By Thomas Gaiton Marullo
In Heroine Abuse, Thomas Marullo contends that Netochka Nezvanova additionally offers a remarkable instance of what psychologists this day name codependency: the ways—often deviant and destructive—in which people bond with humans, locations, and issues, in addition to with photos and ideas, to deal with the vicissitudes of lifestyles. Marullo indicates how, at age twenty-eight, Dostoevsky intuited and illustrated the workings of “relationship habit” nearly a century and a part sooner than it grew to become the scholarly concentration of practitioners of psychological health.
The ethical monsters, “infernal” ladies, children-adults, and adult-children who populate Netochka Nezvanova search codependence in humans, locations, and issues, and in photographs, rules, and beliefs to satiate cravings for romance, dominance, and keep an eye on, in addition to to take pleasure in narcissism, sexual perversion, and different aberrant or replacement behaviors. (Indeed, in no different paintings may Dostoevsky learn such phenomena as pedophilia and lesbianism with such abandon.) Racing from tie to tie, bond to bond, and stuck in a debilitating loop that they declare to loathe, yet sadomasochistically get pleasure from, the characters in Netochka Nezvanova wreak havoc on themselves and the area. They achieve this, additionally, with impunity, their addictions relocating them from temporary exultation as self-styled striking women and men, via lengthy darkness and melancholy, and once more, to outdated and new addictions for actual and emotional unlock.
Readers of Heroine Abuse will see Netochka Nezvanova as a undying version in depicting codependency on the earth of the twenty-first century because it did in St. Petersburg in 1849. Marullo’s unique paintings will attract students and scholars of Russian and comparative fiction; to medical professionals, psychologists, and therapists; to laymen and ladies drawn to dating habit; and, eventually, to codependents and dating addicts of all types.
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