, N. O. Lossky “Dostoevsky and his Christian worldview”, the canonical text of the novel by F. M. Dostoevsky “The Brothers Karamazov”. The work uses cultural and historical, comparative, structural and typological methods. Results and discussion. The science of Dostoevsky begins precisely with the works of Russian religious philosophers and thinkers of the late XIX – early XX centuries, which ideas about the essence of man, his purpose, ideally make him a meaningful core of his thoughts. The final novel of the Great Pentateuch “The Brothers Karamazov” as a quintessence of Dostoevsky’s life and creative path, inextricably connected with the spiritual and axiological imperatives of Orthodox anthropology, is most often attracted by religious philosophers to reflect key dominants of their own philosophical concepts, analyze and argue ideas. This material allows us to explore the features of the artistic world of the novel, the specifics of representation in the ideological field of the work of the writer’s worldview and author’s beginning, the features of the anthropological ideal, inextricably linked for Dostoevsky with such spiritual and value dominants as Christ, Orthodoxy, holiness, nationality, good and evil, and to identify its influence on the further development of Russian religious and philosophical thought. Conclusion. Dostoevsky’s anthropological ideal, according to religious philosophers, is based on the Orthodox doctrine of man, revealing both the antinomy of human nature («pro et contra» in the writer’s terminology) and its previous striving for God, Truth, the need for good, outside of which the person is aware of his non-existence. The dominants of the anthropological ideal of the writer, which are reflected in the works of religious philosophers, are holiness, beauty as the ethical dominant of the person, and reproach in the values and meanings of Christ-centered Russian culture in their foundations.

Patrolling

2018 ◽  
Author(s):  
Anne Dufourmantelle
Keyword(s):  
The Brothers Karamazov ◽  
Grand Inquisitor ◽  
Brothers Karamazov

To attack gentleness is an unnamed crime that our era often commits in the name of its divinities: efficiency, speed, profitability. We try to make it institutionalizable so that it does not disrupt everything. Dufourmantelle discusses “The Grand Inquisitor” in The Brothers Karamazov by Dostoyevsky. Gentleness appears first as a failure. It breaks all the rules of good social manners.

Reception of the Elements of Fyodor Dostoevsky’s World Conception in the Works of Nikolai Berdyaev

2021 ◽  
pp. 39-51
Author(s):  
Anna F. Makarova ◽  
Keyword(s):  
The Brothers Karamazov ◽  
Grand Inquisitor ◽  
Brothers Karamazov ◽  
Philosophical Community

The report examines the influence of some of Dostoevsky’s ideas on Berdyaev, reveals a significant conditionality of the early direction of Berdyaev’s thought by Dostoevsky’s “accursed questions”, his ideas of freedom, the image of Christ, pneumatology, reveals kinship and continuity of outlooks. The author especially notes the influence on Berdyaev of such works of Dostoevsky as “Notes from Underground”, “The Brothers Karamazov” (in particular, the chapter “The Grand Inquisitor”), as well as Berdyaev’s position on the question “Is Dostoevsky a philosopher?” that is still relevant in philosophical community.

Philosophical Anthropology and Dostoevsky's “Legend of the Grand Inquisitor”

1964 ◽  
Vol 26 (3) ◽  
pp. 353-377 ◽  
Author(s):  
Ellis Sandoz
Keyword(s):  
Political Science ◽  
Political Thought ◽  
Philosophical Anthropology ◽  
The Political ◽  
The Novel ◽  
Great Work ◽  
Fyodor Dostoevsky ◽  
The Brothers Karamazov ◽  
Grand Inquisitor ◽  
Brothers Karamazov

The political thought of Fyodor Dostoevsky grows out of his opposition to nihilism, atheistic humanism, and socialism in much the same way as the philosophy of Plato grew out of his opposition to the sophists. Indeed, the parallel of Dostoevsky's thought with that of Plato is to be seen in some further aspects of this fundamental opposition. Both the Russian master of the novel and the Hellenic founder of political science confronted adversaries for whom “Man is the measure of all things” and each based his opposition on the principle “God is the Measure,” to use Plato's formulation. This declaration, echoing like a thunderclap across more than twenty centuries of history, found consummate expression in the last great work of each writer: the Laws and The Brothers Karamazov.

scholarly journals To Be or Not to Be God—The Issue of Authorial Power in Dostoevsky

Religions ◽  
2021 ◽  
Vol 12 (7) ◽  
pp. 506
Author(s):  
Alexander Zholkovsky
Keyword(s):  
The Other ◽  
Crime And Punishment ◽  
Playing God ◽  
The Brothers Karamazov ◽  
Grand Inquisitor ◽  
Brothers Karamazov

This paper problematizes the now widely accepted concept of Dostoevsky’s dialogism, which alleges the ‘Author’s’ equal empowerment of all his characters. Using examples from Crime and Punishment and The Brothers Karamazov, Zholkovsky focuses on instances of ‘scene-staging’ based on the ‘scripts’ devised and enacted by some characters, that are ‘read,’ with varying success, by their targets. He documents the resulting ‘discursive combat’ among the characters, with special attention paid to those ‘playing god’ and thus, the more ‘authorial’ among them. In several cases, the would-be ‘divine’ manipulation is shown to be consistently subverted by the Dostoevskian narrative. However, in one instance, where Aliosha Karamazov charitably scripts Captain Snegirev’s behavior, the ensuing discussion of this episode, in Aliosha’s conversations with Lise Khokhlakova, upholds Aliosha’s right to play god with the Other—“for the Other’s own good”, of course (not unlike the Grand Inquisitor).

INQUSITOR GENERALIS: IZMEĐU VOLjE ZA MOĆ I SLOBODE OD MOĆI

2020 ◽  
pp. 65-78
Author(s):  
Sergej Beuk ◽  
Jana Aleksic
Keyword(s):  
New Historicism ◽  
The Novel ◽  
Literary Field ◽  
Vast Number ◽  
Semantic Framework ◽  
Contemporary World ◽  
The Brothers Karamazov ◽  
Grand Inquisitor ◽  
Brothers Karamazov ◽  
The Church

/ In this paper, we observe the chapter “The Great Inquisitor” in the novel The Brothers Karamazov as a literary field in which the dominant discourse of Power, the Church elite, represented by the Grand Inquisitor, is confronted by the subversive aspirations of marginalized social groups, embodied in the figure of Christ. Initially considering that the “poem” is an eminent text of culture, in which a vast number of textual clues have been absorbed, primarily the Holy Bible, we discover how the character of the Grand Inquisitor was constructed from the generic-hermeneutic angle. This implies a contextual theological, (inter)textual and semantic framework. In the central part of the paper, the focus of our analysis is the mechanisms by which institutions of power control subversive elements and aspects of their rebellion from the perspective of New Historicism. At the end of the paper, we point to the histori- cal and civilizational implications of an antagonistically conceived narrative on the problems of human freedom, action, and the implementation of power in history and, consequently, the organization of the (contemporary) world.

The Fragility of Grace in the Karamazov World—and Ours

2020 ◽  
Vol 81 (4) ◽  
pp. 828-848
Author(s):  
Terrence W. Tilley
Keyword(s):  
The Novel ◽  
The Brothers Karamazov ◽  
Grand Inquisitor ◽  
Brothers 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.

scholarly journals SPIDERS AND THE WEB IN THE ARTISTIC WORLDS OF L. TOLSTOY AND F. DOSTOEVSKY

2021 ◽  
Vol 31 (2) ◽  
pp. 309-318
Author(s):  
K.A. Nagina
Keyword(s):  
Short Story ◽  
Russian Literature ◽  
The Brothers Karamazov ◽  
The Subject ◽  
Brothers Karamazov ◽  
Point Of Intersection ◽  
The Web

The relevance of the study is due to the significance of entomological motifs in the works of L. Tolstoy and F. Dostoevsky, and in Russian literature in general. In Tolstoy's artistic and philosophical systems, insects that have a «swarm» nature most often symbolize the joy of being. The spiders included in their plot have a different semantics, the analysis of which is particularly fruitful against the background of the study of such a plot in the works of F. Dostoevsky, since the vectors of these plots have diametrically opposite directions. The subject of the research in the article is the insectoid motifs associated with the image of the spider, supported by its mythopoetic nature in both writers. The two motifs that originate in the Arachne myth - creative and destructive - to varying degrees feed the “spider” topic of L. Tolstoy and F. Dostoevsky. In the works of L. Tolstoy, creative motifs associated with the image of the “web of love” - a metaphor of self-sacrifice - are brought to the fore. In the works of F. Dostoevsky, on the contrary, destructive motifs predominate: spiders are chthonic creatures, marking the dark beginning in the nature of the characters and associated with the theme of rebellion against the Creator. In this light, of particular interest is the point of intersection of the trajectories of the movement of the writers' artistic thought, which is represented by two parables: about the web from L. Tolstoy's short story “Karma” and about the “onion” from Dostoevsky's novel “The Brothers Karamazov”.

scholarly journals “The Happy Side of Babel”

2017 ◽  
Vol 29 (2) ◽  
pp. 101-132 ◽  
Author(s):  
Mikel Burley
Keyword(s):  
Philosophy Of Religion ◽  
Religious Life ◽  
Narrative Fiction ◽  
The Brothers Karamazov ◽  
Contemporary Religion ◽  
Brothers Karamazov

Philosophers and other scholars of religion are increasingly recognizing that if philosophy of religion is to remain relevant to the study of religion, its scope must be expanded well beyond the confines of a highly intellectualized and abstract “theism.” Means of engendering this expansion include methodological diversification—drawing upon thickly described accounts of religious life such as those afforded by ethnographies and certain narrative artworks. Focusing on the latter, this article engages with the question of whether works of narrative fiction—literary or cinematic—candophilosophy of religion in ways that illuminate what D.Z. Phillips characterizes as the “radical plurality” of contemporary religion. Closely examining the examples of Dostoevsky’sThe Brothers Karamazovand especially Soyinka’sDeath and the King’s Horseman, my discussion is contextualized within broader debates over whether philosophy’s purpose is to advocate certain religious and moral perspectives or to elucidate those perspectives in more disinterested terms.

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