The Incarnation of Dostoevsky's World in that of Raskolnikov’s Abstract This essay examines the main social, philosophical, and psychological elements that had affected the Russian society as well as the world of Dostoevsky’s novel Crime and Punishment. It demonstrates the wild impact and clashes left by these theories – which I will be brought up soon – on the life, choices, and mentality of the novel and the characters embodied, the most important of which is the character of Raskolnikov, highlighting an “in-depth exploration of the psychology of a criminal, the inner world of Raskolnikov, with its doubt, fear, anxiety, and despair in escaping punishment and mental torture.ˮ “Raskolnikov a young man expelled from the university…fell
An author's descriptions of space can illuminate more about a story than just the setting and tone. In Crime and Punishment (1866), Fyodor Dostoevsky fills St. Petersburg with richly described buildings, streets, weather, and people which lend to the dark, melancholy tone of the novel and help the reader visualize the setting. As Figes writes, “Petersburg defied the natural order,” its artificiality morphing the Russian people toward a more European way of life. However, “even the Nevsky, the most European of [Tsar Peter’s] avenues, was undone by a ‘Russian’ crookedness,” an organic dent in the armor of the purposefully streamlined, inorganic design of the city. Thus, Dostoevsky’s descriptions of setting and character reveal a use of space
Fyodor Dostoevsky brings forth an interesting idea of exploring philosophy when he writes, “People with new ideas, people with the faintest capacity for saying something new, are extremely few, extraordinarily so, in fact.” In Dostoevsky’s novel, Crime and Punishment, Raskolnikov, an impoverished university drop out, commits a murder to test his original theory that there are extraordinary men who can transgress the rules of society. Through his journey of avoiding punishment and transition into guilt, he struggles and explores aspects of several philosophies. Crime and Punishment best qualifies as a psychological study for the novel’s condemnation of nihilism, criticism of utilitarianism, and reproach of monomania. Throughout the novel, Dostoevsky uses Raskolnikov along with other characters to explore popular emerging psychology in Russia in the 19th century. Russian culture in the 19th century teemed with anguish and poverty.
In Dostoevsky’s Crime and Punishment, Dostoevsky challenges the concept of crime. Through Raskolnikov’s ability to rationalize murder and evil, Dostoevsky challenges the concept of what a crime is. By depicting Raskolnikov in a way that he rationalizes his acts, it can be understood that the concept of crime is dependent on the situation and the outcome. With this, one can question whether crime will remain as a crime even if it results in the benefit of the majority of the population. In this paper, I will be arguing the concept of what crime is through the situations and the outcomes shown in Crime and Punishment, with the help of true to life crimes.
Fyodor Dostoyevsky’s classic novel, Crime and Punishment, displays an immense depth of literary devices and elements that function to contribute greatly to the development of the plot of the story. Crime and Punishment is a tale of a prideful, yet disgruntled “scholar” who through his own perceived superiority commits the capital crime of murder in order for a believed greater good. Through the examination of one of the essential passages of the story, we are witness to Dostoyevsky’s incorporation of literary elements like hyperbole, foreshadowing, and the central theme of crime and punishment, and these devices subsequent roles in advancing and emphasizing the themes and plot of the story. The scene depicted by Dostoyevsky involves
Marx had a huge impact of Russian literature, especially, Crime and Punishment by Fyodor Dostoevsky. Crime and Punishment used great use of the Marxist Theory. While the bourgeois earned value through overpowering the lower class. This novel best embodies the Marxist Theory because it is a proclamation of a proletariat, being Raskolnikov is not is the right place in society, struggling from deep poverty and craves the fighting against the common good in society. Johnson 2 As Alyona in Crime and Punishment
For the longevity of world history, women have been forced to take on many roles and occupations. In recent years, women have broken standard gender roles and crafted a life that is one hundred percent their own. However, in Fyodor Dostoyevsky’s Crime and Punishment, published in 1866, women are making lives of their own and becoming the providers in their households. Dostoyevsky crafted female characters that make sacrifices to provide for their loved ones. Dostoyevsky’s characters, especially Sonia, have broken many gender roles, and the men of the story have become dependent on Sonia due to her actions.
The latter novel is commonly reviewed by scholars as a relatively biographical review. Fyodor toiled with gambling throughout his life, the most sufferable period occuring after his mother’s death. The story is centered around Aleksey and his negatively correlating involvement in gambling alongside his Christianity and faith, of which parallels Dostoevsky’s own troubles and conflicts in remaining faithful and resisting gambling (Dostoevsky: The Miraculous Years ). Additionally, Suslova, one of Dostoevsky’s lovers, provided inspiration for many characters in his books. Her depictions are thought to be found in Polina in The Gambler, Donia in Crime and Punishment, and Nastassya in The Idiot (Drey).
Neither does it care about retribution – in contrast to melodrama or ‘Penny Blood’ fiction – it is rather concerned with solution of the crime (Worsley 124). In other words, the detective novel differs from its predecessors: as Alewyn puts it, “the crime novel tells the story of a crime, the detective novel that of the solution of a crime” (64). As a consequence of this/the focus shift, the main interest of the detective story lies in “[t]he process of collecting evidence and identifying and/or capturing a (probable) culprit” (Linde and Wouters, par. 7). Furthermore, in the modern detective fiction, it is the very agent navigating the whole process of investigation that is in focus in the narration: whether an amateur or a professional, whether a single person or a group of people (Knight, “Some Men” 267).