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#fiodor Dostoyevski
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La tolérance atteindra un tel niveau que les personnes intelligentes seront interdites de toutes réflexions pour ne pas offenser les imbéciles.
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Fiodor Dostoyevski
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zagan-akerman · 6 months
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Inktober Día 17 - El hombre del subsuelo
No he conseguido nada, ni siquiera ser un malvado; no he conseguido ser guapo, ni perverso; ni un canalla, ni un héroe…, ni siquiera un mísero insecto. Y ahora termino mi existencia en mi rincón, donde trato lamentablemente de consolarme (aunque sin éxito) diciéndome que un hombre inteligente no consigue nunca llegar a ser nada y que sólo el imbécil triunfa.
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possessedbydevils · 23 days
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Only Grumitya bc I love them
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vintageshits · 5 months
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Rodya 🤝🏻 me
go insane mainly because we are in our twenties and live in a big, chaotic city.
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krewetkaandlombardn · 18 days
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“I say let the world go to hell, but I should always have my tea.” ― Fyodor Dostoevsky, Notes from Underground
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trogo-auto-egocratico · 11 months
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"No te mientas a ti mismo. El hombre que se miente a sí mismo y escucha su propia mentira llega a un punto en que no puede distinguir la verdad dentro de él, ni a su alrededor, y por lo tanto pierde todo respeto por sí mismo y por los demás. Y al no tener respeto, deja de amar. Por eso, por encima de todas las cosas: no te mientas a ti mismo".
Fiódor Dostoyevski.
Los hermanos Karamazov.
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hhorror-vacuii · 9 months
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I have been thinking about the complex and kind of baffling dynamic that Verkhovensky and Stavrogin have going on between them and I finally think I have it pinned down:
Verkhovensky holds Stavrogin in a checkmate, and Stavrogin holds Verkhovensky in a chokehold.
Throughout the book, Verkhovensky does increasingly dangerous things to ensure Stavrogin is tied to him, bound both with some sort of beneficial, parasitic relationship, as well as simply with fear of imprisonement or death. Everytime Verkhovensky does something, he makes sure to work on the two different sides of the coin: for example, when he orders Fedka to do away with the Lebyadkins, he not only relieves Stavrogin of two burdens at once (being married to Marya and being blackmailed by the captain), he also makes sure he has an alibi (a night with Lizaveta, which in and of itself is also what Stavrogin was after the whole time). And then, he makes sure that everybody immediately knows that Marya was Stavrogin's wife and that he benefits greatly from her death. Due to all of this, Stavrogin is trapped in one position and cannot make a move without stepping on Verkhovensky's toes and putting in motion a series of events which would be highly unfavourable to himself.
On the other hand, Verkhovensky is also risking quite a lot in pulling all of these stunts after the other, and sure, some of them are mostly out there because he wants to discredit his father, but the most dangerous things are always done with Stavrogin in mind. And while Stavrogin is absolutely being complicit by knowing of everything/almost everything that will take place and doing nothing to stop Pyotr, he is also not guilty according to the law (someone please correct me on the penal law in imperial Russia) - but Pyotr is. Just as he is spying on everybody in the town, he could likewise be spied on, or even simply overheard by literally anybody. Fedka could denounce him for paying him for the murders, Mavriky Nikolaevich could physically harm Pyotr (or even simply kill him) for entangling Lizaveta into it, Shatov could kill him during their confrontation... he is risking quite a lot, much more than what is comfortable for him. But he continues to do everything again and again because he is held in place by Stavrogin, who deliberately doesn't tell him: no.
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sapphiceffy · 1 year
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pavel smerdyakov apologist forever
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ivaspinoza · 2 months
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beu-ytr · 9 days
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Resenha de "Crime e Castigo" de Fíodor Dostoiévski
*com alguns spoilers
Apesar de algumas passagens serem particulamente muito interessantes, não posso mentir e dizer que é um livro fácil ou entretível (essa palavra existe?)
A verdade é que estou feliz por ter iniciado minha jornada com Dostoiévski, mesmo quando eu não estava entendendo n a d a do que eu tava lendo eu me diverti demais
isso porque eu tava muito empolgada sabe, eu tava tipo "ok não tô curtindo por agora mas eu tenho certeza que vai melhorar depois☺"
Vi algumas resenhas no Skoob, e entendi perfeitamente o porquê de algumas pessoas não gostarem desse livro
A narrativa realmente é maçante, os personagens são aleatórios e a maioria é descartável e/ou desconexos com a proposta da história
o protagonista é desprovido de inteligência cognitiva, emocional e social, desprovido de sanidade mental e o pior de tudo: carisma
Pra mim o que faltou nesse livro foi carisma, foi o charme entendeu? Acho que se o livro fosse uma sátira, ele seria bem mais genial e muito mais interessante
Porque o protagonista é simplesmente uma grande piada. Não entra na minha cabeça como um ser humano poderia ser tão burro ao ponto de assassinar uma mulher pelo dinheiro dela, e depois não roubar nada dela (??????)
Eu também não entendi muito o intuito desse livro em geral sabe, eu acho que Dostoiésvski perdeu uma grande oportunidade com esse aqui. Pode ser um clássico e tal, mas ao mesmo tempo é um livro bem fraquinho
Como eu já falei aqui, às vezes as pessoas gostam de criar significados profundíssimos sobre coisas que na verdade são muito simples. E acho que isso acontece até demais aqui
Outro ponto que gostaria de ressaltar é que o maior dilema que eu tive lendo esse livro foi os nomes. Os nomes estranhíssimos que mudavam o tempo todo (chamaram o personagem principal de mais de 2 nomes diferentes e eu só fui me tocar que era ele, quando eu voltei para o préfácio) e a enorme quantidade de personagens me deixaram maluca
Eu não sabia mais quem era relevante e quem não era, foi uma loucura total e eu tenho certeza que uma parte da história passou direto pela minha cabeça só porque eu não consegui raciocinar os nomes de certos personagens e todo o papel deles na narrativa
Eu tive que parar de ler um pouquinho pra fazer um mapinha com todos os nomes e mesmo assim eu não entendi direito porque foi muita gente
Por fim o arco do romance, eu simplesmente odiei. Achei que não combinou e sinceramente foi bastante forçadinho porque dois malucos com um psicológico todo acabado não seriam um bom casal na minha humilde opinião. Qual a necessidade, eu pergunto
Não sei, você responde. Mas a verdade é que eu só terminei esse livro pesadão porque eu tinha muita força de vontade senão eu teria abandonado certeza
De toda forma, foi uma experiencia agridoce. Obrigado pela atenção, até a próxima
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waiting-4-rain · 6 months
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“Our hero, in a voice broken with sobs, tried to express his feelings… but was much too overcome by all the he had gone through, and could not utter a word; he could only, with an expressive gesture, point meekly to his heart.”
-The Double, Fyodor Dostoyevsky
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c7arisse · 2 years
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Fyodor Dostoïevsky in the chapter 101 of Bungou Stray Dogs
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k-oliveros · 7 months
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Harmless WIP of a drawing for an Art trade! I dont have the person added here, so I dont think there will be any problem.... Shhh
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possessedbydevils · 24 days
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First thing l thought of when l learned she had blue eyes. No wonder Alyosha was terrified
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vintageshits · 7 months
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‘Rodya, my dear boy, my first-born,’ she said, sobbing.
‘Now you're just the way you were when you were little, that's how you used to hug me and kiss me; back in the days when your father was still alive and we were struggling by you used to console us by the mere fact of being with us, and after I’d buried your father how many times we used to weep over his grave, with our arms about each other the way they are now.’
I really need to talk about this passage from C&P.
To me, Dostoevsky’s ability to tell you a lot about a character without many words is simply mesmerising.
Let me go a little deeper. Throughout the book, I was always wondering things like ‘how was Rodya when he was younger? Was he a gloomy, angry teenager? An awkward, annoying child? Was he the type of kid who used to be a headache for his mother and sister? Did he love his father?’
And when I reached this chapter…my heart just shattered. Thanks to the few, mourning words of Pulcheria Aleksandrovna, we learn a lot of things about Rodya’s past: he was a crying baby when little, very cherished by both, his father and his mother (I mean, we know Pulcheria loves him, but here we also know his father loved him very much and he was not some sort of Fyodor Karamazov with him), and that he not only mourned and ached because of his father’s dead, but he also did it with his mother as a way of staying by her side and soothing her heart…
Idk, besties, this part just made me feel so many things…specially after learning that Rodya had always been the sentimental, crying and caring lad he still shows signs of being…
Btw!! I finally got my English copy of C&P, so I can finally post quotes and discuss them here with y’all <3 I bought a 1991 penguin edition, translated by David McDuff, just for the record :)
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pro100wryj · 2 years
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Cool
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