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Raskolnikov as the epitome of nihilism in Dostoyevsky's crime and punishment
Raskolnikov as the epitome of nihilism in Dostoyevsky's crime and punishment
Raskolnikov as the epitome of nihilism in Dostoyevsky's crime and punishment
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Raskolnikov's Dream in Crime and Punishment
In Dostoevsky's Crime and Punishment, Raskolnikov's dream about the mare can be used as a vehicle to probe deeply into his mentality to discover how he really feels inside. The dream suggests that Raskolnikov is a "split" man; after all, his name in Russian means "split". His personality has a cruel and thoughtless side as well as a caring, compassionate side. Through the dream and the symbols therein, a reader can cast Raskolnikov, as well as other characters from Crime And Punishment, into any of the various parts in the dream. Each part that a character plays leads to a different conclusion about that character. Raskolnikov himself "fits" into the positions of Mikolka, the child, and the mare.
If Mikolka, the drunken owner of the mare, were to represent Raskolnikov, then the mare would most probably represent Alyona Ivanovna. The senseless beating of the mare by Mikolka is similar to the brutal attack on Alyona by Rodion. (It should be noted that both Alyona and the mare were female.) These heartless attacks foreshadow ...
As Rodya analyzes Luzhin’s character, he realizes that intellect unrestrained by moral purpose is dangerous due to the fact that many shrewd people can look right through that false façade. Luzhin’s false façade of intellect does not fool Rodya or Razumikhin, and although they try to convince Dunya into not marrying Luzhin, she does not listen. Rodya believes that Luzhin’s “moral purpose” is to “marry an honest girl…who has experienced hardship” (36). The only way he is able to get Dunya to agree to marry him, is by acting as if he is a very intellectual person, who is actually not as educated as he says he is. This illustrates the fact that Rodya knows that it is really dangerous because he knows that people can ruin their lives by acting to be someone they are not. Rodya also knows that people will isolate themselves from others just so that no one will find out their true personality. This is illustrated in through the fact that Luzhin tries to avoid Dunya and her mother as much as possible. The way he writes his letter, exemplifies his isolation, for Luzhin does not know how to interact with society. He has no idea how to write letters to his fiancée and his future mother in law. This reflects on Rodya’s second dream because he is unable to get Dunya married off to a nice person. He feels isolated from everyone else because his intellect caused him to sense that Luzhin is not telling the truth about his personality. However, it was due to his lack of moral purpose that Rodya berates his sister’s fiancé. He is unable to control himself, and due to his immoral act of getting drunk, Rodya loses all judgment and therefore goes and belittles Luzhin. Although Rodya’s intellectual mind had taken over and showed him that Luzhin wa...
Out of all the stories I have read so far in class, I found this story the most interesting and realistic piece. It never occurred to me that thoughts such as those mentioned in the story could actually be going through a dieing man’s mind. In fact, I show even more ignorance in that I have never thought about what is it truly like to experience a process of expected death. This kind of tragedy once happened on a day-to-day basis. Imagine all the other elaborate emotions going through the minds of others dieing. Bierce did a great job in putting true emotion into this story. I along with most of my class members agreed that we had no idea Peyton’s escape home did not occur at all until the final words of this story. For an author to create something so realistically disguised until the bitter end is truly an amazing accomplishment.
In "An Occurrence at Owl Creek Bridge", we see the author, Ambrose Bierce, cleverly develop his short story through a masterful use of style, plot and theme. We must appreciate the use of these aspects, especially when we consider the amazing twist the story takes, and how perfectly this piece has been set up.
As the story unfolds, Dostoevsky introduces the reader to Raskolnikov, a troubled young man who is extremely isolated from those who surround him. He lives in a small, dingy, dusty, and dirty room in a small unattractive house. He lives in an abstract world neglecting the real. He is quite separate from all the people with whom he has contact. In the opening chapter, Raskolnikov is said to be, "so completely absorbed in himself, and isolated from his fellows that he dreaded meeting, not only his landlady, but any one at all" (1). People come physically close to him, but everyone is forced to remain distant mentally. He walks through the crowded, noisy, dirty streets of St. Petersburg physically but somehow he never does so mentally, moving through the streets like a zombie, not a man. He is not aware of his location and often jostles bewildered pedestrians. Therefore, at the outset of the novel Dostoevsky illustrates the apparent schism between the mind and body of Raskolnikov.
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.
The female role consists of being a good sport and conforming to what men want. Hazel realizes what men want and like early
He presented his plan to officials in Portugal and England, but it was not until 1491 that he found a sympathetic audience: the Spanish monarchs Ferdinand of Aragon and Isabella of Castile” (History). “Columbus wanted fame and fortune. Ferdinand and Isabella wanted the same, along with the opportunity to export Catholicism to lands across the globe. (Columbus, a devout Catholic, was equally enthusiastic about this possibility.) Columbus’ contract with the Spanish rulers promised that he could keep 10 percent of whatever riches he found, along with a noble title and the governorship of any lands he should encounter” (History).
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.
Dostoyevsky further develops Rodia’s split personality through the use of symbolism of the mare dream. Through the use of the third person omniscient point of view, the author reveals his thoughts on dreams and how they “often have a singular actuality, vividness and extraordinary semblance of reality. At times monstrous images are created, but the setting and the whole picture are so truth like and filled with details so delicate, so unexpected, but so artistically consistent, that the dreamer… could never have invented them in the waking state” (44). Dreams are not merely dreamt for entertainment; they all contain a symbolic meaning that represent a truth of the dreamer. In Rodia’s nightmare, his conflicting and chaotic state of mind is disclosed
There were many people that were women, older, widowed, and on the brink of poverty. But not all these women were put on trial for witchcraft. The problem with the stereotype is that it breaks down once the actual trial starts. If a person who doesn’t fit the stereotype confesses to witchcraft and more importantly for elites, to dealing with the devil than the person is going to be convicted as a witch. Unfortunately for Françette Camont she did fit many of the stereotypes for being a witch and therefore when it was time for her trial it made it that much easier to convict
While the third dream he has shows that his conscience in trying to get him to feel guilty. Both of these dreams help the reader understand Raskolnikov and his mental process. Raskolnikov's first dream starts off when he is a young child with his father as they’re walking down the street. They see drunk men loading up a carriage with one horse that won’t be able to carry the load.
The social measurement of the firm is sometimes considered a difficult task to measure or define because it takes into account the impact that a firm has on people within the organization and the society at large. As a result of this, the TBL works in ways that create welfare or benefit the society by ensuring that it is not being demoralized or threatened by the firm’s operation. The TBL considers social factors that include labor utilization and pay rates, ethical principles, health and safety needs and contributions to the living standards of people within and outside of the
In Crime and Punishment, we see Raskolnikov caught between reason and will, the human needs for personal freedom and the need to submit to authority. He spends most of the first two parts stuck between wanting to act and wanting to observe. After he acts and murders the old woman, he spends much time contemplating confession. Raskolnikov seems trapped in his world although there is really nothing holding him back; he chooses not to flee and not to confess, but still acts as though he's suffocation (perhaps guilt?)In both novels defeat seems inevitable. Both characters believe that normal man is stupid, unsatisfied and confused. Perhaps they are right, but both characters fail to see the positive aspects of humans; the closest was the scene between the narrator of Notes from the Underground and Liza. In this scene he almost lets the human side show, rather than the insecure, closed off person he normally is.
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.
Sonia and Raskolnikov are two characters that interact with each other in the novel, Crime and Punishment. They interact on multiple levels, sharing several likenesses. Both of these characters are at-times self-sacrificing, both are struggling for meaning in a dreary existence, and both are generally unhappy people, but brighten and seem to enjoy each other's presence--even when Raskolnikov is berating her religion. What is self-sacrifice, for which these characters and so many people around the world engage in? It is a desire to help those around us more than we wish to help ourselves. This is not normal human state, although it can be brought about easily by societal pressures, and sometimes even political societies can compel this attitude. Sonia practices a form of altruism for her family however. She acquires a yellow card and takes her body off to the moral slaughter by sacrificing it to others for money--money that will go to her starving, poor family. Though not his predominant state of mind or action, Raskolnikov does have temporal tendencies towards self-sacrifice. It seems that part of his state of mind when considering the murder of the pawnbroker is that he will be helping society as a whole--definitely a motive that comes from outside the self. Sonia and Raskolnikov share many characteristics that make them an interesting encounter for each other. A tendency to self-sacrifice for one, and a life of it for another, provides for an amalgam of psychological likenesses which help the characters relate.