1/27/2024 0 Comments Bobok 1873![]() ![]() While those of Dostoevsky’s characters who accept their transitional and contingent state of being, are aligned with threshold space and the possibility of moral transformation. Given that Dostoevsky characterised our state of being-in-the-world as ‘transitional’ (we are not yet able to embody our highest ideals), I argue that for those of Dostoevsky’s characters who inhabit spaces that are closed (literally and symbolically), or who attempt to reify a completed form, signals the constriction of their ontological and existential possibilities of being. This ledger lists every student who attended the Ohio Agricultural and Mechanical College (The Ohio State University) for the. My line of inquiry takes into consideration both Dostoevsky’s Christian worldview, as well as what he perceived to be our most characteristic state of being-in-the-world we are ‘transitional’ creatures. Bobok (1873) A bobok is a small bean Translated by Constance Garnett. ![]() How Dostoevsky’s characters inhabit space, or are positioned towards specific sites and spatial configurations, reveals how they form their ontological connection with their narrative worlds. Given that space is a priori, I propose that space is of ontological primacy in Dostoevsky’s fiction space is the ground and foundation upon which all moral and existential action, is performed. Drawing upon Henri Lefebvre’s tripartite order of space, (physical, social and mental) I examine spaces and spatial motifs and configurations in Dostoevsky’s fiction at multiple levels of representation, with particular attention paid to mental (or psychological and symbolic) space. Dostoievski’s tale Bobok (1873) is a particularly good example of carnival. Aside from his short stories, Dostoevsky also wrote short novels, a novella, and two romantic plays. This study is an investigation of space and spatial motifs in Dostoevsky’s post- Siberian fiction.
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