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The Double por Fyodor Dostoevsky
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The Double (original 1846; edição 2006)

por Fyodor Dostoevsky

MembrosCríticasPopularidadeAvaliação médiaMenções
1,3392210,575 (3.68)58
Simon is a timid man, scratching out an isolated existence in an indifferent world. He is overlooked at work, scorned by his mother, and ignored by the woman of his dreams. He feels powerless to change any of these things. The arrival of a new co-worker, James, serves to upset the balance. James is both Simon's exact physical double and his opposite: confident, charismatic and good with women. To Simon's horror, James slowly starts taking over his life.… (mais)
Membro:philstratz
Título:The Double
Autores:Fyodor Dostoevsky
Informação:Waking Lion Press (2006), Paperback, 174 pages
Colecções:A sua biblioteca
Avaliação:
Etiquetas:Nenhum(a)

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The Double por Fyodor Dostoevsky (1846)

Adicionado recentemente porejmw, goobertellii, Abreta, Mati97, airplane, mortalfool, Jwagen, zoooom, Watchlist, CVaughn731
Bibliotecas LegadasKaren Blixen
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» Ver também 58 menções

Inglês (18)  Francês (2)  Holandês (1)  Espanhol (1)  Todas as línguas (22)
Mostrando 1-5 de 22 (seguinte | mostrar todos)
Öteki'yi okudum. Dostoyevski'nin ilk dönem eserlerini pek beğenmiyorum ama Öteki'yi çok beğendim.

Bu kitapta Dostoyevski, Golyadkin karakterinin psikolojisini çok iyi aktarsa da kitap roman tekniği konusunda biraz zayıf kalmış. Bu yüzden kitabın ilk yarısı sıkıcı olmuş, ancak 90. sayfadan sonra kitap açılıyor. Ayrıca kitapta gözle görülür bir şekilde Gogol esintileri vardı, Dostoyevski bu kitabı yazdığı sıralarda henüz kendi üslubunu geliştirmemiş sanki.

Kitabın konusunu spoiler vermeden anlatmak oldukça güç, bu yüzden psikolojik sorunları olan karakterleri sevenlerin sevebileceği bir kitap olduğunu söylemekle yetineceğim. ( )
  Tobizume | Jun 9, 2020 |
It was compelling, but I'm not sure I understand what actually happened at the end... ( )
  tronella | Jun 22, 2019 |
An amazing story about obsession and paranoia. It is a psychological miasma that also reflects heavily upon Russia during the time that Dostoevsky lived in. There is so much great literary value in this. It can be interpreted many different ways, and the subtext of many of the themes that keep reiterating themselves, as if cast down by snow, are innumerable.

A thrilling read. Recommended for those interested in classics. ( )
  DanielSTJ | May 5, 2019 |
(Original Review, 1981-03-23)

About how to interpret or read a text. And I am going to use 'he' as my generic pronoun because Hammett was a he.

One perfectly valid way is indeed to try to stick as closely as possible to exactly what is in the text and maybe some biographic info, at least a rough knowledge of the time and space of the action, and whatever is known of the author's intentions. In some measure we MUST do tha

For the writers intentions there is a theory of the intentional fallacy: the text says what it says not what the author says it says. For example an author may think he is writing a strong female character when writing about Stella, stunningly beautiful, highly competent executive assistant to self-made billionaire Brad. In fact Stella is a male fantasy. Even the best writers can 'mean' the unintended. For example in Milton's Paradise Lost, Milton unintentionally made Satan into quite a compelling, sublimely majestic figure who made God look like a mean spirited despot. And indeed Milton's Satan evolved into a positive, if flawed, hero type, although subsequent writers were often more comfortable with the figure of Prometheus whose story in Aeschylus' Prometheus Unbound is less tainted by associations with the negativity of Satan's Christian Antichrist image.

Writers have lived biographies, lived through their specific times. Just like non-writers. But writers ARE writers. Literature is a vast and mighty river of the expression of being human. No writer of any worth, however innovative or creative, just creates a brand new world of Literature. What a writer reads is to a writer very similar in concept to the very times he lives through. He is living through the Literature he has read just as he has lived through the times. Of course real life may be more powerfully impressed on him such as the death of a loved one, or fighting in a war. But his reading is an important part of his life experience of his very being in the world.

So if Hammet created a character which reminds one of a series of other characters going back centuries it is perfectly legitimate to discuss it in terms of Literature just as it would be to discuss the political environment of the times. Literature is fundamentally intertextual. Texts refer as much to each other as to the world. Positively and negatively. Literature is the very psychic life blood of a writer. It is an indelible inextricable part of his biography.

Hammett I take to have a brilliant literary mind and to be well read in Literature. I take him to be able to know what a Byronic Hero is, what others thought about that, to have his own thoughts about it, as well as lots of other things (like about detective stories), of course. And I take him to have an idea of what a parable is and how it differs from a story, or what an archetype or double is. Take the 'double': all he has to do is READ Poe's William Wilson, or Dostoevsky’s “The Double” to get what it is as Literature. Or to read Hamlet to know how a “mise en abyme” works. He knows these things and uses them WITH THE MIND OF A BRILLIANT WRITER. A mind that processes literature not as a critic or simple reader, but as a creator of it.

So if he fails to say IN the text, "Sam Spade, flawed Byronic Hero, was sitting in his office", that does not mean that Sam Spade is not a Byronic Hero type. If he creates a parable or “mise en abyme” he need not tell us that is what he is doing, nor is it particularly virtuous of us to ignore it because it isn't explicit, to ignore that he is a writer and that is the kind of thing writers do.

Is Sam Spade such a figure? Maybe, maybe not. But we can look at his character and compare it to others in Literature. But just because DH doesn't say so, doesn't mean we are reading into it what is not there. Yes it is implicit, but that is about the only way it could be there. Byron too did not say: "Manfred, a Promethean archetype, was brooding on a dark and lonely crag." You have to read it INTO the text yourself. Maybe I am wrong to think DH could have written deeply conflicting archetypal characters like Brigid and Sam who are yet deeply attracted. But I think it is both possible and likely. But it is ONLY interpretation. He didn't SAY, "Into the office strolled Sam's counter archetype, Brigid".

It can sound like a stretch but great literature does that all the time. What you have to do is see if there are clues in the text. Because DH DID say Sam looked like a Satan. He did create a strange and powerful emotional entanglement between Brigid and Sam and she is a corrupt devil type (Christian) and he a Satanic man of his own will (Miltonian). And so on. Did he? Maybe it isn't as impressive as I think it is, but that IS the kind of things great writers do, so why not Hammett? But I think the Sam Brigid 'love' story is sublimely brilliantly conceived and written, BECAUSE of that. Does it HAVE to just be an extremely well written noir detective novel? Not for me.

At this time, you’re thinking: “Is this a review about The Double” or about “The Maltese Falcon” or "Paradise Lost"? Ah. That’s always the conundrum… If you’ve been following my reviews, you know I don’t write straightforward stuff. It’s all about Intertextuality and Close Reading for me. Coming back to “The Double” and trying to be more incisive, I really loved it, especially from the point where the doppelganger actually arrives and in the rather brilliant ending. I think that it has a problem though, which is that it's not at all what you might think before you go in, so people might go in thinking it's going to be a straightforward laugh-out-loud comedy and it really isn't and is very unsettling and complex. I would have given it 4 stars, but slightly better than “Under the Skin” for me (controversial) (I was worried at first that it was going to be a bit too "Brazil", but it just nodded and then moved on.) ( )
  antao | Dec 8, 2018 |
fantastic; only book I ever got to the last chapter; then read the whole thing through again before reading the last chapter. ( )
  margaretfield | May 29, 2018 |
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» Adicionar outros autores (97 possíveis)

Nome do autorPapelTipo de autorObra?Estado
Dostoevsky, Fyodorautor principaltodas as ediçõesconfirmado
Aplin, HughTradutorautor secundárioalgumas ediçõesconfirmado
Hagemann, MichaelDesigner da capaautor secundárioalgumas ediçõesconfirmado
Harden, EvelynTradutorautor secundárioalgumas ediçõesconfirmado
Harden, Evelyn J.Tradutorautor secundárioalgumas ediçõesconfirmado
Peet, D.P.Tradutorautor secundárioalgumas ediçõesconfirmado
Röhl, HermannTradutorautor secundárioalgumas ediçõesconfirmado
Waage, Peter NormannTradutorautor secundárioalgumas ediçõesconfirmado
Wilks, RonaldTradutorautor secundárioalgumas ediçõesconfirmado
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Simon is a timid man, scratching out an isolated existence in an indifferent world. He is overlooked at work, scorned by his mother, and ignored by the woman of his dreams. He feels powerless to change any of these things. The arrival of a new co-worker, James, serves to upset the balance. James is both Simon's exact physical double and his opposite: confident, charismatic and good with women. To Simon's horror, James slowly starts taking over his life.

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