Word: fyodor
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...then there is Dostoevsky, who, says Fyodor, the hero of Nabokov's The Gift, "turned Bedlam back into Bethlehem." Nabokov doesn't like old Fyodor because of his mysticism, his sentimentality, his journalese. There is a difference of type: Dostoevsky was a rough writer, who often scrawled or dictated under the burden of absurd deadlines, and Nabokov is a careful, multiple re-writer. Nabokov's condemnation must also be seen as the answer to a question forced especially on any Russian writer: Tolstoy or Dostoevsky. It is a question of native sensibility...
...ADOLESCENT by Fyodor Dosfoevsky. A new translation by Andrew R. MacAndrew. 585 pages. Doubleday...
...When Fyodor Dostoevsky was sentenced to four years in a Siberian labor camp, he requested only one kind of reading matter: books by Dickens. In mid-19th century New York, ships arriving with the latest installment of Dickens' The Old Curiosity Shop were met by anxious cries from the dock: "Is Little Nell dead...
...limitations on self realization are the consequences of society. For Sirk, all characters exist only in relation to other characters and to objects. The relation is one of influence, expressed visually by resemblance. In a scene with another character, any character will take on the other's appearance. Thus Fyodor, at the end of a sequence with Count Volski, leaves the room bent over, dimniished in stature. The influence is never one-sided; no character is able to exercise total control over another. Instead, each scene is built on this multiple influence and resemblance, and all characters' appearances change according...
...Objects define people's character and actions (for example, a Cupid statue Count Volski admires in his gazebo betrays the childishness of his lecherous tendencies). They also cramp people in space; echo people's forms (often to savegely ironic effect--the statue in Volski's garden next to which Fyodor stands looking up at Olga); and in these ways subtly influence and define people's appearances and actions. Here, however, the influence is one-way. People cannot change objects as they can change other people; objects resemble in order to mirror, to comment. Sirk's characters react at crucial moments...