{"product_id":"128913","title":"Tolstoy or Dostoevsky ","description":"\u003ccenter\u003e\u003cdiv style=\"text-align:center\"\u003e\u003cimg src=\"https:\/\/tmgdisk01.cafe24.com\/images\/vs\/4172\/sv\/3jX1shzzkHtwP74fqHsRmEfufUnw5J.png?v=1765084160\" style=\"max-width:100%;max-height:10px\"\u003e\u003c\/div\u003e\u003c\/center\u003e\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\u003ccenter\u003e\n\n\u003cdiv style=\"width:95%\"\u003e\n\n\u003cdiv style=\"text-align:center;font-size:30px;font-weight:bolder;line-height:1.6em\"\u003e Tolstoy or Dostoevsky \u003c\/div\u003e\n\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\n\u003cdiv style=\"border-bottom:1px;border-bottom-style:dotted;border-color:;padding-bottom:20px\"\u003e\u003ccenter\u003e\u003ctable align=\"center\" width=\"100%\"\u003e\u003ctbody style=\"border:0px\"\u003e\n\n\u003ctr\u003e\u003ctd align=\"center\" style=\"line-height:1.2em;text-align:center;font-size:18px;color:black;font-weight:bold;padding-bottom:20px;\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\n\n\u003ctr\u003e\u003ctd style=\"text-align:center\"\u003e\u003cimg src=\"https:\/\/image.yes24.com\/goods\/72121067\/XL\" style=\"max-width:100%;height:auto\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\n\n\n\u003c\/tbody\u003e\u003c\/table\u003e\u003c\/center\u003e\u003c\/div\u003e\n\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\n\u003cdiv style=\"width:95%;{split_style6}padding-top:20px;padding-bottom:20px\"\u003e\n\n\u003cdiv style=\"text-align:left;font-size:16px;font-weight:bold;padding-bottom:20px\"\u003e Description \u003c\/div\u003e\n\n\u003cdiv style=\"text-align:left;word-break:break-all;font-size:14px;line-height:1.6em;\"\u003e\n\n\u003cdiv\u003e\u003ch5\u003e \u003cb\u003eBook Introduction\u003c\/b\u003e\n\u003c\/h5\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e  \u003cdiv\u003eTolstoy or Dostoevsky deals head-on with the literary, philosophical, and theological achievements of two Russian writers who achieved the pinnacle of prose fiction in Western literary history.\u003cbr\u003e Steiner asserts that the works of these two Russian giants stand tall among the pinnacles of Western fiction, vastly surpassing the masterpieces of Balzac, Dickens, and Flaubert.\u003cbr\u003e Tolstoy is 'epic' enough to be associated with Homer, and no one has depicted human life, both domestic and heroic, so perfectly.\u003cbr\u003e And Dostoevsky is the greatest and most polyphonic playwright since Shakespeare, and no one has delved so deeply into the human soul.\u003cbr\u003e The epic grandeur of Tolstoy's novels and the fantastic and revelatory intensity of Dostoevsky's novels are the highest achievements of prose fiction. \u003cbr\u003eSteiner examines the relationship between the literature of Tolstoy and Dostoevsky, which took place in Russia, a periphery of Western literature, and the Western literary tradition, linking it to the influence of Homer, Dante, Shakespeare, Racine, Corneille, Schiller, Balzac, Dickens, Flaubert, and the masters of the Gothic novel, and examines the literary achievements of these two giants by moving across literature, history, and theology.\u003cbr\u003e\n\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cul\u003e\u003cli\u003e You can preview some of the book's contents.\u003cbr\u003e \u003cspan\u003ePreview\u003c\/span\u003e\n\n\u003c\/li\u003e\u003c\/ul\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cbr\u003e\u003cdiv\u003e\u003ch5\u003e \u003cb\u003eindex\u003c\/b\u003e\n\u003c\/h5\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e Preface to the Second Edition\u003cbr\u003e\u003cbr\u003e Chapter 1\u003cbr\u003e Chapter 2\u003cbr\u003e Chapter 3\u003cbr\u003e Chapter 4\u003cbr\u003e\u003cbr\u003e References\u003cbr\u003e index\u003cbr\u003e Translator's Note\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cbr\u003e\u003cdiv\u003e\u003ch5\u003e \u003cb\u003eInto the book\u003c\/b\u003e\n\u003c\/h5\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e There are too many books that fail to enrich our consciousness or become a source of life, instead luring us into a world of easy, shallow, and temporary comfort.\u003cbr\u003e But the task of dealing with such books belongs to the book reviewer, not to the critic's meditative and re-creative skills. \u003cbr\u003e“100 Masterpieces” No, there are more than a thousand masterpieces.\u003cbr\u003e But the number is not endless.\u003cbr\u003e Unlike book reviewers or literary historians, critics should be interested only in masterpieces.\u003cbr\u003e His primary function is not to distinguish between good and bad, but to distinguish between good and best.\u003cbr\u003e\u003cbr\u003e The oral world begins with admiration.\u003cbr\u003e It sometimes steps back from the text and examines its moral purpose.\u003cbr\u003e It also considers literature not as an isolated entity, but as situated at the center of the workings of historical and political forces.\u003cbr\u003e Above all, the scope and nature of oral criticism are philosophical.\u003cbr\u003e Generalizing this idea leads to the belief that Sartre expressed in his Faulknerian theory.\u003cbr\u003e That is, “the technique of the novel always guides to the metaphysics of the novelist.” \u003cbr\u003eA work of art is a collection of mythological systems of thought, a heroic effort of the human soul to impose order and interpretation on disorderly experience.\u003cbr\u003e\u003cbr\u003e The flowering of the 19th-century Russian novel could be considered one of the three great triumphs in the history of Western literature.\u003cbr\u003e The other two can be said to be the era of the Athenian playwrights and Plato and the era of Shakespeare.\u003cbr\u003e In these three periods, the Western mind plunged into darkness through poetic intuition, and at the same time the light of human nature was condensed.\u003cbr\u003e\u003cbr\u003e Tolstoy and Dostoevsky, in addition to their creative writing, also engaged in political theory, theology, and historical research, an extravagance that is often dismissed as the eccentric pastimes of genius or an example of the strange blindness often inherited by great minds.\u003cbr\u003e Even when it became an object of serious interest, philosophy remained philosophy and novels remained novels. \u003cbr\u003eBut in mature art, technique and metaphysics are two sides of a single whole.\u003cbr\u003e As with Dante, in Tolstoy and Dostoevsky poetry and metaphysics, the impulse to creation and the impulse to systematic knowledge, respond alternately to the pressures of experience, and these two are inseparable.\u003cbr\u003e\u003cbr\u003e Herein lies a fundamental distinction between Western and Russian 19th-century novels.\u003cbr\u003e The tradition of Balzac, Dickens, and Flaubert was secular.\u003cbr\u003e The art of Tolstoy and Dostoevsky was religious.\u003cbr\u003e It stemmed from a climate steeped in religious experience and the belief that Russia was destined to play a prominent role in the impending apocalypse.\u003cbr\u003e Tolstoy and Dostoevsky, no less than Aeschylus or Milton, were men whose genius was entrusted to the hands of the living God.\u003cbr\u003e For them, as for Kierkegaard, the fate of man was either this or that.\u003cbr\u003e \u003cbr\u003eTolstoy rejected his own novels in the belief that didacticism should take precedence over all else.\u003cbr\u003e But he knew that War and Peace, Anna Karenina, and the other great novellas would still stand tall.\u003cbr\u003e So Tolstoy found solace in his own explicitly moralistic plays, and continued to argue that Shakespeare had distorted and betrayed the proper function of drama.\u003cbr\u003e Tolstoy is completely unconcerned with the question of why it is the playwright's responsibility to provide morality and \"guidance for life.\"\u003cbr\u003e He had staked enormously on his stubborn effort to impose consistent principles on his life, to insist that he had always been a hedgehog.\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e The 19th century's dream of creating a tragic form comparable in sublimity and coherence to classical and Renaissance drama found its fulfillment in music. \u003cbr\u003eIt is perfectly achieved in the solemnity and sorrow of Beethoven's quartet, Schubert's C major quintet, Verdi's [Otello], and above all, [Tristan und Isolde].\u003cbr\u003e The great ambition to “resurrect” poetic tragedy seized the Romantic movement, but it remained unrealized.\u003cbr\u003e As theatre regained its vitality with Ibsen and Chekhov, the old forms of heroism were irretrievably altered.\u003cbr\u003e But the 19th century produced a great tragedy in the person of Dostoevsky.\u003cbr\u003e Our minds, which had been advancing along the lines of King Lear and Phedre, stopped suddenly as they reached The Idiot, The Possessed, and The Brothers Karamazov.\u003cbr\u003e As Vyacheslav Ivanov put it in his search for a definitive image, Dostoevsky is “Russian Shakespeare.”\u003cbr\u003e\u003cbr\u003e \u003cbr\u003eThat is, more than any novelist of comparable scale to Dostoevsky, his sensibility, his style of imagination, his use of language, etc., are connected to drama.\u003cbr\u003e The relationship between Dostoevsky and drama is similar to that between Tolstoy and epic poetry, both in its centrality and in its influence.\u003cbr\u003e This characterizes his genius so strongly that it is compared to that of Tolstoy.\u003cbr\u003e He had a habit of imitating the gestures of his characters while writing, much like Dickens, a gesture that revealed his playwright's temperament.\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e As is clear from 『Oresteia』, 『Oedipus』, 『Hamlet』, and 『Macbeth』, murder and the tragic form have been in harmony since ancient times.\u003cbr\u003e Perhaps, as anthropologists have said, the very origins of drama are imbued with a faint but indelible memory of sacrificial rites. \u003cbr\u003ePerhaps the pendulum swing from murder to punishment uniquely represents the progress from disorder to reconciliation and balance, a progression that immediately evokes our own thoughts about tragedy.\u003cbr\u003e Moreover, murder ends privacy.\u003cbr\u003e In other words, in the assassin's house, the door can be opened at any time.\u003cbr\u003e He has only three walls, which means he lives “on stage.”\u003cbr\u003e\u003cbr\u003e Dostoevsky perceived time from the perspective of a playwright.\u003cbr\u003e In his notes for Crime and Punishment, he asked, “What is time?” and answered:\u003cbr\u003e “Time does not exist.\u003cbr\u003e Time is a series of numbers.\u003cbr\u003e “Time is the relationship between beings and non-being.” It was an instinct for him to concentrate and harmonize countless entangled actions in a minimal amount of time. \u003cbr\u003eThis concentration creates a feeling of nightmare.\u003cbr\u003e That is, the feeling of language and gestures after removing everything that relieves and delays.\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e Dostoevsky pondered for a long time how to end The Idiot.\u003cbr\u003e In one conception, Nastasya marries Myshkin, in another she runs away to a brothel on their wedding night, and in a third she marries Rogozhin.\u003cbr\u003e However, another variation has Nastasya befriending Aglaya and arranging her marriage to the Duke, and even considering the possibility of Aglaya becoming Mishkin's mistress.\u003cbr\u003e The very fact that he cannot make a decision like this shows how profound and free Dostoevsky's imagination is. \u003cbr\u003eWhile Tolstoy treated his characters with omnipotence and ruthlessness, as if God were ruling over them, Dostoevsky, like all true playwrights, seems to have listened with an inner ear to the dynamics of independent and unpredictable behavior.\u003cbr\u003e\u003cbr\u003e A look at the notes to \"The Idiot\" reveals that motifs and themes recur frequently in Dostoevsky's novels (Proust argued that all of Dostoevsky's novels could be titled \"Crime and Punishment\").\u003cbr\u003e As initially conceived, “The Idiot” not only embodies many of Stavrogin’s traits, but also perfectly matches the protagonist of “The Possessed” in that he is secretly married and publicly humiliated.\u003cbr\u003e Even looking at the later conception, it seems that Myshkin is supported by “a group” of children.\u003cbr\u003e They play a crucial role in the plot development and help reveal Myshkin's true nature. \u003cbr\u003eThis again becomes the story of Alyosha in the epilogue of The Brothers Karamazov.\u003cbr\u003e The law of conservation of mass seems to exist not only in nature but also in the poetics of creation.\u003cbr\u003e\u003cbr\u003e Although the autobiographical tendencies of Dostoevsky's novels are important, they should not be exaggerated.\u003cbr\u003e In a letter to Strahov in February 1869, the novelist asserts:\u003cbr\u003e “If I were to describe my own view of art, it would be as follows.\u003cbr\u003e “That is, what most people see as fantastic and ununiversal, I see as the deepest essence of truth,” he added.\u003cbr\u003e “Isn’t my fantastic ‘idiot’ actually the most everyday truth?” Dostoevsky was a metaphysician of the extreme.\u003cbr\u003e\u003cbr\u003e It would also be wrong to divide Tolstoy's life into three periods: a period of literary creation and the decades surrounding that period of philosophical and religious activity. \u003cbr\u003eIn Tolstoy, the two formative forces cannot be separated, so the moralist and the poet coexisted closely together, opening up a painful path of creation.\u003cbr\u003e Religious and artistic impulses struggled for dominance throughout his career.\u003cbr\u003e This conflict was at its most acute around the time Tolstoy was writing Anna Karenina.\u003cbr\u003e His large soul would at one moment lean toward the life of imagination, and at the next succumb to what Ibsen called the “demands of the ideal.”\u003cbr\u003e We get the impression that only physical activity and the violent release of bodily energy gave Tolstoy peace and balance.\u003cbr\u003e Only by consuming my body could I temporarily calm the raging debate in my mind.\u003cbr\u003e\u003cbr\u003e By March 1855, Tolstoy had formed a clear set of ideas that would dominate him until the moment of his death. \u003cbr\u003eHe conceived the “great ideal” of building a new religion suited to the present state of humanity.\u003cbr\u003e Although it was a religion of Christ, it was a religion free from dogma and mysticism, and instead of promising future bliss, it was a religion that gave bliss on earth.\u003cbr\u003e This was Tolstoy's creed, and the works written and published after 1880 merely clothed this creed in its guise.\u003cbr\u003e\u003cbr\u003e In Dostoevsky's novels, the images and situations, the names and speech habits of the characters, the terms used in general, and the nature of the actions are overwhelmingly and dramatically religious.\u003cbr\u003e Dostoevsky portrays characters in a crisis between faith and denial, and it is often through denial that the characters witness the emergence of God most powerfully. \u003cbr\u003e“Anyone who tries to deal with the religious element in Dostoevsky’s work soon realizes that this theme encompasses Dostoevsky’s entire world.” This assertion does not apply to Tolstoy.\u003cbr\u003e War and Peace and Anna Karenina can be read as pioneers of historical and social novels, and their philosophical and religious implications are only vaguely perceived.\u003cbr\u003e\u003cbr\u003e In our time, this conflict has erupted with implicit violence.\u003cbr\u003e The \"thousand-year\" National Socialist Reich and the classless Soviet communist state—even though these too will ultimately disappear—have become the eschatological vision and new goal of the long-held millenarian doctrine.\u003cbr\u003e This eschatology is secular because it denies God.\u003cbr\u003e But the vision that underpins it is that of all millennial utopian movements. \u003cbr\u003eIn other words, humans must either create a good life here on earth or endure their share of suffering in a journey that is often chaotic, unjust, and incomprehensible between the two poles of darkness.\u003cbr\u003e The kingdom of God must be realized as a kingdom of man: this is the theology of totalitarian utopia.\u003cbr\u003e Whether this theology will overcome its imperfect and divided opponents seems an unavoidable question in this troubled century.\u003cbr\u003e To put the question another way, who offers a truer picture of human nature and a more prophetic account of history, Tolstoy or Dostoevsky?\u003cbr\u003e\u003cbr\u003e Tolstoy's genius was that of a prophet and a religious reformer, not that of a theologian in the traditional, professional sense, as Berdyaev thinks. \u003cbr\u003eTolstoy despised the rituals and eucharistic rites of the established church and considered theological debates, which had been conducted in a formal and historically sanctified manner, to be useless sophistry.\u003cbr\u003e He was strongly influenced by the spirit of iconoclasm, as in Rousseau and Nietzsche.\u003cbr\u003e Therefore, as an artist and religious teacher, he had a constant interest in the nature of social behavior and in the establishment of concise and rational norms for world affairs.\u003cbr\u003e He sought to view Christianity as “neither a divine revelation nor a historical phenomenon, but a teaching that gives us meaning in life.”\u003cbr\u003e As one recent critic put it, Tolstoy created a gospel “emptied of the irrational, stripped of metaphysical and mystical visions, stripped of metaphor and symbol, stripped of miracles and sometimes even of allegory of miracles.” \u003cbr\u003eAs a result, Tolstoy was able to break away from the iconography that dominated Russian thought and deal with religious subjects.\u003cbr\u003e\u003cbr\u003e A profound and fundamental philosophy is being described.\u003cbr\u003e Dostoevsky's protagonists are intoxicated by ideology and consumed by the flames of language.\u003cbr\u003e This does not mean that they are allegorical types or personifications.\u003cbr\u003e With the exception of Shakespeare, no one has more perfectly captured the complex dynamics of life.\u003cbr\u003e This means that while other people live off of love and hate, characters like Raskolnikov, Myshkin, Kirillov, Versilov, and Ivan Karamazov live off of ideas.\u003cbr\u003e While other humans burn oxygen, they burn thoughts.\u003cbr\u003e\n\n\u003c\/div\u003e\n\u003cdiv\u003e --- From the text\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cbr\u003e\u003cdiv\u003e\u003ch5\u003e \u003cb\u003ePublisher's Review\u003c\/b\u003e\n\u003c\/h5\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e \u003cb\u003eAn unprecedented masterpiece in 20th-century Western criticism, featuring two great giants: Tolstoy and Dostoevsky.\u003c\/b\u003e\u003cbr\u003e \u003cbr\u003e'The smartest man in the world', 'the polymath of polymaths', 'Renaissance man', 'a man well-versed in all cultures from the pre-Socratic era to the post-modern era', 'the greatest critic of the 20th century who changed the concept of criticism'.\u003cbr\u003e When we collect the words used to describe George Steiner, they all reveal a reverence for the heights to which a human intellect has reached.\u003cbr\u003e Within the Western intellectual tradition, few have been as well-versed in the traditions and achievements of Western literature as George Steiner, and have defended them with such uncompromising tenacity.\u003cbr\u003e His admiration for literature and the arts, which began when he read Homer in its original form at the age of six, continued throughout his life as he continued to revere the canonical works of mankind.\u003cbr\u003e\u003cbr\u003e \u003cbr\u003eTolstoy or Dostoevsky is George Steiner's first critical work, published in 1960 while he was a research fellow at Princeton University, and is his representative work that brought him to the attention of literary circles on both sides of the Atlantic.\u003cbr\u003e Since then, Steiner has published over 40 dense books on literature, language, and philosophy over the course of 40 years, but as the author himself reveals in the preface to this book, “All of my work and teachings spring from the first sentence of Tolstoy or Dostoevsky: ‘Literary criticism must begin with a debt of love,’” This work is a milestone for Steiner’s future writing activities and has become a classic of criticism.\u003cbr\u003e\u003cbr\u003e Tolstoy or Dostoevsky deals head-on with the literary, philosophical, and theological achievements of two Russian writers who achieved the pinnacle of prose fiction in Western literary history. \u003cbr\u003eSteiner asserts that the works of these two Russian giants stand tall among the pinnacles of Western fiction, vastly surpassing the masterpieces of Balzac, Dickens, and Flaubert.\u003cbr\u003e Tolstoy is 'epic' enough to be associated with Homer, and no one has depicted human life, both domestic and heroic, so perfectly.\u003cbr\u003e And Dostoevsky is the greatest and most polyphonic playwright since Shakespeare, and no one has delved so deeply into the human soul.\u003cbr\u003e The epic grandeur of Tolstoy's novels and the fantastic and revelatory intensity of Dostoevsky's novels are the highest achievements of prose fiction. \u003cbr\u003eSteiner examines the relationship between the literature of Tolstoy and Dostoevsky, which took place in Russia, a periphery of Western literature, and the Western literary tradition, linking it to the influence of Homer, Dante, Shakespeare, Racine, Corneille, Schiller, Balzac, Dickens, Flaubert, and the masters of the Gothic novel, and examines the literary achievements of these two giants by moving across literature, history, and theology.\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e The two giants, Tolstoy and Dostoevsky, are so compelling that one is tempted to compare them, says author Steiner, but it quickly becomes clear that he did not write this masterpiece simply out of curiosity.\u003cbr\u003e In addition to highlighting the literary achievements of the two novelists, the author's own experience of the tragic world history of the 20th century casts a shadow over his own existential motivation for writing this book.\u003cbr\u003e\u003cbr\u003e \u003cbr\u003eSteiner identifies their theology as the core of the excellence that makes these two novelists surpass all other novelists.\u003cbr\u003e The two giants, Tolstoy and Dostoevsky, created the third great triumphal period in the history of Western literature, following the era of Plato, the Greek tragedians, and Shakespeare, in which 'all the light of human nature was concentrated at once.'\u003cbr\u003e However, the two people lived in the same space called Russia at the same time and never met in their lifetimes, and the theology of the two people in an irreconcilable conflict is the background here.\u003cbr\u003e Tolstoy's theology, which sought to establish a new Christian religion that sought bliss on earth where dogma and mysticism were eliminated, and Dostoevsky's theology, which sought to follow Christ even if it meant being branded a heretic, clash head-on in the famous scene of the Grand Inquisitor in The Brothers Karamazov.\u003cbr\u003e\u003cbr\u003e \u003cbr\u003eThe theological confrontation between Tolstoy and Dostoevsky offers a new perspective on the tragedies brought about by the secular utopian movements of the 20th century—Nazism, fascism, and Russian communism.\u003cbr\u003e Count Tolstoy, a haughty local baron, was enshrined by Marxist critics in the pantheon of revolutionaries as a spokesman for proletarian nationalism, while Dostoevsky, a condemned radical and survivor of the Siberian exile, was exiled from the 'homeland of the proletariat'.\u003cbr\u003e What does this paradox tell us?\u003cbr\u003e Steiner's exploration of the theology of Tolstoy and Dostoevsky raises the weighty question of why humanity's age-old fantasy of realizing a utopia on earth was transformed into a nightmare through the practical utopian movement of the 20th century.\u003cbr\u003e\u003cbr\u003e  \u003cbr\u003eGeorge Steiner began his critical career by advocating for \"old criticism\" during the era when \"new criticism\" was in the spotlight. (The subtitle of this book is \"An Essay from an Old Critical Perspective.\") While new criticism advocated for the autonomy and deconstruction of the text, the concept of poetic language, and the \"death of the author,\" old criticism begins with admiration and, rather than viewing literature as an isolated entity, emphasizes the existential and temporal identity of the author within a historical and social context.\u003cbr\u003e In a relativistic age dominated by tastes and trends, Steiner asks whether it is anachronistic to establish a new standard for absolute canon, but he counters by asking whether relativism ultimately breeds disorder.\u003cbr\u003e And for Steiner, the exploration of the metaphysical-theological dimension that has given Western literature the concept of canon is also an exploration of the core of the novel. \u003cbr\u003eGeorge Steiner reveals the full impact and grandeur of the literature of Tolstoy and Dostoevsky more fully than anyone before him.\u003cbr\u003e Readers will be able to experience the rare experience of criticism not only being an object of admiration but also of being moved. \u003cbr\u003e\n\n\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\n\n\u003c\/div\u003e\n\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\n\u003cdiv style=\"width:95%;padding-top:20px;padding-bottom:20px\"\u003e\n\n\u003cdiv style=\"text-align:left;font-size:16px;font-weight:bold;padding-bottom:20px\"\u003e GOODS SPECIFICS \u003c\/div\u003e\n\n\u003cdiv style=\"text-align:left;font-size:14px;line-height:1.6em;\"\u003e\n\n\u003cdiv style=\"width:100%;margin-bottom:5px;line-height:1.6em;font-size:14px\"\u003e - \u003cstrong\u003eDate of issue:\u003c\/strong\u003e May 1, 2019\u003c\/div\u003e\n\n\u003cdiv style=\"width:100%;margin-bottom:5px;line-height:1.6em;font-size:14px\"\u003e - \u003cstrong\u003ePage count, weight, size:\u003c\/strong\u003e 584 pages | 536g | 128*190*35mm\u003c\/div\u003e\n\n\u003cdiv style=\"width:100%;margin-bottom:5px;line-height:1.6em;font-size:14px\"\u003e - \u003cstrong\u003eISBN13:\u003c\/strong\u003e 9791187295310\u003c\/div\u003e\n\n\u003cdiv style=\"width:100%;margin-bottom:5px;line-height:1.6em;font-size:14px\"\u003e - \u003cstrong\u003eISBN10:\u003c\/strong\u003e 1187295310 \u003c\/div\u003e\n\n\n\u003c\/div\u003e\n\n\n\u003c\/div\u003e\n\n\n\u003c\/div\u003e\n\n\u003ccenter\u003e\n\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\n\u003cspan\u003e\u003c\/span\u003e\n\n\u003c\/center\u003e\n\n\n\u003c\/center\u003e","brand":"LIBRAIRIE COREENNE","offers":[{"title":"Default Title","offer_id":43893225685034,"sku":"128913","price":37.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0683\/2750\/5962\/files\/5880f42058ceeeae71a138b90b54a82a.jpg?v=1765392540","url":"https:\/\/librairie.coreenne.fr\/en\/products\/128913","provider":"LIBRAIRIE COREENNE","version":"1.0","type":"link"}