This is a new interpretation of Dostoevsky’s novel The Brothers Karamazov that scrutinizes it as a performative event (the “polyphony” of the novel) revealing its religious, philosophical, and social meanings through the interplay of mentalités or worldviews that constitute an aesthetic whole. This way of discerning the novel’s social vision of sobornost’ (a unity between harmony and freedom), its vision of hope, and its more subtle sacramental presuppositions, raises Tilley’s interpretation beyond the standard “theology and literature” treatments of the novel and interpretations that treat the novel as providing solutions to philosophical problems. Tilley develops Bakhtin’s thoughtful analysis of the polyphony of the novel using communication theory and readers/hearer response criticism, and by using Bakhtin's operatic image of polyphony to show the error of taking "faith vs. reason", argues that at the end of the novel, the characters learned to carry on, in a quiet shared commitment to memory and hope.

Bonhoeffer's writings include a significant amount of biblical interpretation, but his potential contributions in the fields of biblical studies and theological exegesis of Scripture have not been sufficiently explored. This study reassesses some of his key exegetical writings in light of his theology of revelation and bibliology, unfolding the ways in which his reading of the Bible is determined by his theology of Scripture. Through this analysis, Joel Banman demonstrates that the uniting factor of Bonhoeffer's biblical interpretation is not methodological but bibliological: he reads Scripture as the living word of the present Christ.