The term 'polyphony' was introduced into literary theory by Mikhail Bakhtin in his Ïðîáëåìû ïîýòèêè Äîñòîåâñêîãî. The polyphonic novel is dialogic rather than monologic; this means that multiple voices can be heard, and each voice represents an alternative version of 'the truth'. (NB. The use of dialogue as a formal device does not make a novel polyphonic in the Bakhtinian sense; genuine polyphony entails a sense of ambivalence, a situation where the different voices compete with one another and represent alternative viewpoints between which the reader cannot make a straightforward choice.)
In Crime and Punishment, Raskolnikov is the main focalizer: his point of view is adopted by the third-person narrator almost throughout (exceptions include a small number of episodes involving Svidrigaylov, and the relatively impersonal first chapter of the the Epilogue). The reader is thus allowed access into Raskolnikov's inner world, and although third-person narration is used, the novel as a whole comes close to being the central character's interior monologue. Nevertheless, there is also a strong tendency towards dialogue. This has several manifestations:
(1) Actual dialogues between characters are of central importance in shaping not only the events but also Raskolnikov's mental processes; in relation to Raskolnikov, the other characters with their distinctive voices all represent alternative truths and alternative points of view. The other characters, and their ideas and values, are perceived through the prism of Raskolnikov's consciousness: their voices echo in his mind, and he reacts to the ideas put forward by these external voices, often entering into a mental dialogue with them.
(2) Raskolnikov also conducts an endless dialogue with himself (frequently addressing himself in the second person); the voice of his shrewd intellect alternates with the voice of conscience, and a lucid understanding of his situation coexists with unaccountable (even contradictory) emotional reactions.
(3) The reader also has access to Raskolnikov's subconscious mind (the voice of the subconscious) in the context of his nightmarish visions (see especially chapters I:5 and III:6)
In all, Raskolnikov's mind becomes a battlefield where a number of different internal and external voices (representing different ideas and world-views, or different facets of Raskolnikov's personality) keep vying for supremacy.
Through Laws, treaties and proclamations it becomes clear of the transfer of power between Native Americas and colonizing powers within the US and Canada. One significant treaty was Treaty NO. 9 in which Native Americans gave up their aboriginal title and land for money, hunting right, entrance into the christian school system and a Canadian flag presented to the Chief. The treaties described define the cascading effect of how western powers came into control of land at which Native Americans resided in. Specifically converging on the using Native Americans “elites” to influence other Native Americans into adopting western cultural beliefs, overshadowing the diverse Native American cultural practices. The overshadowing and belittling of Native American culture is not only expressed through the several treaties presented to Native Americans across history but also through real life accounts of Native American children adopted into the western school system. This sections places into the prospective the monopolization of Native American land and
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.
... himself in the service of others. Though Raskolnikov initially holds the belief that he is a higher being among others, his sense of regret and internal conflict after the murder shows otherwise. If Raskolnikov truly embodied the ubermensch as he envisioned himself to, he would show no sign of sorrow for bringing “happiness” to the rest of society, as well as providing justice for all the people Alyona Ivanovna has scammed. In Crime and Punishment, Raskolnikov’s sense of emotional and physiological regret works against him, and helps portray to readers his false sense of justice and self image. By using murder as a key event, Dostoevsky gives readers an opportunity to understand the protagonists’ logic and justification for killing, how the character would react in such extreme situations, and how those reactions reflect his view toward society and his own beliefs.
Raskolnikov seems to already be mentally unstable in the beginning of the book, “he had become so completely absorbed in himself…he had lost all desire to [attend to import...
Gennaro Santangelo’s criticism of Crime and Punishment fully inspects the motives behind Raskolnikov’s murder, the driving influence on the plot of the book, but he only partially probes the resultant ramifications that emerge in the forms of choices that Raskolnikov makes that resolve the failures of his original goals. Overall, in the context of the paper’s subject, the information Santangelo chooses to include and omit make sense, but the crucial results, or how Raskolnikov eventually reverses his original motivations, are insufficiently appraised. Santangelo’s essay, however fascinating, seems like it does not tell the complete story, that it needs a complementary work to fulfill its purpose. That work, should it have properly met its goal, is beginning to
Rodion Raskolnikov is a murderer, a damning criminal. Yet, he also has a warm heart that no one can equal. This character of paradox, of contradictions, of irony, is the true Raskolnikov. He is the Jekyll, and he is the Hyde; the zenith and the nadir. This hallowed literature of human nature provides us with important moral lessons, and at the same time helps the reader understand Dostoevsky’s philosophy on society better. Raskolnikov is not entirely a cold-blooded murderer, since he still has a feeling of love: The love towards Sofya Marmeladov. In this paper, we will go in-depth of how Sofya has an impact on Raskolnikov, by discussing their similarities and differences.
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.
Dostoevsky was made aware of the problems with Nihilistic ideas while he was exiled in Siberia. Crime and Punishment was Dostoevsky’s first attempt at a psychological analysis of a person’s inner struggles to rationalize this radicalism. Raskolnikov represents that intelligentsia and is being used by Dostoevsky to portray and warn against succumbing to these ideals. Dostoevsky uses Raskolnikov’s life to illustrate the implications and applications of this Nihilist to the public and then expands upon it in Demons.
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.
The poverty-stricken conditions of Russia during the time of which Crime and Punishment was written was a vital factor in bringing out the main protagonists from the novel and revealing the true nature of the protagonist. Further more, his apartment and its desolate condition serves as a metaphor to the poor conditions of Russia. The transformation of Raskolinokov from his false sense of thought of being superior or the urbermensch of the society was all brought out due to the desolate conditions of which the book took place in, proving that such background knowledge of the poor conditions is an essential contributor in character development in the novel.
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.
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 Fyodor Dostoevsky’s drama, Crime and Punishment Rodion Romanovich Raskonlnikov exclaims, “I didn’t kill a human being, but a principle!” (Dostoevsky, 409). This occurs in part III, chapter VI of the novel when he’s battling with the confession of his murder he committed. In the beginning, Raskonlnikov, the protagonist of the novel, was a former student, struggling to get his life in order. He contemplates on whether he wants to assassinate his old land lady, Alyona Ivanovna, because he believes she was the cause for his debt. He finally slaughters her, and ends up slaughtering her sister, too, when she walked in on the murder. Afterwards, the crime he committed began to carp at his conscious psychologically. In a key passage of Crime and Punishment on page 409 , Fydodor Dostoevsky uses major themes, irony, language, symbols, and foreshadowing to emphasize the psychological effects that Raskonlnikov is struggling with before he confesses his murder.
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.
The majority of Raskolnikov’s theory seems logical until the reader arrives at its single essential flaw. Raskolnikov’s idea that “the enactment of a crime is invariably accompanied by illness”(311) was one aspect of the theory which, through its accuracy in Raskolnikov’s crime, seemed to lend validity to the entirety of the theory; several brief experiences with “faintness” on the character Raskolnikov’s behalf, insinuate the veracity of his ideas.