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The Possessed - the Original Classic Edition by Fyodor Dostoevsky 2012 VG
US $10,95
CircaEUR 9,35
Condizione:
“School library copy with usual markings”
Ottime condizioni
Libro che non sembra nuovo ed è già stato letto, ma è in condizioni eccellenti. Nessun danno evidente alla copertina, dotato di sovraccoperta(se applicabile) per le copertine rigide. Nessuna pagina mancante o danneggiata, piegata o strappata, nessuna sottolineatura/evidenziazione di testo né scritte ai margini. Potrebbe presentare minimi segni identificativi sulla copertina interna. Mostra piccolissimi segni di usura. Per maggiori dettagli e la descrizione di eventuali imperfezioni, consulta l'inserzione del venditore.
- Compralo SubitoThe Possessed - the Original Classic Edition by Fyodor Dostoevsky 2012 VG
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Spedizione:
US $5,22 (circa EUR 4,46) USPS Media MailTM.
Oggetto che si trova a: New Orleans, Louisiana, Stati Uniti
Consegna:
Consegna prevista tra il ven 12 set e il gio 18 set a 94104
Restituzioni:
Restituzioni entro 30 giorni. Le spese di spedizione del reso sono a carico dell'acquirente..
Pagamenti:
Fai shopping in tutta sicurezza
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Numero oggetto eBay:114313994061
Specifiche dell'oggetto
- Condizione
- Ottime condizioni
- Note del venditore
- “School library copy with usual markings”
- Type
- Novel
- Age Level
- Adults, Young Adults
- ISBN
- 9781486147489
Informazioni su questo prodotto
Product Identifiers
Publisher
Emereo Pty The Limited
ISBN-10
1486147488
ISBN-13
9781486147489
eBay Product ID (ePID)
240316173
Product Key Features
Book Title
Possessed-The Original Classic Edition
Number of Pages
328 Pages
Language
English
Topic
General
Publication Year
2012
Genre
Fiction
Format
Trade Paperback
Dimensions
Item Height
0.7 in
Item Weight
20.8 Oz
Item Length
9.7 in
Item Width
7.4 in
Additional Product Features
TitleLeading
The
Synopsis
Ive always felt that fiction is like a window to the past, and with The Devils, Dostoevsky gives us a clear glimpse at the underground politics brewing in Czarist Russia. At the same time, his propensity to write about criminals and people with criminal hearts is nowhere more emphasized among his major novels than in this one. There is not one character I could identify as a traditional hero, not even the semi-anonymous narrator, who relates the novels events with the impartiality of a security camera; they are all antiheros -- a room full of Raskolnikovs. The novel concerns a small band of Russian intellectuals, atheists, socialists, anarchists, and various other rabble who are distributing subversive leaflets in an attempt to incite the proletariat to revolt against the government. They are a motley group, destined to fail because they lack general competence, organizational skills, a clear agenda, definite plans, and even uniform ideas. The only thing they have in common is that they dont like the way things currently are in Russia and intend to change them, violently if necessary. Among this group we meet Nicholas Stavrogin, an obnoxious, insensitive young man who is only looking out for himself and is not above having affairs with his friends wives. The groups prime mover and instigator is Peter Verkhovensky, whose father Stepan had been Nicholass tutor and is still living platonically with Nicholass widowed mother, one of the wealthier citizens of the town in which the novel takes place. The groups rank-and-file who figure most prominently into the plot include the suicidal Kirilov, a former member (and potential informer) named Shatov who just wants to put it all behind him, a useless drunkard named Lebyatkin who acts as the groups stooge, and an escaped convict named Fedka who becomes the groups henchman. That many of these people are dead by the end of the novel is not as surprising as how they get that way. The plot is built around intrigues, disloyalties, and the type of drawing-room confessions and revelations that characterize the best mysteries. Its not difficult to guess that there is a juicy secret about Lebyatkins crippled, mentally disturbed sister Mary, or that the elegant fete arranged by Julia Lembke, the Governors wife, will culminate in a spectacular, outrageous, and perhaps deadly climax; Dostoevsky likes sensationalism and never misses a chance to use human frailty and folly as hosts upon which the morally hollow feed like parasites. Dostoevskys description of these men as devils is a biblical allusion to the book of Luke, translating Christs power to drive the devils out of a possessed man into a herd of swine to the cleansing of Russia of its nefarious political elements. It would appear that The Devils is Dostoevskys effort to demonize the soulless, devilish radicals who have no moral underpinnings and who would replace everything he considers good about Russia (namely, the Eastern Orthodox Church) with Western ideas. There is an obvious parallel to the Bolshevik Revolution of nearly half a century later, which shows that such Socialist sentiment had been bubbling under the Russian mainstream for many years prior to its twentieth century emergence. In that sense, this is a prescient novel of historical and political interest.
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