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The current rash of books hostile to religious faith will one day be an interesting subject for some sociological analysis.
But to counter such work, is a book of the profoundest kind about the nature and purpose of religious belief. Terrorism, child abuse, absent fathers and the fragmentation of the family, the secularisation and the sexualisation of culture, the future of liberal democracy, the clash of cultures and the nature of national identity - so many of the anxieties that we think of as being quintessentially features of the early twenty first century and on, are present in the work of Dostoevsky - in his letters, his journalism and above all in his fiction.
The world we inhabit as readers of his novels is one in which the question of what human beings owe to each other is left painfully and shockingly open and there is no place to stand from which we can construct a clear moral landscape. But the novels of Dostoevsky continually press home what else might be possible if we - characters and readers - saw the world in another light, the light provided by faith. In order to respond to such a challenge the novels invite us to imagine precisely those extremes of failure, suffering and desolation. There is an unresolved tension in Dostoevsky's novels- a tension between believing and not believing in the existence of God. In The Brothers Karamazov, we can all receive Ivan with a terrible kind of delight. Ivan's picture of himself we immediately recognise as self-portrait. The god that is dead for him is dead for us. This Karamazov God of tension and terror is often the only one we are able to find. This extraordinary book will speak to our generation like few others.
But to counter such work, is a book of the profoundest kind about the nature and purpose of religious belief. Terrorism, child abuse, absent fathers and the fragmentation of the family, the secularisation and the sexualisation of culture, the future of liberal democracy, the clash of cultures and the nature of national identity - so many of the anxieties that we think of as being quintessentially features of the early twenty first century and on, are present in the work of Dostoevsky - in his letters, his journalism and above all in his fiction.
The world we inhabit as readers of his novels is one in which the question of what human beings owe to each other is left painfully and shockingly open and there is no place to stand from which we can construct a clear moral landscape. But the novels of Dostoevsky continually press home what else might be possible if we - characters and readers - saw the world in another light, the light provided by faith. In order to respond to such a challenge the novels invite us to imagine precisely those extremes of failure, suffering and desolation. There is an unresolved tension in Dostoevsky's novels- a tension between believing and not believing in the existence of God. In The Brothers Karamazov, we can all receive Ivan with a terrible kind of delight. Ivan's picture of himself we immediately recognise as self-portrait. The god that is dead for him is dead for us. This Karamazov God of tension and terror is often the only one we are able to find. This extraordinary book will speak to our generation like few others.
The current rash of books hostile to religious faith will one day be an interesting subject for some sociological analysis.
But to counter such work, is a book of the profoundest kind about the nature and purpose of religious belief. Terrorism, child abuse, absent fathers and the fragmentation of the family, the secularisation and the sexualisation of culture, the future of liberal democracy, the clash of cultures and the nature of national identity - so many of the anxieties that we think of as being quintessentially features of the early twenty first century and on, are present in the work of Dostoevsky - in his letters, his journalism and above all in his fiction.
The world we inhabit as readers of his novels is one in which the question of what human beings owe to each other is left painfully and shockingly open and there is no place to stand from which we can construct a clear moral landscape. But the novels of Dostoevsky continually press home what else might be possible if we - characters and readers - saw the world in another light, the light provided by faith. In order to respond to such a challenge the novels invite us to imagine precisely those extremes of failure, suffering and desolation. There is an unresolved tension in Dostoevsky's novels- a tension between believing and not believing in the existence of God. In The Brothers Karamazov, we can all receive Ivan with a terrible kind of delight. Ivan's picture of himself we immediately recognise as self-portrait. The god that is dead for him is dead for us. This Karamazov God of tension and terror is often the only one we are able to find. This extraordinary book will speak to our generation like few others.
But to counter such work, is a book of the profoundest kind about the nature and purpose of religious belief. Terrorism, child abuse, absent fathers and the fragmentation of the family, the secularisation and the sexualisation of culture, the future of liberal democracy, the clash of cultures and the nature of national identity - so many of the anxieties that we think of as being quintessentially features of the early twenty first century and on, are present in the work of Dostoevsky - in his letters, his journalism and above all in his fiction.
The world we inhabit as readers of his novels is one in which the question of what human beings owe to each other is left painfully and shockingly open and there is no place to stand from which we can construct a clear moral landscape. But the novels of Dostoevsky continually press home what else might be possible if we - characters and readers - saw the world in another light, the light provided by faith. In order to respond to such a challenge the novels invite us to imagine precisely those extremes of failure, suffering and desolation. There is an unresolved tension in Dostoevsky's novels- a tension between believing and not believing in the existence of God. In The Brothers Karamazov, we can all receive Ivan with a terrible kind of delight. Ivan's picture of himself we immediately recognise as self-portrait. The god that is dead for him is dead for us. This Karamazov God of tension and terror is often the only one we are able to find. This extraordinary book will speak to our generation like few others.
Über den Autor
Rowan Williams is a former Archbishop of Canterbury and was until 2020 Master of Magdalene College at the University of Cambridge. He is the author of many books, including Looking East in Winter, Holy Living, and The Edge of Words, published by Bloomsbury Continuum. He lives in Cardiff and continues to broadcast, preach and lecture internationally. In 2022, he gave the second of the BBC's centenary Reith Lectures.
Zusammenfassung
The hardback was widely and positively reviewed in the press.
Inhaltsverzeichnis
Preface
Introduction
1. Christ Against the Truth
2. Devils
3. The Last Word? Dialogue and Recognition
4. Exchanging Crosses
5. Sacrilege and Revelation:Thje Broken Image
Conclusion
Bibliography
Details
Erscheinungsjahr: | 2009 |
---|---|
Genre: | Gattungen & Methoden, Importe |
Rubrik: | Literaturwissenschaft |
Medium: | Taschenbuch |
Inhalt: | Kartoniert / Broschiert |
ISBN-13: | 9781441183880 |
ISBN-10: | 1441183884 |
Sprache: | Englisch |
Einband: | Kartoniert / Broschiert |
Autor: | Williams, Rowan (Magdalene College |
Hersteller: | Continuum Publishing Corporation |
Verantwortliche Person für die EU: | Libri GmbH, Europaallee 1, D-36244 Bad Hersfeld, gpsr@libri.de |
Maße: | 215 x 138 x 33 mm |
Von/Mit: | Rowan (Magdalene College Williams |
Erscheinungsdatum: | 01.10.2009 |
Gewicht: | 0,403 kg |
Über den Autor
Rowan Williams is a former Archbishop of Canterbury and was until 2020 Master of Magdalene College at the University of Cambridge. He is the author of many books, including Looking East in Winter, Holy Living, and The Edge of Words, published by Bloomsbury Continuum. He lives in Cardiff and continues to broadcast, preach and lecture internationally. In 2022, he gave the second of the BBC's centenary Reith Lectures.
Zusammenfassung
The hardback was widely and positively reviewed in the press.
Inhaltsverzeichnis
Preface
Introduction
1. Christ Against the Truth
2. Devils
3. The Last Word? Dialogue and Recognition
4. Exchanging Crosses
5. Sacrilege and Revelation:Thje Broken Image
Conclusion
Bibliography
Details
Erscheinungsjahr: | 2009 |
---|---|
Genre: | Gattungen & Methoden, Importe |
Rubrik: | Literaturwissenschaft |
Medium: | Taschenbuch |
Inhalt: | Kartoniert / Broschiert |
ISBN-13: | 9781441183880 |
ISBN-10: | 1441183884 |
Sprache: | Englisch |
Einband: | Kartoniert / Broschiert |
Autor: | Williams, Rowan (Magdalene College |
Hersteller: | Continuum Publishing Corporation |
Verantwortliche Person für die EU: | Libri GmbH, Europaallee 1, D-36244 Bad Hersfeld, gpsr@libri.de |
Maße: | 215 x 138 x 33 mm |
Von/Mit: | Rowan (Magdalene College Williams |
Erscheinungsdatum: | 01.10.2009 |
Gewicht: | 0,403 kg |
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