"Dostoevskeyan" meaning in All languages combined

{
  "forms": [
    {
      "form": "more Dostoevskeyan",
      "tags": [
        "comparative"
      ]
    },
    {
      "form": "most Dostoevskeyan",
      "tags": [
        "superlative"
      ]
    }
  ],
  "head_templates": [
    {
      "args": {},
      "expansion": "Dostoevskeyan (comparative more Dostoevskeyan, superlative most Dostoevskeyan)",
      "name": "en-adj"
    }
  ],
  "lang": "English",
  "lang_code": "en",
  "pos": "adj",
  "senses": [
    {
      "alt_of": [
        {
          "word": "Dostoyevskian"
        }
      ],
      "categories": [
        {
          "kind": "other",
          "name": "English entries with incorrect language header",
          "parents": [
            "Entries with incorrect language header",
            "Entry maintenance"
          ],
          "source": "w"
        }
      ],
      "examples": [
        {
          "ref": "1972, Modern Occasions, volume 2, page 8",
          "text": "The later version of Dostoevskeyan man, unlike the earlier homme absurde projected in the Notes, is no longer the obdurate individualist demanding free choice at whatever cost.",
          "type": "quotation"
        },
        {
          "ref": "1985, The London Magazine, page 76",
          "text": "Nevertheless in each year from 1923 to 1937 an O’Flaherty book appeared. The novels can be grouped into three kinds – those where Aran, as Nara or Inverara, provides the context; those that read as thrillers in a Dublin setting with Dostoevskeyan overtones, and those that were set at the watersheds of Irish history.",
          "type": "quotation"
        },
        {
          "ref": "2009, Michael Bell, “19. D. H. Lawrence”, in Adrian Poole, editor, The Cambridge Companion to English Novelists, Cambridge University Press, page 321",
          "text": "Whereas the generational sweep and impersonality of The Rainbow are Tolstoyan, Women in Love is highly Dostoevskeyan in the destructive self-consciousness and extreme behaviour of its characters.",
          "type": "quotation"
        }
      ],
      "glosses": [
        "Alternative form of Dostoyevskian"
      ],
      "id": "en-Dostoevskeyan-en-adj-lTL-a0I8",
      "links": [
        [
          "Dostoyevskian",
          "Dostoyevskian#English"
        ]
      ],
      "tags": [
        "alt-of",
        "alternative"
      ]
    }
  ],
  "word": "Dostoevskeyan"
}

{
  "forms": [
    {
      "form": "more Dostoevskeyan",
      "tags": [
        "comparative"
      ]
    },
    {
      "form": "most Dostoevskeyan",
      "tags": [
        "superlative"
      ]
    }
  ],
  "head_templates": [
    {
      "args": {},
      "expansion": "Dostoevskeyan (comparative more Dostoevskeyan, superlative most Dostoevskeyan)",
      "name": "en-adj"
    }
  ],
  "lang": "English",
  "lang_code": "en",
  "pos": "adj",
  "senses": [
    {
      "alt_of": [
        {
          "word": "Dostoyevskian"
        }
      ],
      "categories": [
        "English adjectives",
        "English entries with incorrect language header",
        "English lemmas",
        "English terms with quotations"
      ],
      "examples": [
        {
          "ref": "1972, Modern Occasions, volume 2, page 8",
          "text": "The later version of Dostoevskeyan man, unlike the earlier homme absurde projected in the Notes, is no longer the obdurate individualist demanding free choice at whatever cost.",
          "type": "quotation"
        },
        {
          "ref": "1985, The London Magazine, page 76",
          "text": "Nevertheless in each year from 1923 to 1937 an O’Flaherty book appeared. The novels can be grouped into three kinds – those where Aran, as Nara or Inverara, provides the context; those that read as thrillers in a Dublin setting with Dostoevskeyan overtones, and those that were set at the watersheds of Irish history.",
          "type": "quotation"
        },
        {
          "ref": "2009, Michael Bell, “19. D. H. Lawrence”, in Adrian Poole, editor, The Cambridge Companion to English Novelists, Cambridge University Press, page 321",
          "text": "Whereas the generational sweep and impersonality of The Rainbow are Tolstoyan, Women in Love is highly Dostoevskeyan in the destructive self-consciousness and extreme behaviour of its characters.",
          "type": "quotation"
        }
      ],
      "glosses": [
        "Alternative form of Dostoyevskian"
      ],
      "links": [
        [
          "Dostoyevskian",
          "Dostoyevskian#English"
        ]
      ],
      "tags": [
        "alt-of",
        "alternative"
      ]
    }
  ],
  "word": "Dostoevskeyan"
}