Author of Crime and Punishment, Feodor Dostoevsky, uses the text to subtly exhibit factors which aid in disproving the idea of scientific materialism. He aims to prove that there must be another explanation for our complexities, unlike the opposing one in which everything is believed to be made or conducted by matter. Regardless of extensive scientific experimentation, there are still many aspects of the human mind and body that remain unclear. Crime and Punishment relays some extreme qualities possessed by humans which are argued by many to be valid proof of our creation by a higher power. The fact that humans are emotional beings and that emotions are not classified as matter creates the opportunity for philosophical debate. Dostoevsky feeds on this uncertainty and assists in the argument of refuting scientific materialism by providing examples of human emotions such as shame, pity, compassion, love, and guilt. He also attempts to refute scientific materialism by suggesting the existence of a human conscience, free will, self sacrifice, and pure evil.
Crime and Punishment revolves around main character, Rodion Romanovich Raskolnikov, and the physical, mental, and spiritual repercussions he endures after he commits murder. In other words, “the whole novel is built around the unique process of disintegration in the hero's soul” (Bem 2). When we first meet Raskolnikov, we learn he is a relatively young ex-student who has fallen into the poverty stricken slums of St. Petersburg, Russia. He has become unhealthily anti-social and bitter towards humanity and is now trapped within and tortured by his own thoughts. It is revealed that he is struggling internally with the idea of murdering a pawnbroker, Alena Ivanovna, with...
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"Crime and Punishment." Nineteenth-Century Literature Criticism. Ed. Jessica Bomarito and Russel Whitaker. Vol. 167. Detroit: Gale, 2006. Literature Resource Center. Web. 11 Apr. 2012.
Dostoevsky, Feodor. Crime and Punishment. Ed. George Gibian. Trans. Coulson. 3rd ed. New York: W.W. Norton & Company, Inc., 1989. Print.
Leatherbarrow, William J. "Chapter 4: The Principle of Uncertainty: Crime and Punishment." Fedor Dostoevsky. William J. Leatherbarrow. Boston: Twayne Publishers, 1981. Twayne's World Authors Series 636. The Twayne Authors Series. Web. 14 Apr. 2012.
Santangelo, Gennaro. "The Five Motives of Raskolnikov." Dalhousie Review 54.4 (Winter 1974): 710-719. Rpt. in Nineteenth-Century Literature Criticism. Ed. Jessica Bomarito and Russel Whitaker. Vol. 167. Detroit: Gale, 2006. Literature Resource Center. Web. 14 Apr. 2012.
He first puts forth the two mainstream arguments against capital punishment and then organizedly refutes each standpoint with credible explanations. By illustrating there are “many other jobs that are unpleasant”, he easily indicates the flaw and weakness of first argument asserted by the opposite side without much refutation and statistical evidence. In addition, in order to disprove the second argument, he proposes that death penalty is not established to deter other potential criminals but to relieve. He employs great length of humor, logos and ethos to introduce and exemplify this new concept of “katharsis” which is defined as a health and positive way to “let off steam”. Thus, the act of punishing the murders can be interpreted as “justice is served” in this case instead of “cold-blood killing” and the audiences get the feeling of satisfaction because it is a part of their human nature. In the later discussion, he also mentions that it is extremely cruel and immoral that people are put in the death house just for simply torture. By having both side perspectives, the readers are more convinced and become more acceptable to Mencken’s ideas.
In the novel, Crime and Punishment, the principle character, Raskolnikov, has unknowingly published a collection of his thoughts on crime and punishment via an article entitled "On Crime." Porfiry, who is trying to link Raskolnikov to a murder, has uncovered this article, read it, and tells Raskolnikov that he is very interested in learning about his ideas. Porfiry brings Raskolnikov into this conversation primarily to find out more about Raskolnikov's possible involvement in the crime. Raskolnikov decides to take him up on the challenge of discussing his theory, and embarks into a large discussion of his philosophy of man.
1. There are a couple of differences and similarities between the classical and biological theories of criminology. The biological theories of crime support the idea that an individual commits a crime due to their biological make-up and had criminal tendencies because of certain abnormalities that an individual may have had and not because the offender in their right mind chose to commit the crime. The classical theory has the belief that every individual has their own right in the way in which they act upon, so they commit a crime because they choose to do so, not because it is in their biological make-up.
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.
In Crime and Punishment, Dostoevsky gives the reader an inside look to the value system that he holds for himself, as well as the type of characteristics that he abhors in people as well as the characteristics that he admires in people. He uses characters in the novel to express his beliefs of what a person should be like in life to be a “good'; person. Specifically he uses Raskolnokv to show both good and bad characteristics that he likes in people. Also he uses Svidriglaiov and Luzin to demonstrate the characteristics that people should shun and his personal dislikes in people.
Human nature is a conglomerate perception which is the dominant liable expressed in the short story of “A Tell-Tale Heart”. Directly related, Edgar Allan Poe displays the ramifications of guilt and how it can consume oneself, as well as disclosing the nature of human defense mechanisms, all the while continuing on with displaying the labyrinth of passion and fears of humans which make a blind appearance throughout the story. A guilty conscience of one’s self is a pertinent facet of human nature that Edgar Allan Poe continually stresses throughout the story. The emotion that causes a person to choose right from wrong, good over bad is guilt, which consequently is one of the most ethically moral and methodically powerful emotion known to human nature. Throughout the story, Edgar Allan Poe displays the narrator to be rather complacent and pompous, however, the narrator establishes what one could define as apprehension and remorse after committing murder of an innocent man. It is to believe that the narrator will never confess but as his heightened senses blur the lines between real and ...
From the very first page of Crime and Punishment, there is an air of isolation. The novel opens with Raskolnikov leaving his apartment. While on his way out, he is hoping to not meet his landlady, who may demand payment for his long overdue rent. From here, it becomes evident early on that Raskolnikov does not truly wish to be in the company of others. He isolates himself from society.
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.
would reject even the notion of deliberating about the act of murder in such a
Mary Shelley expresses various ethical issues by creating a mythical monster called Frankenstein. There is some controversy on how Mary Shelley defines human nature in the novel, there are many features of the way humans react in situations. Shelley uses a relationship between morality and science, she brings the two subjects together when writing Frankenstein, and she shows the amount of controversy with the advancement of science. There are said to be some limits to the scientific inquiry that could have restrained the quantity of scientific implications that Mary Shelley was able to make, along with the types of scientific restraints. Mary Shelley wrote this classic novel in such a way that it depicted some amounts foreshadowing of the world today. This paper will concentrate on the definition of human nature, the controversy of morality and science, the limits to scientific inquiry and how this novel ties in with today’s world.
With the typical mystery novel falling between the common outline of victims and an unknown criminal that is painted in a dull and consistent palette of predictability, every single character in this storyline is a criminal but also a victim of their own guilt. Rather than exploring the mere surface of leveled justice, a deeper meaning of the concept is reached as death is doled out in an order of increasing guilt; those who are less guilty die towards the beginning of the purge to evade the anxiety and panic that haunts one as they continue their trek and witness their fate. Evading the governmental justice system before, the characters are emotionally tortured as they succumb to their thoughts and mortality, but because humans are innately imperfect, the justice system is also flawed.
Within the tortured mind of a young Russian university student, an epic battle rages between two opposite ideologies - the conservative Christianity characteristic of the time, and a new modernist humanism gaining prevalence in academia. Fyodor Dostoevsky in the novel Crime and Punishment uses this conflict to illustrate why the coldly rational thought that is the ideal of humanism represses our essential emotions and robs us of all that is human. He uses the changes in Raskolnikov's mental state to provide a human example of modernism's effect on man, placing emphasis upon the student's quest for forgiveness and the effect of repressed emotion.
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.
Dostoyevsky, Fyodor, Jessie Senior Coulson, and Richard Arthur. Peace. Crime and Punishment. Oxford: Oxford UP, 1998. Print.
Punishing the unlawful, undesirable and deviant members of society is an aspect of criminal justice that has experienced a variety of transformations throughout history. Although the concept of retribution has remained a constant (the idea that the law breaker must somehow pay his/her debt to society), the methods used to enforce and achieve that retribution has changed a great deal. The growth and development of society, along with an underlying, perpetual fear of crime, are heavily linked to the use of vastly different forms of punishment that have ranged from public executions, forced labor, penal welfare and popular punitivism over the course of only a few hundred years. Crime constructs us as a society whilst society, simultaneously determines what is criminal. Since society is always changing, how we see crime and criminal behavior is changing, thus the way in which we punish those criminal behaviors changes.