“In literature the double is a result of the author's conscious or unconscious desire for a wider range of action, possibilities of behavior for his hero that go beyond the morally acceptable, and this wish will create itself in the form of a double, or anti-hero” writes Joyce Carol Oates in her piece “Tragic and Comic Visions in The Brothers Karamazov.” Just as Oates suggests that doubles are created in order for an author to extend a character's range of believable actions, doubles exist to bring about change in their original forms. Citing Mikhail Bakhtin's criticism of Dostoyevsky's creation technique, I intend to align the author's intentions with the intentions of his characters, and explain that due to the author's need for a wider range of motion within a character, the character themselves creates a double. Through an understanding of this, one can view my theory through a psychological viewpoint of the original, non-duplicated, character. I also aim to present the idea of the double as an authorial tool. The latter viewpoint intends to examine doubles through in purely literal light.
A psychological viewpoint is appropriate to my research paper for the fact that each of the prime instances of doubling I aim to discuss occur unconsciously. The intentions of the originals, in my case Jack from Fight Club and Ivan from The Brothers Karamazov, that lead to the creation of their doubles lie deep within their psyches and are unacknowledged by the character. I aim to explain what occurs inside the depths of a character's mind leading up to the situation in which a double is inadvertently created. In relation to my novel and character selection I intend to discuss dissociative fugue (a result of dissociative identity ...
... middle of paper ...
... Identity Disorder (Multiple Personality Disorder)." WebMD. 20 Apr. 2009
Fitz-Randolph, Megge. "What Is Projection in Jungian Psychology?" Suite101. 20 Apr. 2009
Julie, Rivkin, comp. Literary Theory: A Compilation. Wiley-Blackwell, 2004.
Oates, Joyce C. "Tragic and Comic Visions in The Brothers Karamazov." 20 Apr. 2009
Shepperd, Simon. "Basic Human Psychology 1: Neurosis, Projection and Freudian Projection." The Heretical Press Directory. 20 Apr. 2009
Wellek, Rene. "Bakhtin's Views of Dostoyevsky: 'Polyphony and Carnivalesque.'” 20 Apr. 2009
Dostoyevsky's writing in this book is such that the characters and setting around the main subject, Raskolnikov, are used with powerful consequences. The setting is both symbolic and has a power that affects all whom reside there, most notably Raskolnikov. An effective Structure is also used to show changes to the plot's direction and Raskolnikov's character. To add to this, the author's word choice and imagery are often extremely descriptive, and enhance the impact at every stage of Raskolnikov's changing fortunes and character. All of these features aid in the portrayal of Raskolnikov's downfall and subsequent rise.
Stone, D. (2011, May 8). Psychological Musings: Historical Perspectives of Abnormal Psychology. Retrieved April 23, 2014, from http://psychological-musings.blogspot.com/2011/05/historical-perspectives-of-abnormal.html
Freud studied and wrote several theories on neurosis and the use of psycho-analysis as a form of therapy. Freud said that there were several forms in which neurosis appears, including repression, regression, and fixation. Freud felt that in order "to effect a cure, he must facilitate the patient himself to become conscious of unresolved conflicts buried in the deep recesses of the unconscious mind, and to confront and engage with them directly" (Thornton).
Hergenhahn, B. R. (2009). An introduction to the history of psychology (6th ed., p. 224,
Contemporary Psychology, 36, 575-577. Freud, S. (1961). The Species of the World. The Complete Works of Sigmund Freud. London: The Hogarths.
Myers, David G. Psychological Disorders. Exploring Psychology in Modules. New York, NY: Worth. N.pag. Print
Freud, S. (1957b). Some character types met with in psychoanalytic work. In J. Strachey (Ed. & Trans.), The standard edition of the complete psychological works of Sigmund Freud (Vol. 14, pp. 309–333). London: Hogarth Press. (Original work published 1916)
From an American Psychologist. Vol. 19, pp. 848-852, 1964.
Freud, Sigmund. New Introductory Lectures on Psycho-Analysis. Ed. James Strachey. Trans. James Strachey. Standard. Vol. 22. London: Hogarth Press, 1964.
Dual-Self Characters in Dr. Jekyll and Mr. Hyde and A Study in Scarlet and Sign of Four
The use of doubles is prevalent in the writing of Fyodor Dostoyevsky. He uses this device to force comparison and discernment between characters and modes of behavior. In Crime and Punishment, the character Svidrigaylov serves as a dark double to Raskolnikov. While both are tainted by the sin of their crimes, the latter finds redemption, while the former find only despair and suicide. This pair of criminals closely parallels another famous set of doubles: the apostles Peter and Judas. Although each member of these two pairs commits the same crime as his double, only one finds redemption. Dostoyevsky's text and the gospel accounts indicate that humility and self-effacement are the key elements of salvation.
Maher, B. A., & Maher, W. B. (1985). Psychopathology: II. From the eighteenth century to modern times. In G. A. Kimble & K. Schlesinger (Eds.), Topics in the history of psychology (Vol. 2, pp. 295-329). Hillsdale, NJ: Erlbaum.
Throughout the centuries doubles in literature create or intensify certain themes. In The Visit, doubles signify change and bring out the truth through dialogue, imagery, symbols, and characters. Characters function as doubles through dialogue, while symbols work to represent the characters. Settings enhance a character’s duality or employ them as doppelgangers. Doubles also show the irony within a work and how it makes a theme more important.
Aragno, Anna. "The Devil Within: A Psychoanalytic Perspective On Evil." Issues In Psychoanalytic Psychology 35.1 (2013): 101-123. Academic Search Complete. Web. 10 Apr. 2014.
Nevertheless, by insisting “the business of psychiatry is control and coercion, not care and cure” or that it is “human activity governed by human interest” (Szasz 18-19), Szasz neglects to add to the solution. In turn, adding more confusion to the melting pot of stigma the public eye has to sort through while searching for answers. Furthermore, without physical proof of such acts of coercion or control by any person(s) or entity, Szasz is in turn, feeding careless propaganda to the public and the media as well as other professional and medical communities. In 1951, a humanistic psychologist by the name of Carl Rodgers, organized a few propositions that would later be a foundation in most cognitive therapies for the next few generations. Rodgers argues that: