DEMONII DOSTOIEVSKI PDF

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Dostoievski, Feodor - Demonii - Download as PDF File .pdf), Text File .txt) or read online. Demonii. Demonii by F.M. Dostoievski is Classics Traducere din limba rusa de Nicolae Gane. „Cartea Vladimir Tismaneanu „Dostoievski ne este indispensabil: satira. „Cartea pe care ar trebui s-o citeasca oricine pentru a intelege natura si semnificatia leninismului ramane romanul Demonii al lui Dostoievski.


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Demonii by Feodor Dostoievski is Mysteries & Thrillers Demonii este un roman al scriitorului rus. Feodor Dostoievski publicat pentru prima oară în Este un. DOSTOIEVSKI DEMONII PDF - Demonii (hardcover) (Romanian Edition) on * FREE* shipping on qualifying offers. Cartea pe care ar trebui s-o citeasca oricine . Con esa carga de preocupación que en una carta Dostoievski le escribe a su sobrina, Sofía Aleksándrovna Ivánovjmir, en agosto de antes de comenzar a.

In , Dostoevsky conceived the idea of a 'pamphlet novel' directed against the radicals. He focused on the group organized by young agitator Sergey Nechayev , particularly their murder of a former comrade—Ivan Ivanov—at the Petrovskaya Agricultural Academy in Moscow. Dostoevsky had first heard of Ivanov from his brother-in-law, who was a student at the academy, and had been much interested in his rejection of radicalism and exhortation of the Russian Orthodox Church and the House of Romanov as the true custodians of Russia's destiny.

He was horrified to hear of Ivanov's murder by the Nechayevists, and vowed to write a political novel about what he called "the most important problem of our time. The political polemic and parts of the philosophical novel were merged into a single larger scale project, which became Demons. In re-imagining Nechayev's orchestration of the murder, Dostoevsky was attempting to "depict those diverse and multifarious motives by which even the purest of hearts and the most innocent of people can be drawn in to committing such a monstrous offence.

Dostoevsky was an active participant in a secret revolutionary society formed from among the members of the Petrashevsky Circle. The cell's founder and leader, the aristocrat Nikolay Speshnev , is thought by many commentators to be the principal inspiration for the character of Stavrogin. Young, educated, upright and sensible, Anton Lavrentyevich is a local civil servant who has decided to write a chronicle of the strange events that have recently occurred in his town.

Despite being a secondary character, he has a surprisingly intimate knowledge of all the characters and events, such that the narrative often seems to metamorphose into that of the omniscient third person. According to Joseph Frank , this choice of narrative perspective enables Dostoevsky "to portray his main figures against a background of rumor, opinion and scandal-mongering that serves somewhat the function of a Greek chorus in relation to the central action.

Much of the narrative unfolds dialogically, implied and explicated through the interactions of the characters, the internal dialogue of a single character, or through a combination of the two, rather than through the narrator's story-telling or description. In Problems of Dostoevsky's Poetics the Russian philosopher and literary theorist Mikhail Bakhtin describes Dostoevsky's literary style as polyphonic , with the cast of individual characters being a multiplicity of "voice-ideas", restlessly asserting and defining themselves in relation to each other.

The narrator in this sense is present merely as an agent for recording the synchronisation of multiple autonomous narratives, with his own voice weaving in and out of the contrapuntal texture.

The character is Dostoevsky's rendering of an archetypal liberal idealist of the s Russian intelligentsia, and is based partly on Timofey Granovsky and Alexander Herzen. He had the beginnings of a career as a lecturer at the University, and for a short time was a prominent figure among the exponents of the 'new ideas' that were beginning to influence Russian cultural life. He claims that government officials viewed him as a dangerous thinker, forcing him out of academia and into exile in the provinces, but in reality it was more likely that no one of note in the government even knew who he was.

In any case, his anxiety prompted him to accept Varvara Stavrogina's proposal that he take upon himself "the education and the entire intellectual development of her only son in the capacity of a superior pedagogue and friend, not to mention a generous remuneration. In a cynical but not entirely inaccurate critique of his father, Pyotr Stepanovich describes their mutual dependence thus: "she provided the capital, and you were her sentimental buffoon.

He is utterly dependent on Varvara Petrovna financially and she frequently rescues him from the consequences of his irresponsibility. When he perceives that he has been unjust or irresponsible in relation to her, he is overcome with shame to the point of physical illness.

Varvara Petrovna Stavrogina is a wealthy and influential landowner, residing on the magnificent estate of Skvoreshniki where much of the action of the novel takes place. She supports Stepan Trofimovich financially and emotionally, protects him, fusses over him, and in the process acquires for herself an idealized romantic poet, modelled somewhat on the writer Nestor Kukolnik. Generous, noble-minded and strong willed, Varvara Petrovna prides herself on her patronage of artistic and charitable causes.

She is "a classic kind of woman, a female Maecenas , who acted strictly out of the highest considerations". Pyotr Stepanovich, on his arrival in the town, is quick to take advantage of her resentment towards his father.

Varvara Petrovna almost worships her son Nikolai Vsevolodovich, but there are indications that she is aware that there is something deeply wrong. She tries to ignore this however, and Pyotr Stepanovich is able to further ingratiate himself by subtly presenting her son's inexplicable behaviour in a favourable light.

Nikolai Vsevolodovich Stavrogin is the central character of the novel. Shatov, on the other hand, once looked up to him as a potentially great leader who could inspire Russia to a Christian regeneration.

Disillusioned, he now sees him as "an idle, footloose son of a landowner", a man who has lost the distinction between good and evil. According to Shatov, Stavrogin is driven by "a passion for inflicting torment", not merely for the pleasure of harming others, but to torment his own conscience and wallow in the sensation of "moral carnality".

He describes in detail the profound inner pleasure he experiences when he becomes conscious of himself in shameful situations, particularly in moments of committing a crime. He shows signs of caring for her, but ultimately becomes complicit in her murder. The extent to which he himself is responsible for the murder is unclear, but he is aware that it is being plotted and does nothing to prevent it. In a letter to Darya Pavlovna near the end of the novel, he affirms that he is guilty in his own conscience for the death of his wife.

The father and son are a representation of the aetiological connection Dostoevsky perceived between the liberal idealists of the s and the nihilistic revolutionaries of the s. He manages to convince his small group of co-conspirators that they are just one revolutionary cell among many, and that their part in the scheme will help set off a nationwide revolt.

Pyotr Stepanovich is enamored of Stavrogin, and he tries desperately, through a combination of ensnarement and persuasion, to recruit him to the cause. The revolution he envisages will ultimately require a despotic leader, and he thinks that Stavrogin's strong will, personal charisma and "unusual aptitude for crime" [35] are the necessary qualities for such a leader. Pyotr Verkhovensky, according to Stavrogin, is "an enthusiast".

His greatest success is with the Governor's wife, and he manages to gain an extraordinary influence over her and her social circle. This influence, in conjunction with constant undermining of authority figures like his father and the Governor, is ruthlessly exploited to bring about a breakdown of standards in society.

Ivan Pavlovich Shatov is the son of Varvara Stavrogina's deceased valet. When he was a child she took him and his sister Darya Pavlovna under her protection, and they received tutoring from Stepan Trofimovich.

At university Shatov had socialist convictions and was expelled following an incident. He travelled abroad as a tutor with a merchant's family, but the employment came to an end when he married the family's governess who had been dismissed for 'freethinking'. Having no money and not recognizing the ties of marriage, they parted almost immediately.

He wandered Europe alone before eventually returning to Russia. By the time of the events in the novel Shatov has completely rejected his former convictions and become a passionate defender of Russia's Christian heritage.

Shatov's reformed ideas resemble those of the contemporary philosophy Pochvennichestvo roughly: "return to the soil" , with which Dostoevsky was sympathetic. Like the broader Slavophile movement, Pochvennichestvo asserted the paramount importance of Slavic traditions in Russia, as opposed to cultural influences originating in Western Europe, and particularly emphasized the unique mission of the Russian Orthodox Church.

Shatov goes further by describing that mission as universal rather than merely Russian. As a younger man Shatov had idolized Stavrogin, but having seen through him and guessed the secret of his marriage, he seeks to tear down the idol in a withering critique. Verkhovensky conceives the idea of having the group murder him as a traitor to the cause, thereby binding them closer together by the blood they have shed. Alexei Nilych Kirillov is an engineer who lives in the same house as Shatov.

He also has a connection to Verkhovensky's revolutionary society, but of a very unusual kind: he is determined to kill himself and has agreed to do it at a time when it can be of use to the society's aims. Like Shatov, Kirillov has been deeply influenced by Stavrogin, but in a diametrically opposed way.

While inspiring Shatov with the ecstatic image of the Russian Christ, Stavrogin was simultaneously encouraging Kirillov toward the logical extremes of atheism - the absolute supremacy of the human will. He believes that this purposeful act, by demonstrating the transcendence of this fear, will initiate the new era of the Man-God, when there is no God other than the human will.

Despite the apparent grandiosity of the idea, Kirillov is a reclusive, deeply humble, almost selfless person who has become obsessed with making himself a sacrifice for the greater good of humanity. Other characters[ edit ] Lizaveta Nikolaevna Tushina Liza is a lively, beautiful, intelligent and wealthy young woman. She is the daughter of Varvara Petrovna's friend Praskovya, and is another former pupil of Stepan Trofimovich.

She has become ambiguously involved with Stavrogin after their encounter in Switzerland and seems to oscillate between deep love and profound hatred for him. She is resentful and suspicious of Dasha's strange intimacy with him, and is extremely anxious to understand the nature of his connection to Marya Lebyadkina during the time when the marriage is still a secret. Liza becomes engaged to her cousin Mavriky Nikolaevich, but remains fixated on Stavrogin even after he openly acknowledges his marriage.

She is the reluctant confidant and "nurse" of Stavrogin. Marya Timofeevna Lebyadkina is married to Nikolai Stavrogin. Though childlike, mentally unstable and confused, she frequently demonstrates a deeper insight into what is going on, and has many of the attributes of a " holy fool ". He receives payments for her care from Stavrogin, but he mistreats her and squanders the money on himself. He is loud, indiscreet, and almost always drunk. He considers himself a poet and frequently quotes his own verses.

Although in awe of Stavrogin, he is a constant threat to maintaining the secrecy of the marriage. He is unwillingly involved in Pyotr Stepanovich's plans, and his inept attempts to extract himself via approaches to the authorities are another cause of his eventual murder.

Fed'ka the Convict is an escaped convict who is suspected of several thefts and murders in the town. He was originally a serf belonging to Stepan Trofimovich, but was sold into the army to help pay his master's gambling debts.

It is Fed'ka who murders Stavrogin's wife and her brother, at the instigation of Pyotr Stepanovich.

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Stavrogin himself initially opposes the murder, but his later actions suggest a kind of passive consent. Andrey Antonovich von Lembke is the Governor of the province and one of the principal targets of Pyotr Stepanovich in his quest for societal breakdown. Although a good and conscientious man he is completely incapable of responding effectively to Pyotr Stepanovich's Machiavellian machinations. Estranged from his wife, who has unwittingly become a pawn in the conspirators' game, he descends into a mental breakdown as events get increasingly out of control.

Julia Mikhaylovna von Lembke is the Governor's wife. Her vanity and liberal ambition are exploited by Pyotr Stepanovich for his revolutionary aims. Dostoevsky's depiction of the relationship between Pyotr Stepanovich and Julia Mikhaylovna had its origins in a passage from Nechayev's Catechism where revolutionaries are instructed to consort with liberals "on the basis of their own program, pretending to follow them blindly" but with the purpose of compromising them so that they can be "used to provoke disturbances.

Of the same generation as Stepan Trofimovich, Karmazinov is a vain and pretentious literary has-been who shamelessly seeks to ingratiate himself with Pyotr Stepanovich and does much to promote the nihilists' legitimacy among the liberal establishment.

Proceeding from unlimited freedom, I end with unlimited despotism. Equality of the herd is to be enforced by police state tactics, state terrorism, and destruction of intellectual, artistic, and cultural life.

It is estimated that about a hundred million people will need to be killed on the way to the goal. Bishop Tikhon is a monk and spiritual adviser recommended to Stavrogin by Shatov. He only appears in the censored chapter, but he has importance as the person to whom Stavrogin makes his most detailed and candid confession.

He is perhaps the only character to truly understand Stavrogin's spiritual and psychological state. There are two epigraphs, the first from Pushkin's poem Demons and the second from Luke — Part I[ edit ] After an almost illustrious but prematurely curtailed academic career Stepan Trofimovich Verkhovensky is residing with the wealthy landowner Varvara Petrovna Stavrogina at her estate, Skvoreshniki, in a provincial Russian town.

Originally employed as a tutor to Stavrogina's son Nikolai Vsevolodovich, Stepan Trofimovich has been there for almost twenty years in an intimate but platonic relationship with his noble patroness.

Stepan Trofimovich also has a son from a previous marriage but he has grown up elsewhere without his father's involvement. A troubled Varvara Petrovna has just returned from Switzerland where she has been visiting Nikolai Vsevolodovich. She berates Stepan Trofimovich for his financial irresponsibility, but her main preoccupation is an "intrigue" she encountered in Switzerland concerning her son and his relations with Liza Tushina—the beautiful daughter of her friend Praskovya.

Praskovya and Liza arrive at the town, without Nikolai Vsevolodovich who has gone to Petersburg.

Varvara Petrovna suddenly conceives the idea of forming an engagement between Stepan Trofimovich and Dasha. Though dismayed, Stepan Trofimovich accedes to her proposal, which happens to resolve a delicate financial issue for him. Matters are further complicated by the arrival of a mysterious "crippled woman", Marya Lebyadkina, to whom Nikolai Vsevolodovich is also rumoured to be connected, although no-one seems to know exactly how.

A hint is given when Varvara Petrovna asks the mentally disturbed Marya, who has approached her outside church, if she is Lebyadkina and she replies that she is not. Varvara Petrovna takes Marya and Liza who has insisted on coming with them back to Skvoreshniki. Praskovya arrives, accompanied by her nephew Mavriky Nikolaevich, demanding to know why her daughter has been dragged in to Varvara Petrovna's "scandal". Varvara Petrovna questions Dasha about a large sum of money that Nikolai Vsevolodovich supposedly sent through her to Marya's brother, but in spite of her straightforward answers matters don't become any clearer.

Marya's brother, the drunkard Captain Lebyadkin, comes looking for his sister and confuses Varvara Petrovna even further with semi-deranged rantings about some sort of dishonour that must remain unspoken. At this point the butler announces that Nikolai Vsevolodovich has arrived.

To everyone's surprise, however, a complete stranger walks in and immediately begins to dominate the conversation. As he is talking, Nikolai Stavrogin quietly enters.

Varvara Petrovna stops him imperiously and, indicating Marya, demands to know if she is his lawful wife. He looks at his mother impassively, says nothing, kisses her hand, and unhurriedly approaches Marya. She agrees and they leave. In the din that breaks out after their departure, the strongest voice is that of Pyotr Stepanovich, and he manages to persuade Varvara Petrovna to listen to his explanation for what has occurred. According to him, Nikolai Vsevolodovich became acquainted with the Lebyadkins when he was living a life of "mockery" in Petersburg five years earlier.

The downtrodden, crippled and half mad Marya had fallen hopelessly in love with him and he had responded by treating her "like a marquise". Varvara Petrovna is elated and almost triumphant to hear that her son's actions had a noble foundation rather than a shameful one.

Under interrogation from Pyotr Stepanovich, Captain Lebyadkin reluctantly confirms the truth of the whole story. He departs in disgrace as Nikolai Vsevolodovich returns from escorting Marya home. Nikolai Vsevolodovich addresses himself to Dasha with congratulations on her impending marriage, of which, he says, he was expressly informed.

As if on cue, Pyotr Stepanovich says that he too has received a long letter from his father about an impending marriage, but that one cannot make sense of it—something about having to get married because of "another man's sins", and pleading to be "saved". An enraged Varvara Petrovna tells Stepan Trofimovich to leave her house and never come back. In the uproar that follows no-one notices Shatov, who has not said a word the entire time, walking across the room to stand directly in front of Nikolai Vsevolodovich.

He looks him in the eye for a long time without saying anything, then suddenly hits him in the face with all his might. Stavrogin staggers, recovers himself, and seizes Shatov; but he immediately takes his hands away, and stands motionless, calmly returning Shatov's gaze. It is Shatov who lowers his eyes, and leaves, apparently crushed.

Liza screams and collapses on the floor in a faint. Part II[ edit ] News of the events at Skvoreshniki spreads through society surprisingly rapidly. The main participants seclude themselves, with the exception of Pyotr Stepanovich who actively insinuates himself into the social life of the town.

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After eight days, he calls on Stavrogin and the true nature of their relations begins to become apparent. There was not, as some suspect, an explicit understanding between them.

Rather Pyotr Stepanovich is trying to involve Stavrogin in some radical political plans of his own, and is avidly seeking to be of use to him. Stavrogin, while he seems to accept Pyotr Stepanovich acting on his behalf, is largely unresponsive to these overtures and continues to pursue his own agenda. That night Stavrogin leaves Skvoreshniki in secret and makes his way on foot to Fillipov's house, where Shatov lives.

The primary object of his visit is to consult his friend Kirillov, who also lives at the house. Stavrogin has received an extraordinarily insulting letter from Artemy Gaganov, the son of a respected landowner—Pavel Gaganov—whose nose he pulled as a joke some years earlier, and has been left with no choice but to challenge him to a duel.

He asks Kirillov to be his second and to make the arrangements. They then discuss philosophical issues arising out of Kirillov's firm intention to commit suicide in the near future. Stavrogin proceeds to Shatov, and once again the background to the events at Skvoreshniki begins to reveal itself. Shatov had guessed the secret behind Stavrogin's connection to Marya they are in fact married and had struck him out of anger at his "fall". In the past Stavrogin had inspired Shatov with exhortations of the Russian Christ, but this marriage and other actions have provoked a complete disillusionment, which Shatov now angrily expresses.

Stavrogin defends himself calmly and rationally, but not entirely convincingly. He also warns Shatov, who is a former member but now bitter enemy of Pyotr Verkhovensky's revolutionary society, that Verkhovensky might be planning to murder him.

Stavrogin continues on foot to a distant part of town where he intends to call at the new residence of the Lebyadkins.

On the way he encounters Fedka, an escaped convict, who has been waiting for him at the bridge. Pyotr Stepanovich has informed Fedka that Stavrogin may have need of his services in relation to the Lebyadkins, but Stavrogin emphatically rejects this. He tells Fedka that he won't give him a penny and that if he meets him again he will tie him up and take him to the police. At the Lebyadkins' he informs the Captain, to the Captain's horror, that in the near future he will be making a public announcement of the marriage and that there will be no more money.

He goes in to Marya, but something about him frightens her and she becomes mistrustful. His proposal that she come to live with him in Switzerland is met with scorn. She accuses him of being an imposter who has come to kill her with his knife, and demands to know what he has done with her "Prince".

Stavrogin becomes angry, pushes her violently, and leaves, to Marya's frenzied curse. In a fury, he barely notices when Fedka pops up again, reiterating his requests for assistance.

Stavrogin seizes him, slams him against a wall and begins to tie him up. However, he stops almost immediately and continues on his way, with Fedka following. Eventually Stavrogin bursts into laughter: he empties the contents of his wallet in Fedka's face, and walks off.

The duel takes place the following afternoon, but no-one is killed. To Gaganov's intense anger, Stavrogin appears to deliberately miss, as if to trivialize the duel and insult his opponent, although he says it is because he doesn't want to kill anyone any more.

He returns to Skvoreshniki where he encounters Dasha who, as now becomes apparent, is in the role of a confidant and "nurse" in relation to him. He tells her about the duel and the encounter with Fedka, admitting to giving Fedka money that could be interpreted as a down payment to kill his wife. He asks her, in an ironic tone, whether she will still come to him even if he chooses to take Fedka up on his offer. Horrified, Dasha does not answer. Pyotr Stepanovich meanwhile is very active in society, forming relationships and cultivating conditions that he thinks will help his political aims.

By flattery, surrounding her with a retinue and encouraging her exaggerated liberal ambition, he acquires a power over her and over the tone of her salon. He and his group of co-conspirators exploit their new-found legitimacy to generate an atmosphere of frivolity and cynicism in society.

They indulge in tasteless escapades, clandestinely distribute revolutionary propaganda, and agitate workers at the local Spigulin factory. They are particularly active in promoting Julia Mikhaylovna's 'Literary Gala' to raise money for poor governesses, and it becomes a much anticipated event for the whole town. The Governor, Andrey Antonovich, is deeply troubled by Pyotr Stepanovich's success with his wife and casual disregard for his authority, but is painfully incapable of doing anything about it.

Unable to cope with the strange events and mounting pressures, he begins to show signs of acute mental disturbance. Dostoyevsky's philosophical novel inspired by a real political killing in , about demons possessing the people of Russia, causing them to do evil deeds, in the name of revolution. Anything can be justified, as long as the results satisfy , The Ends Justify the Means.

Sadly this concept is still widely believed, in the 21st century. View all 14 comments. View all 3 comments. View 1 comment. View all 9 comments. Jan 30, Elie F rated it it was amazing Shelves: Seeking for God through demons Dostoevsky's Demons reminds me a bit of the spirit which Socrates sees love as in The Symposium: At first glance Demons is a anti-nihilist anti-Western pamphlet novel preaching a certain Russian Christianism that is essentially religious nationalism.

The charismatic and demonic characters can be regarded as spokesmen for different ideologies that are gripping on the Russian mind. Each of these ideolo Seeking for God through demons Dostoevsky's Demons reminds me a bit of the spirit which Socrates sees love as in The Symposium: Each of these ideologies carry a perspective on God, as Shatov put it: All of them perish at the end of the novel, which Dostoevsky portrays as a sign of "immeasurable and infinite" divinity. I don't know how much Dostoevsky agrees with the neurotic Christianism which he seemingly preaches in all his major works and is also iterated by the dying Stepan Verkhovensky at the end of Demons: It is us, us and them, and Petrusha.

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But the sick man will be healed and 'sit at the feet of Jesus'. What the swines will be, I'm curious. View all 13 comments. Jul 26, Bruce rated it it was amazing. The work is powerful and haunting, psychologically perceptive and penetrating. Jul 12, Sarah rated it it was amazing. My favorite extended quote from Demons: Plato, Rousseau, Fourier, aluminum columns—this is fit perhaps for My favorite extended quote from Demons: Plato, Rousseau, Fourier, aluminum columns—this is fit perhaps for sparrows, but not for human society.

But since the future social form is necessary precisely now, when we are finally going to act, so as to stop any further thinking about it, I am suggesting my own system of world organization.

Here it is! I wanted to explain my book to the gathering in the briefest possible way; but I see that I will have to add a great deal of verbal clarification, and therefore the whole explanation will take at least ten evenings, according to the number of chapters in my book.

Besides that, I announce ahead of time that my system is not finished.

I got entangled in my own data, and my conclusion directly contradicts the original idea from which I start. Starting from unlimited freedom, I conclude with unlimited despotism. I will add, however, that apart from my solution of the social formula, there can be no other. View all 4 comments. The Demons is a thought-provoking book that captures the attention of the reader by the richness of detail, the engaging and differentiated narration.

The narration is done through chronicles, where the chronicler narrates the facts that are happening, other times he reports what happened as he also acts as a character witnessing what happened. This process of narration makes reading dynamic and engaging. It is important to emphasize the philosophical and socio-political content of the dialogues The Demons is a thought-provoking book that captures the attention of the reader by the richness of detail, the engaging and differentiated narration.

It is important to emphasize the philosophical and socio-political content of the dialogues, which give the book a philosophical character. The novel portrays with fidelity typical of those who experienced the political, social and philosophical events of that time , the political movements constituted by young people in search of the organization of a revolutionary society in Russia of the XIX century.

As an excellent connoisseur of the human soul, the author exposes his protagonists with mastery, showing how moral miseries can lead to spurious actions, despite starting from altruistic philosophical concepts and well-intentioned ideologies.

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Thus Pyotr Stepanovich, an intelligent and ambitious young man, devoid of moral values but a skilled speaker, endowed with a great charisma and power of conviction, uses this capacity and creates a mythical and prophetic atmosphere around him to lead a constituted group of individuals, who act submissively to their excesses.

This subservience stems from the lack of ethical principles, moral inadequacy and, above all, greed for power, regardless of the means. Therefore, conspiracies, crimes and intrigues are committed in the name of the cause for which they fight, in order to destabilize order, instill panic and lead the people to rebellion. Reading makes it possible for us to conclude, that without moral and ethical principles and a true humanism, there is no ideology that can conquer a more just and egalitarian society.

They are fascinated, not by realism, but by the emotional ideal side of socialism, by the religious note in it, so to say, by the poetry of it… second-hand, of course. It all comes from flunkeyism of thought.

There's hatred in it, too. They'd be the first to be terribly unhappy if Russia could be suddenly reformed, even to suit their own ideas, and became extraordinarily prosperous and happy. They'd have no one to hate then, no one to curse, nothing to find fault with.

Bakunin e Nechayev. E hoje, quando reflito nisto assusto-me ao pensar naquilo em que Portugal esteve perto de se transformar, em Sobre o livro em si.

Nikolai Vsevolodovich Stavrogin. Publicado no VI, com imagens e links: View all 8 comments. View all 5 comments. I was savoring every single page , but the library deadline suddenly forced me to plough through the second half in a single day.

I shall not review this book until I have thoroughly re-read it, but the pages I read attentively were truly inspiring and posed the moral dilemmas that Russian literature and especially Dostoyevsky himself is famous for. As a I was savoring every single page , but the library deadline suddenly forced me to plough through the second half in a single day. I wish I was eloquent enough so I could talk about Demons. I'm not. I severely lack the necessary intellect that would allow me to analyze it or even say a few things worth mentioning, the way they should be said.

I will, however, state the obvious. Demons has great, limitless philosophical value. It's not a novel meant to be read as a pastime activity. It's demanding of one's full attention and capacity and still, it might be necessary for one to go back several times in order to not lose grip I wish I was eloquent enough so I could talk about Demons.

Several matters are touched, such as that of suicide which Camus, a century later, took even further.

The main theme, though, is change. A change brought about by persons possesed by demons and this change is the projection of their own demonized selves. Another thing worth mentioning is its darkness.

What I found impressive, though, is that it doesn't need to label itself dark. It doesn't shout it nor does it let its darkness cover its aforementioned philosophical value. It simply is dark. Not the way a novel is, but rather the way life is. Last but not least, the chapter which was censored and thus left out is very important to the story and truely unique for its time.

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I'd say that it shines light on the story's point and that alone justifies the title. It beats me why it's included merely as an appendix nowadays and not where it should be. It's one of the books that every reader should read eventually.

One of those books that justify the statement that literature can help elevate the spirit and offer enlightenment. A true masterpiece. View all 12 comments. In some ways, it exceeds all of them, particularly through voice and narrative instability. Dostoevsky, the author, is something that always seems to outstrip the pigeon-holer: So I will start with some general points and then discuss the book in terms of how it relates to Camus and his thinking.

Dostoevsky, through the character of his narrator, Mr G—v, is exploring a world in change: This was a liminial phase in Europe and western Asia that both men were living in, the real and the fictional.

Politics was on the move, class structures were under assault, what to believe in was being problemised. Man, woman; master, serf; science, religion; and more so, on a larger scale, how we go about believing in things and what effects these changes or lack-of-changes would have on people and social life itself and on being moral.

Many opinions get expressed in this novel, many of which could easily slip into contemporary discourse without much of a hitch just add some pop culture references… Particularly: A despot that has its own priests and slaves, a despot before whom everyone prostates himself with love and superstitious dread, such as has been quite inconceivable until now, before whom science itself trembles and surrenders in a shameful way.

As with any narrator, any time he or she is not directly present in events, even if they discuss which character informed them etc etc, there is room for playful doubt for the reader, and I would urge any reader to take this into account, as I'm sure would the author. That the villains of the piece get their come-uppance we are fore-told by the narrator early on, but not the depths and nature of the villainy: Dostoevsky makes use of prolepsis on numerous occasions to lead us along.

There is quite a body count: As for Camus and Absurdism: Or, put earlier: To be or not to be? Kirilov is planning to kill himself; why he is waiting, I shall not reveal for spoiler reasons, but he is fully and completely intending to do so. And he likens this to the nature of God, or, if your prefer to be more contemporary, Grand Narrative Meaning of your choice insert this wherever you see God too, if you like.

Much later, when speaking to Peter Verkhovensky, there is a further exchange relating to this problem: Living with this Kirilovic tension is what his Absurd Hero does: I am very much looking forward to now reading how Camus uses his own ideas to play with these dramatic features in 'The Possessed'.

There are other echoes of this tension even in the relationship between the socialist plotters and the nature of the existence of the Central Committee. The 'group of five' often worry that it doesn't exist, that it's 'mythical'. It really fills out the character of Stavrogin psychologically.

In it, I found such a beautiful line that could have been written just for me. You know those lovely moments Stavrogin asks the priest, Tikhon, if he has a problem with his atheism. My review of 'The Possessed': Camus' play based on 'The Devils' Mar 16, brian rated it liked it.

View all 6 comments. Wanna start with a like quote: Every member of the society spies on the others, and it's his duty to inform against them. Every one belongs to all and all to every one. All are slaves and equal in their slavery. In extreme cases he advocates slander and murder, but the great thing about it is equality.

To begin with, the level of education, science, and talents is lowered. A high level of education and science is only possible for great intellects, and they Wanna start with a like quote: A high level of education and science is only possible for great intellects, and they are not wanted. The great intellects have always seized the power and been despots.

Great intellects cannot help being despots and they've always done more harm than good. They will be banished or put to death.

"+_.E(f)+"

Cicero will have his tongue cut out, Copernicus will have his eyes put out, Shakespeare will be stoned that's Shigalovism. Slaves are bound to be equal. There has never been either freedom or equality without despotism, but in the herd there is bound to be equality, and that's Shigalovism! For example there is this one scene in which we have eleven characters in a single room I counted and each one of had a role to play in the scene in about fifty odd pages.

You might think after reading like first two hundred pages that nothing is ever going to happen but that would be wrong; by the end of novel you will have dealt with a gun-duel, murders in plural , suicides three of them , natural death, adultery, secret marriage, unrequited loves plural , arson, child-birth scene it was beautiful , family reunion, riots, dancing-balls-gone-wrong etc.

Narrator and biography The narrator is a very unimportant character in the story. He is a close friend of Stepan a widower — and comes out as a great observer of people, people are easily trusting their secrets in him but do not seem to think of him as a person of consequence. For example, how can he know what do a husband and wife talk about in their bedroom! Although he shows some great insight into politics of his time, he never goes anywhere with it.

He is, in fact, kept by a rich widow Varvara, a woman of strong character, with whom he has a strange sort of relationship. She keeps him in her house maintaining a platonic relationship, refuses angrily his offer to marry her, reads letters he wrote her daily sometimes twice a day with out ever replying, often throws him out only to go looking for him later and even sets a match between him and a young servant — and yet when he is on his deathbed, reproaches him vaguely for wasting twenty years.

One of many love stories in this novel. Socialism and Nihilism The 'demons' in title refer to new ideas that seems to be making Russia sick. He is also that kind of guy who can quickly get on to your nerves.

He pretends to be a socialist but that is only a way to manipulate people of his organization for personal objects. FD also divined another great observation - 'The convictions and the man are two very different things.

Shigalevism A social system suggested by one of character - Shigalevism see opening quote wants ninety percent of population to be slave of remaining ten percent. Shigalev is not only suggesting it but he actually argues that is form all systems end up being like and that it is the only system that can survive.

Quite a way to look at modern economies - whether capitalist or socialist given income inequialities in all of them. A PDF of same can be download here. The other time was in 'Crime and Punishment' but that time it was only a dream. Want more? Lisa had a crush on Nikolai stavgrin but was instead engaged to Nikolaevich. Marie's husband Shatov who has a habit of changing his ideas by walking out insultingly on people when he feels used or called for compromise on his dignity; is not same as Shiagalov.

Also, although he punches Stavgrin it is not because later had an affair with his wife Marie but rather because he made Marya pregnant. Talk about confusion! Some quotes: Le bon Dieu knew what He was in for when He was creating woman, but I'm sure that she meddled in it herself and forced Him to create her such as she is. Oamenii pot fi -da! Ideile nu sunt coagulate sub tutela unui concept unic. Sau, altfel spus: A se vedea Rusia, anul VIII, The likeness of the events in this novel to events that have happened recently, such as the shooting of the policemen in Dallas, or the attempted coup in Turkey, is incredible.

It seems to me like the people whom this novel revolves around are misguided, they are idealists, and they will stop at nothing to get what they want. What is so interesting is that the ideas that they initially had, were sometimes good ones, the problems arised when people were starting to misinterpret ideas, or changing The likeness of the events in this novel to events that have happened recently, such as the shooting of the policemen in Dallas, or the attempted coup in Turkey, is incredible.

What is so interesting is that the ideas that they initially had, were sometimes good ones, the problems arised when people were starting to misinterpret ideas, or changing them, or simply fighting for the "mark" so to say, as we commonly see today, people often fight for groups or such with no knowledge of what they actually stand for. It is a known phenomena that people often feel like they have to be a part of something, an idea of sorts, what those ideas are, is of no importance, people want power, and if they can be part of a group that possesses immense power, then the ideas which they fight for are of little to no importance.

The Most brilliant part of this book is the ending. Either, they die, or they are put to jail, if not that, they suffer for the rest of their life. These things ring true today, and the repercussions are the same that we see with the coup attempt in Turkey for example.

While not necessarily his most philosophical or psychological work, this is still an immense masterpiece, and while Dostoevsky's criticisms were true back then, i believe they are even more relevant today. Meriterebbe di essere letto solo per queste pagine. La critica paragona Tolstoi ad Omero, romanziere epico, e Dostoevskij ad Eschilo ed Euripide, grandi tragici, con la differenza che i tre greci sono vissuti in periodi diversi, mentre Tolstoi e Dostoevskij sono contemporanei e rappresentano una medesima cultura.

E allora, accostando Dostoevskij al tragediografo ateniese come fanno i critici, ripenso ai suoi versi che possono essere avvicinati al pensiero del grande scrittore russo: Magarshak's Translator's Introduction 1 2 Jan 13, Demons - NO spoilers 23 Aug 15, Readers Also Enjoyed. About Fyodor Dostoyevsky. Fyodor Dostoyevsky. Fyodor Mikhaylovich Dostoyevsky Russian: Dostoyevsky was the second son of a former army doctor. He was educated at home and at a private school. Shortly after the dea Fyodor Mikhaylovich Dostoyevsky Russian: Shortly after the death of his mother in he was sent to St.

Petersburg, where he entered the Army Engineering College. Dostoyevsky's father died in , most likely of apoplexy, but it was rumored that he was murdered by his own serfs.

Dostoyevsky graduated as a military engineer, but resigned in to devote himself to writing. His first novel, Poor Folk appeared in That year he joined a group of utopian socialists. He was arrested in and sentenced to death, commuted to imprisonment in Siberia. Dostoyevsky spent four years in hard labor and four years as a soldier in Semipalatinsk, a city in what it is today Kazakhstan. Dostoyevsky returned to St. Petersburg in as a writer with a religious mission and published three works that derive in different ways from his Siberia experiences: The House of the Dead , a fictional account of prison life, The Insulted and Injured , which reflects the author's refutation of naive Utopianism in the face of evil, and Winter Notes on Summer Impressions , his account of a trip to Western Europe.

In Dostoyevsky married Maria Isaev, a year old widow.View all 5 comments. Like Shatov, Kirillov has been deeply influenced by Stavrogin, but in a diametrically opposed way. Stavrogin remains cold, but does not actually say no, and Pyotr Stepanovich persists with his schemes.

In some ways, it exceeds all of them, particularly through voice and narrative instability. Lembke is a good man and wants to help the Russians in his province.

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