Thesis advisor: Peter Kreeft / In The Brothers Karamazov, Ivan Karamazov was convinced it is not right that there is so much suffering in the world, and was convinced nothing could make it right. As a result he was left with no choice but to reject the ticket for this world, or to be indignant toward the world, which means he was indignant toward life in it. If we listen closely to what Fyodor Dostoevksy had to say in five of his works, The Brothers Karamazov, Crime and Punishment, The Idiot, The Insulted and Injured, and Notes from the Underground, we will find a way in which we can accept the ticket, which is to say that we will find a way to love life. / Thesis (BA) — Boston College, 2004. / Submitted to: Boston College. College of Arts and Sciences. / Discipline: Philosophy. / Discipline: College Honors Program.

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In 1999, aged eighteen, I read 'The Brothers Karamazov' by Dostoevsky. I read this novel in Burundi, where I witnessed the suffering of others. The country's basic problem was civil war, which is best described in this terse note: "Rwanda, the sequel. Same story, different location. Nobody cares." The well-publicised problems in Rwanda in 1994 didn't end, they went next-door. The only thing separating the problems of those two countries was the most heavily landmined stretch of road on the planet. It was on this road, which was littered with the remains of vehicles and people, that I experienced the immediacy of 'the problem of evil'.I had hoped that the book I held in my hands on those lifetime-long hours on the road would resonate with my experience. Ivan Karamazov's accusation of the God who creates a world of atrocities seemed fuelled by an unflinching look at senseless, disteleological suffering. I had hoped that Ivan, with his face turned against God, could countenance the horror I saw. Karamazov's stance has been seen as the antithesis of theodicy, which is the attempt to reconcile faith in God with the existence of evil. This antithesis seems to overcome the distance between the experience of real suffering and the account of that suffering given by academic theodicy. Ultimately, however, that distance remains. Dostoevsky's protagonist in his railing against God connects no more with the victims in this world than a writer of theodicy does with her defence of God.

The primary goal of this paper is to investigate the phenomenon of a dream, a desire, or an idea transpiring in the thoughts of an individual, growing in importance to the individual, and finally becoming an idée fixe, or irresistible idea, which cannot be suppressed by the individual. The investigation will be concerned with the two of Dostoevsky's heroes who best exemplify the phenomenon.

In examining Dostoevsky's treatment of faith in The Brothers Karamazov, critics often focus solely on "The Grand Inquisitor." Dostoevsky, however, refutes the Inquisitor's views through the movement of the three Karamazov brothers toward faith. The three Karamazov brothers, as a collective personality, represent the fundamental needs of man and the corresponding aspects of faith, each brother being an individual study of the necessity of integrating soul, heart and mind into faith. The crises that each brother faces force each one to develop a fuller dimension of faith. The final effect of integrating the soul, heart and mind in faith is active love.

The majority of the academic discourse surrounding Dostoevsky and his epic, The Brothers Karamazov, has been directed toward the philosophic and religious implications of his characters. Largely overlooked, however, is the theme of laceration. In the greater scope of laceration stands the topic of self-laceration. Self-laceration refers to the practice of causing harm to the self in a premeditated and specifically emotionally destructive fashion. The cause of this experience is varied and expressed in as many ways as there are individuals. The struggle in the Russian psyche between viewing the world as fatalistic or as more of an existential experience finds resolution through self-laceration. By consciously choosing actions that will lead to an abject state, the characters take fate into their own hands. This thesis will explore the themes of self-laceration in a number of characters’ narratives and demonstrate that by utilizing emotional self-destruction they find a modicum of control.

Thesis "The Christological, soteriological and relevant spiritual topics in the Dostoevsky Work The Brothers Karamazov" applies to the life and literary heritage of the Russian writer Fyodor Mikhailovich Dostoevsky, especially to his master piece The Brothers Karamazov. The novel summarizes the writer's life ideas which have matured throughout life. In this work, the emphasis is primarily put on finding and describing christological and soteriological features contained in the novel demonstrating the author's inner conviction and faith in Jesus Christ. The thesis also points to some spiritual themes, which are crucial in the literary work, such as human suffering and questions of faith and human freedom. Keywords Dostoevsky, The Brothers Karamazov, christology, soteriology, spirituality, faith, freedom

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This paper explores the dialectical concept of love in Dostoyevsky's The Brothers Karamazov through Katerina and Grushenka, the heroines, and Dmitri Karamazov. Dostoyevsky's dialectic is most accurately described by the terms Eros and Agape, as defined by Denis de Rougemont in Love in the Western World. Chapter One examines the character of Katerina and establishes that although her love is ostensibly Agape, her most frequent expression of love is Eros. Chapter Two establishes that Grushenka's most frequent expression of love is Agape although ostensibly Eros. Chapter Three demonstrates how each woman personifies a pole of Dmitri Karamazov's inner conflict, and then traces his development with regard to his relationship to each woman.

This thesis examines the semiotic rules and processes of the transfer of the original novel into a theatrical script, and then into screenplay of the film, with practical examples from the novel The Karamazov Brothers by F. M. Dostojevskij, screenplay Karamazov of author Evald Schorm and the film script by Petr Zelenka. It focuses on the processes of dramatization, shows communication models and compares mainly text form of screenplays. Keywords: Semiotics of Theatre, Semiotics of film, The Brothers Karamazov, Dostojevskij, transposition, drama