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Two criminological theories
Cultural influences on personal development
Two criminological theories
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In every age we live, there is a constant struggle between finding a cure to our neurosis with the advent of urbanization and finding qualities in nature that supersede our abilities in enhancing modern man. With that kind of chaos come various forms of behaviors and actions, most of which stem to arguments of good versus evil. Dostoevsky insists that men have the choice between good and evil every moment of their lives; no matter the circumstance, they have the choice between moral and immoral. Crime and Punishment is a story of Rodion Romanovich Raskolnikov’s struggle with the ideologies of his time. The young and impoverished law student is torn between unifying and nihilistic cultures afflicting nineteenth-century tsarist Russia. Through a journey of crime, it becomes clear to Raskolnikov that his ultimate failure was caused by his transgression in murdering cold-heartedly, attempting to prove his self-worth by crossing the law. As Raskolnikov’s guilt overwhelms him and becomes unbearable, his only solace is confession to the crime. Serving his prison term in Siberia, Raskolnikov comes to the realization that reason cannot beat the human conscience.
Motive is central to any crime committed. When put on trial, a prosecutor must first prove that the accused acted in the crime, and then he/she must prove the criminal possessed a “guilty mind.” There is neither doubt nor denial that Raskolnikov murdered the old pawnbroker and her half-sister. As he was approaching the old woman’s house, Raskolnikov protested to himself, “Can it be, can it be, that I will really take an axe, that I will strike her on the head, split her skull open . . . that I will tread in the sticky warm blood, break the lock, steal and tremble; hide...
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...roit: Gale Research Company, 1984. 69. Print.
Hackett, Francis. “Crime and Punishment.” Horizons: A Book of Criticism. New York: B. W. Huebsh, 1918. 178-185. Rpt. in Nineteenth-Century Literature Criticism. Ed. Laurie Lanzen Harris and Sheila Fitzgerald. Vol. 7. Detroit: Gale Research Company, 1984. 74-75. Print.
Jones, Malcolm V. Dostoyevsky: The Novel of Discord. New York: Harper & Row Publishers, Inc., 1976. Print.
Miller, Robin Feuer. Critical Essays on Dostoevsky. Boston: G. K. Hall & Co., 1986. Print
Strakhov, N. “The Nihilists and Raskolnikov’s New Idea.” “Crime and Punishment” by Feodor Dostoevsky: A Norton Critical Edition … Essays in Criticism. New York: W. W. Norton & Company, Inc., 1975. 485-487. Rpt. in Nineteenth-Century Literature Criticism. Ed. Laurie Lanzen Harris and Sheila Fitzgerald. Vol. 7. Detroit: Gale Research Company, 1984. 69-70. Print.
Often times in literature, we are presented with quintessential characters that are all placed into the conventional categories of either good or bad. In these pieces, we are usually able to differentiate the characters and discover their true intentions from reading only a few chapters. However, in some remarkable pieces of work, authors create characters that are so realistic and so complex that we are unable to distinguish them as purely good or evil. In the novel Crime and Punishment, Fyodor Dostoevsky develops the morally ambiguous characters of Raskolnikov and Svidrigailov to provide us with an interesting read and to give us a chance to evaluate each character.
Rpt. in Twentieth-Century Literary Criticism. Ed. Linda Pavlovski. Vol.
Hansen, Bruce. “Dostoevsky’s Theodicy.” Provo, Utah: Brigham Young University, 1996. At . accessed 18 November 2001.
Light, James. "Violence, Dreams, and Dostoevsky: The Art of Nathanael West." College English 19.5 (1958): 208-213. Print.
In his book Crime and Punishment, Dostoevsky explores the paths of two men, Raskolnikov and Svidrigailov. These two men encompass many similar problems and obstacles throughout their lives. Both commit murders and are faced with the long and mentally excruciating journey of seeking redemption. They also share many characteristics of their personalities. The reason that the outcomes of their lives are so drastically different is due to the fact that they have completely different perspectives on life.
It was both this interesting plot and the philosophical nature of Dostoyevsky's writing, which initially attracted me to this book. It also features many themes and characters, as well as an effective setting. As a result, I will examine the literary techniques used in "Crime and Punishment" by Fyodor Dostoyevsky to convey the downfall and subsequent rise of the main character, Raskolnikov. I will begin by looking at how the setting formed Raskolnikov's character, and then discuss the structure and other characters of the novel. The setting plays a primary role in forming Raskolnikov's character.
In Dostoevsky's Crime and Punishment, Raskalnikov undergoes a period of extreme psychological upheaval. By comparing this death and rebirth of Raskalnikov's psyche to the story of the resurrection of Lazarus, Dostoevsky emphasizes not only the gravity of his crimes, but also the importance of acceptance of guilt.
Social Contradictions in Fyodor Dostoyevsky's Notes from the Underground. Notes from the Underground, by Fyodor Dostoyevsky, is a truly remarkable novel. Dostoyevsky's novels probe the cause of human action. They questioned conventional wisdom of what drove humans and offered insight into the inner workings and torments of the human soul. In Notes from Underground, Dostoyevsky relates the viewpoints and doings of a very peculiar man.
Moulton, Charles Wells. Moulton's Library of Literary Criticism of English and American Authors through the Beginning of the Twentieth Century: Volume 1. New York: Frederick Ungar, 1966. Print.
Fyodor Dostoevsky’s Crime and Punishment begins with Rodion Romanovich Raskolnikov living in poverty and isolation in St. Petersburg. The reader soon learns that he was, until somewhat recently, a successful student at the local university. His character at that point was not uncommon. However, the environment of the grim and individualistic city eventually encourages Raskolnikov’s undeveloped detachment and sense of superiority to its current state of desperation. This state is worsening when Raskolnikov visits an old pawnbroker to sell a watch. During the visit, the reader slowly realizes that Raskolnikov plans to murder the woman with his superiority as a justification. After the Raskolnikov commits the murder, the novel deeply explores his psychology, yet it also touches on countless other topics including nihilism, the idea of a “superman,” and the value of human life. In this way, the greatness of Crime and Punishment comes not just from its examination of the main topic of the psychology of isolation and murder, but the variety topics which naturally arise in the discussion.
George Gibian. New York: Norton, 1989. Frank, Joseph. The. Dostoevsky: The Miraculous Years, 1865-1871.
In his novel Crime and Punishment Fyodor Dostoevsky uses Raskolnikov as a vessel for several different philosophies that were particularly prominent at the time in order to obliquely express his opinions concerning those schools of thought. Raskolnikov begins his journey in Crime and Punishment with a nihilistic worldview and eventually transitions to a more optimistic one strongly resembling Christian existentialism, the philosophy Dostoevsky preferred, although it could be argued that it is not a complete conversion. Nonetheless, by the end of his journey Raskolnikov has undergone a fundamental shift in character. This transformation is due in large part to the influence other characters have on him, particularly Sonia. Raskolnikov’s relationship with Sonia plays a significant role in furthering his character development and shaping the philosophical themes of the novel.
Works Cited “American Literature 1865-1914.” Baym 1271. Baym, Nina et al. Ed. The Norton Anthology of American Literature.
In Dostoyevsky's Crime and Punishment, Raskolnikov's initial crime, failure, and acceptance of mistakes are his road to overcoming his ego, as well as self discovery.
While confronting Dostoevsky’s Notes from Underground seems a difficult task initially, one must be able to transcend the elaborate diction and parodies, and comprehend the author himself, while also taking root the message Dostoevsky had originally intended in the time it was addressed. Understanding the author himself, along with the period in which the work was written, augments one’s overall discernment of the passage. In the age he wrote, Dostoevsky must have seemed eccentric and outlandish; nevertheless, looking back on him from today with a literary understanding of modernism, he appears ahead of his time. His central premise, although difficult to determine amongst the satire, is humanity’s necessity for freedom and religion, specifically Christianity.