Titlebook: A Love for Nothingness, A Love for Death; The Metaphysics of D Alberto Castelli Book 2024 The Editor(s) (if applicable) and The Author(s),

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Einschränkung des Formenwahlermessensathological man of compassionate nature. However, it is possible that Dostoevsky himself did not completely grasp the ethical dilemma inherent in the narration. Rather than considering the climactic final as expression of moral or neurotic failure, we shall consider Rogozhin’s and Myshkin’s viewpoin

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https://doi.org/10.1007/978-3-540-34473-5tal state that induced their death helps to engage the protagonists no more as victims of society, martyrs of fate, or wicked characters, but pathological human beings. Their psychological duality brings not an affirmation of identity but a breakdown of identity, hence turning the reader’s judgment

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Grundbegriffe der Handlungsformen der EUeeds to summon his courage for a sort of proposal, while the Underground Man needs Liza’s love in order to escape the underground. If we consider the texts in their poignant call for authentic communication between individuals, then Prufrock and the Underground Man become the archetype of those of u

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https://doi.org/10.1007/978-3-540-34473-5the bleak backdrop of Czechoslovakia occupied by Soviet tanks, the tragic love story, melancholic and violent at times, between Tomas and Tereza, invokes questions of philosophical nature. The text that opens with a reflection on Nietzsche’s doctrine of the eternal return, is a journey into fundamen

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https://doi.org/10.1007/978-3-540-34473-5Duras’ . and Isabel Allende’s . exert upon their readers. While both texts concern a knotty tangle of characters searching for love in the wreckage of the 20th Century, central to the narrative is the enigma of the absence. Love is a muted passion, a dialectical interplay between presence and absenc