Motywacja zbrodni w "Zbrodni i karze"

Evidence: 60 • authority: 88

Raskolnikov Beyond Good and Evil. Abstract Crime and Punishment is, among other things, a long meditation on the authority of the moral law. In insisting that his main character, Raskolnikov, is guilty of a heinous crime, however, Dostoevsky does not take that authority for granted. At the beginning of the story, Raskolnikov is portrayed as a kind of skeptic about morality, indeed about humanity, who thinks that moral imperatives are binding on us only as a matter of convention or of mere calculation and that the exceptional person is free to “step beyond” them altogether. As the novel progresses, however, it becomes clear that the authority of morality is, in Dostoevsky’s view, a function…

Evidence: 55 • authority: 90

Questioning the Notion of Superman in Dostoevsky’s Crime and Punishment. In the novel, “Crime and Punishment”, the researcher analyzes how Raskalnikov, the protagonist, suffers from over ambition. Raskalnikov deliberately assassinates the old pawnbroker, Alyona Ivanovna, motivated by the desire of becoming a superman. He violates law of the land and moral codes to prove his extraordinary strength at the pretext of transforming the society. He tries to substantiate his criminal act in order to protect the superman theory. However, his guilty conscience does not allow him to do so. Equally, his wife, Sonia, plays a key role to overcome his fragile logic of the theory. Finally, his dream of be…

Evidence: 55 • authority: 90

Between "Sin" and "Punishment": On the Cross-Cultural Differences in the Paths of Individual Redemption in Rickshaw Boy and Crime and Punishment. This article aims to compare two literary masterpieces—Lao She's Rickshaw Boy and Fyodor Dostoevsky's Crime and Punishment—through the framework of comparative literature. It explores the different natures of the "crimes" committed by the protagonists Xiang Zi and Raskolnikov, as well as the corresponding "punishment" they suffered, thus revealing the fundamental differences between Chinese and Russian cultures in terms of personal corruption and redemption. The article believes that Raskolnikov's crime is a positive and rationally thought "theore…

Evidence: 50 • authority: 90

Psychoanalytic Interpretation of Crime and Punishment. As a masterpiece of Dostoevsky’s psychological novels, Crime and Punishment tells the story of Raskolnikov, a college student, who committed a crime because of the opposition between reality and ideal, and then was punished, understood, and atoned for his sins. Attempting to analyze the process of Raskolnikov’s “crime” and “punishment” through the psychoanalytic theory put forward by Freud in Ego & Id, this thesis aims to provide a better interpretation of the theme of “crime and punishment”.. Source: Advances in Education Humanities and Social Science Research. Year: 2023

Evidence: 50 • authority: 90

Raskolnikov’s Desire for Confession and Punishment. Much criticism about Dostoevsky’s Crime and Punishment has focused on the variety and ambivalence of Raskolnikov’s motives for committing the crime or transgression of the title. Sergei Hackel, in his article “Raskolnikov through the Looking-Glass: Dostoevsky and Camus’s L’Etranger”, sums up the various motives that have been discussed in relation to Raskolnikov’s crime as follows: In fact, it is the multiplicity of possible motives that makes Raskolnikov so convincing a presence. Was he seeking money to help his family? Or simply seeking money? Was he putting his concept of the Napoleonic superman to the test? Or killing to relieve the te…

Evidence: 45 • authority: 90

Instinct, Civilization, and Guilt: A Freudian Analysis of Raskolnikov in Crime and Punishment. To conduct psychoanalysis, it is essential to reference Sigmund Freud’s Civilization and Its Discontents, Crime and Punishment that suits an investigation of Raskolnikov’s character. Through a systematic analysis of Raskolnikov in relation to Freud’s arguments, it developed comprehensively and addressed all of Freud’s psychoanalytic inquiries. The character develops a deeper and more analytical insight into Raskolnikov’s character by exploring how much civilization constructs shape his behaviors and actions in the surrounding. Raskolnikov’s dream of superhuman theory failed to reinforce mental str…

Evidence: 45 • authority: 88

Portrayals of Mind. Abstract This essay offers readings of episodes from Crime and Punishment, in particular Raskolnikov’s receipt of the letter from his mother and his discussions with Zametov and with Porfiry Petrovich, with a view to identifying how Dostoevsky depicts the nature of the mind. In Dostoevsky’s picture, it is shown, mental privacy is itself socially grounded and contextual, and subject to destabilizing self-descriptions; mental contents are knowable only through our discursive connection to others; and the expressive potential of language far exceeds anyone’s intentional control. Dostoevsky’s presentation of the mind is compared to the philosophical views of Wollheim, Moran,…

Evidence: 39 • authority: 80

The Power of an Idea: Raskolnikov in<i>Crime and Punishment</i>

Evidence: 39 • authority: 80

The Power of an Idea: Raskolnikov in Crime and Punishment

Evidence: 34 • authority: 72

Ivan Kamaras (born 22 December 1972) is a Hungarian actor who became first known worldwide for his role as Agent Steel in the 2008 superhero fantasy thriller Hellboy II: The Golden Army, directed by Guillermo del Toro. Kamaras voices the title character in the 2018 Hungarian animated feature Ruben Brandt, Collector.

Evidence: 34 • authority: 80

The Three Motives of Raskolnikov: A Reinterpretation of Crime and Punishment

Evidence: 34 • authority: 72

This list is for characters in fictional works who exemplify the qualities of an antihero—a protagonist or supporting character whose characteristics include the following: imperfections that separate them from typically heroic characters (such as selfishness, cynicism, ignorance, and bigotry); lack of positive qualities such as "courage, physical prowess, and fortitude", and "generally feel helpless in a world over which they have no control"; qualities considered dark traits, usually belonging to villains, (amorality, greed, violent tendencies, etc.) that may be tempered with more human, identifiable traits that blur the moral lines between the protagonist and antagonist. Each of these ex…