Remembering the End: Dostoevsky as Prophet to Modernity by P. Travis KROEKER, Bruce K. Ward

By P. Travis KROEKER, Bruce K. Ward

Dostoevsky was once a kind of writers of the 19th century who got here to be appeared by way of many readers within the following century as a prophet. How does he stay prophetic for us now, within the early twenty-first century? Remembering the tip explores and assesses Dostoevsky's critique of modernity, with specific specialise in the Grand Inquisitor (in The Brothers Karamazov), the place his prophetic imaginative and prescient reveals its such a lot excessive expression. The authors write to clarify the non secular realism of Dostoevsky's biblically charged literary paintings, and to teach the way it can assist us to recollect who we're during this modern/postmodern second in which--as participants and individuals of communities--we are required to make severe offerings in regards to the that means of justice, historical past, fact and happiness. The publication might be of curiosity to readers in comparative literature, ethics, political conception, philosophy, spiritual experiences and theology.

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Remembering the End: Dostoevsky as Prophet to Modernity

Dostoevsky used to be a kind of writers of the 19th century who got here to be looked through many readers within the following century as a prophet. How does he stay prophetic for us now, within the early twenty-first century? Remembering the top explores and assesses Dostoevsky's critique of modernity, with specific specialize in the Grand Inquisitor (in The Brothers Karamazov), the place his prophetic imaginative and prescient unearths its so much severe expression.

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He represents Roman Catholicism not at its apogee in the high Middle Ages but in its desperately militant egorts to counter the Protestant Reformation by means of the Spanish sword. The Inquisitor, near death himsdf, stands near the end of Roman (CZathoticorder in the West and at the beginning of the modern quest for a new order. It should be emphasi~dthat although thus identified with a par~cufartime and place, the Inquisitor's vision extends in both directions to encompass the entire history of Western civilization, from the ancient Roman Empire to the new Rome that be anticipates after the fall of modern liberalism and socidism, The identity and significance of the other main character, the sijent prisoner, is less exactly defined.

Itself will judge the reader's response by whether or not she or he a n echo the children" ecstatic cry at the end of the first novek "Memory eternal! . And etemdy so, all our lives hand in hand! " And thus might it become possible to take up the second novel, the drama sf our own lives, in a manner that shapes the hture sf this present moment by remembering the end. t-ymplared in this book. Notes 1. "ohtoyor Dostoyevsky: An Essay in the Old Crigcism (NWErork: Penguirs, 1959), especidilly chapter 4.

Hers the conflictual truth of the transitional c h a r ~ t e of Karamazov makes abundantly clear, and we a r p e in the chapter on "The Third Temptation:" Dastoevsky was not a defender of the traditional Russian family as the solution to modern social problems, Instead, he sought to discern the tragic charaaer of the family" ear&ly struggle in the light of apoalwtic a u s d i ~ . Throughout his meditation, Dostoevsky conducts a polemical debate with those he terms "the antichrists:" who attack Christian teaching at certain crucial points.

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