Dostoevsky and Romantic Realism is Donald Fanger's groundbreaking study of the art of Dostoevsky and the literary and historical context in which it was created. Through detailed analyses of the work of Balzac, Dickens, and Gogol, Fanger identifies romantic realism, the transformative fusion of two generic categories, as a powerful imaginary response to the great modern city. This fusion reaches its aesthetic and metaphysical climax in Dostoevsky, whose vision -- culminating in Crime and Punishment -- is seen by Fanger as the final synthesis of romantic realism. Caryl Emerson provides a foreword to the paperback edition.
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用戶評價
"It has often been remarked that the Dickens world-which is virtually to say the Dickensian metropolis-is strikingly incomplete by comparison with Balzac's Paris or Dostoevsky's Petersburg, lacking as it does any major place for ideas or art, for serious politics or adult sexual experience. " It is because that Dickens is a child who never grow up.
评分"It has often been remarked that the Dickens world-which is virtually to say the Dickensian metropolis-is strikingly incomplete by comparison with Balzac's Paris or Dostoevsky's Petersburg, lacking as it does any major place for ideas or art, for serious politics or adult sexual experience. " It is because that Dickens is a child who never grow up.
评分"It has often been remarked that the Dickens world-which is virtually to say the Dickensian metropolis-is strikingly incomplete by comparison with Balzac's Paris or Dostoevsky's Petersburg, lacking as it does any major place for ideas or art, for serious politics or adult sexual experience. " It is because that Dickens is a child who never grow up.
评分"It has often been remarked that the Dickens world-which is virtually to say the Dickensian metropolis-is strikingly incomplete by comparison with Balzac's Paris or Dostoevsky's Petersburg, lacking as it does any major place for ideas or art, for serious politics or adult sexual experience. " It is because that Dickens is a child who never grow up.
评分"It has often been remarked that the Dickens world-which is virtually to say the Dickensian metropolis-is strikingly incomplete by comparison with Balzac's Paris or Dostoevsky's Petersburg, lacking as it does any major place for ideas or art, for serious politics or adult sexual experience. " It is because that Dickens is a child who never grow up.
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