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The merit and demerit of totalitarianism
Totalitarianism in itsly
Totalitarianism in itsly
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Franz Kafka’s novel “The Trial” examines a totalitarian system of justice that appears stems from human attempts to attain justice. An external, secret court exists outside of the public eye but holds the authority to carry out trials and judgements. When a startled Josef K is charged with some undisclosed act, Kafka examines the corrupt and absurd nature of the judiciary. As corruption runs through the system, it becomes normative and systemic in nature. Moreover, secrecy threatens the accused right to a fair trial, while symbols illustrate the totality of the justice system. Kafka utilizes symbolism and foreshadowing to depict a corrupt and bureaucratic judiciary. This stems from human attempts to attain justice, which develops as a theme …show more content…
Consequently, the accused must participate in these corrupt practices to afford any chance at a favourable verdict. Thus, the judiciary may serve to create a sense of justice but in actuality only creates an unjust trial for the accused. Individuals charged by the court lack the appropriate information to understand the ambiguous law Kafka portrays, perpetuating injustice toward the accused. Early in the novel, Josef K holds the opinion that, “There is nothing hanging on the verdict of this trial, and that, whatever the verdict I will just laugh at” (71). The ironic nature of the quote becomes apparent when the novel ends with Josef K’s dying at the hands of men of the court. However, this quotation also reveals the lack of understanding Josef K has for the system. Nobody at any point explained clearly what the penalties are for being found guilty or what hangs in the balance. As a result, injustice is perpetuated toward the accused as they are not given the means necessary to defend themselves from the absurdity of the court. Additionally, the justice system is …show more content…
Symbols play a role in demonstrating the lack of balance within Kafka’s system. Josef K meets with Titorelli, the painter who holds strong influence, and Titorelli remarks that, “Justice needs to remain still, otherwise the scales will move about and it won’t be possible to make a just verdict” (187). This statement refers to the symbolic scales of justice within a painting and further demonstrates the unjust nature of the court. Justice cannot be a still concept, it must evolve and take into account the specific time and space it exists within. In modern legal systems create this through the usage of mitigating factors, jury trials, and the leniency judges are afforded. However, Kafka’s system is intended to be the opposite, a man made creation of total justice that is beyond the reach of the accused. Such a court system is perverse in interpretation of the law and unjust. Moreover, symbols build on the strength of the court and the totality of power judges are afforded. In discussing another painting Josef asks, “‘That is a judge sitting on a judge’s chair isn’t it?’ ‘Yes, but that judge isn’t very high up and he’s never sat on any throne like that, he’s sitting like the president of the court’” (187). Judges within the court system depict themselves as entitled and powerful. When coupled with a lack of public oversight, the totality of
Steve Bogira, a prizewinning writer, spent a year observing Chicago's Cook County Criminal Courthouse. The author focuses on two main issues, the death penalty and innocent defendants who are getting convicted by the pressure of plea bargains, which will be the focus of this review. The book tells many different stories that are told by defendants, prosecutors, a judge, clerks, and jurors; all the people who are being affected and contributing to the miscarriage of justice in today’s courtrooms.
Throughout the ages, death penalty has always been a controversial topic and triggered numerous insightful discussion. In Kroll’s Unquiet Death of Robert Harris, the writer employs pathos as an appeal throughout the whole article in order to convince the audiences that death penalty is “something indescribably ugly” and “nakedly barbaric”. While Mencken makes use of ethos and logos and builds his arguments in a more constructive and effective way to prove that death penalty is necessary and should exist in the social system.
In the article “The Interview” and the documentary “The Central Park Five” both showed injustice and how corrupted the judicial system is in terms of the human experience. Having justice is having equality for all and being fair about it, but in the “The Interview” and “The Central Park Five” it showed the opposite of what having justice is. They proved that the judicial system can be unfair and that innocent people can be arrested for crimes they did not commit even if there are evidence proving their innocence.
Through the quotations he deploys, imagery he enacts and authoritative tone he embodies, Spies very deliberately takes control of the Courtroom showcasing that no matter the circumstances the collective will prevail. Spies recognizes that the trial is his condemnation so subsequently he seizes the opportunity to condemn the State of their fate as a result of their injustices. Through his willingness to sacrifice his own life to propel his convictions Spies not only makes a statement to the Court but further strengthens the concept of class-consciousness within the masses. Furthermore, signifying that there indeed “will be a time when our [their] silence will be more powerful than the voices you [the State]strangle today.”
Kafka’s In the Penal Colony is a story about the use of torture tools which cause death sentences into effect, within 12 hours of torment and the convicted, in the end dies. Lets regard the roots of this subject and its idea of hope....
The system of justice that Nietzsche employs although somewhat cynical has a substantial amount of merit as a form of justice, which is present in our society. This is demonstrated through the depiction of the creditor/debtor relationship that exists in our democratic societies, and the equalization process that occurs, and furthermore that Nietzsche is correct to assess justice as such a principle. The issue is most obvious in the penal system; however it is also prevalent in personal day-to-day relationships as well as political structures.
At trial, your life is in the palms of strangers who decide your fate to walk free or be sentenced and charged with a crime. Juries and judges are the main components of trials and differ at both the state and federal level. A respectable citizen selected for jury duty can determine whether the evidence presented was doubtfully valid enough to convict someone without full knowledge of the criminal justice system or the elements of a trial. In this paper, juries and their powers will be analyzed, relevant cases pertaining to jury nullification will be expanded and evaluated, the media’s part on juries discretion, and finally the instructions judges give or may not include for juries in the court.
“ ….Judgments, right or wrong. This concern with concepts such as finality, jurisdiction, and the balance of powers may sound technical, lawyerly, and highly abstract. But so is the criminal justice system….Law must provide simple answers: innocence or guilt, freedom or imprisonment, life or death.” (Baude, 21).
In closing, the criminal trial process has been able to reflect the morals and ethics of society to a great extent, despite the few limitations, which hinder its effectiveness. The moral and ethical standards have been effectively been reflected to a great extent in the areas of the adversary system, the system of appeals, legal aid and the jury
What do we know about the criminal justice system? The criminal justice system is a series of organizations that are involved in apprehending, prosecuting, defending, sentencing, and jailing those involved in crimes; along with the system, regular citizens are summoned for jury duty in order to contemplate whether the defendant is guilty or not. It appears to be a rather secure, fair, and trustworthy system; one that should work relatively well, right? Unfortunately, the criminal justice system is an ultra-costly and ultra-punitive; the system is neither protecting victims nor rehabilitating lawbreakers. For example, trial by jury; there is usually a small amount of people in the jury who actually considered that another being’s life is on the line. In trial by jury, the court is literally trusting the life of another being in the hands of twelve strangers who need to argue with each other like kids until they conclude a verdict. In the play, Twelve Angry Men, a group of men are summoned for jury duty and almost all of the men would rather conclude a verdict immediately and leave; except for one, Juror #8. He managed to detain the group by requesting for a discussion of the murder trial before voting “guilty” or “not guilty.” Not once did Juror #8 allow the others to influence him unless they had a valid explanation.
The use of the jury in some trials shows how the everyday atmosphere is brought into the courtroom. Jurors have a part in deciding the outcomes of cases and as a collective decide the extent of the harm in the case. They apply socially accepted norms to the courtroom when determining the enforceable situation of the alleged criminal (Garfinkel: 104). A juror is asked to be a blank slate when entering the courtroom. However, what needs to taken into consideration is the fact that each individual carries his or her own values, bias and beliefs in any situation. They decide to what extent the case at hand goes against the standards of the normal individual. The definition of normal in this case is subjected to the context in which the event is
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
The Outsider, written by Albert Camus, and The Trial, written by Franz Kafka, are two books that have been critically acclaimed since the time that they were published. There are critics that claim that The Outsider is a dull book, and is not even a read-worthy book. Other people claim that it shows us how society actually acts upon people who do not want to be like the rest of society. The Trial falls under the same kind of criticism; but both books, although written by different writers in a different époque, fall under the same kind of genre: Imprisoned Lives. In both The Outsider and The Trial there are many people who influence the protagonists in a positive and in a negative way, but none of those characters are as important as the priest. The priest, being of the same profession in both books and trying to accomplish the same kind of tasks, have a totally different effect on the two protagonists. In The Outsider the priest changes the whole attitude that Meursault has to life, whereas in The Trial the priest tells Joseph K. how his life actually is.
In Franz Kafka’s The Trial, Josef K. is guilty; his crime is that he does not accept his own humanity. This crime is not obvious throughout the novel, but rather becomes gradually and implicitly apparent to the reader. Again and again, despite his own doubts and various shortcomings, K. denies his guilt, which is, in essence, to deny his very humanity. It is for this crime that the Law seeks him, for if he would only accept the guilt inherent in being human (and, by so doing, his humanity itself), both he and the Law could move on.
Neumann, Gerhard. "The Judgement, Letter to His Father, and the Bourgeois Family." Trans. Stanley Corngold. Reading Kafka. Ed. Mark Anderson. New York: Schocken, 1989. 215-28.