Tr. The Coulson. W-W-Norton & Company. New York-London, 1989. Dostoyevsky, Fyodor.
The thoughts and feelings of Montresor lead the reader to conclude that he is not successful at revenge. Montresor says in telling his story, "You, who so well know the nature of my soul, will not suppose, however that I gave utterance to a threat" (153). By communicating in this way, the question arises of who Montresor is actually speaking to, and why he is telling this story fifty years later. One can only conclude that it is for one of two reasons: he is either bragging or finally giving confession. As he tells the story, it becomes obvious that he has not yet filled his need to win, and now a half of a century later, is still struggling with his conscience.
Robert Kimbrough. New York: Norton Critical 1988. Tessitore, John. "Freud, Conrad, and Heart of Darkness." Modern Critical Interpretations."
Trans. Jessie Coulson. Ed. George Gibian. New York: W.W. Norton & Company, Inc., 1989.
Works Cited and Consulted: Bloom, Harold. Modern Critical Interpretations. New York, New York: Chelsea House Publishers, 1988. Dostoevsky, Fyodor. Crime and Punishment.
He will never be free. He is a prisoner of himself. In the first part of Notes from the Underground, the Underground Man spends a vast number of pages trying to be witty and intelligent by telling us all about his constant life contradictions and his concern with the laws of free will. He is so uptight and wound about himself that not only does this make for an incredibly confusing and lackluster story; it also serves to prove that free will is something that the Underground Man spends a lot of time thinking about. First off, the Underground Man introduces himself in quite possibly the worst light ever.
Though Nietzsche was not aware of the word, much of his philosophy is a reaction to the concept of kitsch. He wanted to revitalize passion, raw sensation, in hopes that he and others could transcend kitsch and relate authentically to one another: to be masters. Yet as Nietzsche attacks kitsch he also understands its necessity. He does not seek to destroy kitsch (like Kundera); he merely wishes to place kitsch in a new context, to put it in perspective. Many years separate the worlds of Nietzsche and Kundera, but the fundamental questions of their existential struggle seems to be the same: can one oppose kitsch and succeed, or survive?
Trans. Jessie Coulson. Ed. George Gibian. New York: Norton, 1989.