Ethical Typology in the Novel Crime and Punishment by Fedor Dostoevsky

2001 ◽  
pp. 116-125
Author(s):  
Vladimir A. Lefebvre
Keyword(s):  
The Novel ◽  
Crime And Punishment

scholarly journals The Logical Basis of a Literary Text, or What Does Porfiry Petrovich Hide in F. M. Dostoevsky’s “Crime and Punishment”?

2020 ◽  
Vol 27 (1) ◽  
pp. 239-259
Author(s):  
Valentina E. Vetlovskaya
Keyword(s):  
Literary Text ◽  
Crime Fiction ◽  
The Novel ◽  
Crime And Punishment ◽  
Logical Basis ◽  
The Aesthetic ◽  
The Individual

<p>The article explores the role of logical connections in an epic text. It is these connections, according to the author of the article, that connect the individual components of the narrative (motifs, complexes of motifs) and make up in the reader&rsquo;s perception for the missing elements. The reticence and failures to mention, common in fiction, appear in the narrative for various reasons. Sometimes due to the aesthetic principles of the writer who prefers ambiguity to a completed statement depriving readers of the opportunity to finish thinking over a vague idea. And sometimes, due to the author&rsquo;s conviction that there is no need to explain the idea implied by what has been earlier said. But it also happens that the omissions in the narrative are engendered by the requirements for the presentation of a chosen topic, for example in crime fiction. But these reasons may go together as it occurs in Crime and Punishment. These ideas are illustrated by the analysis of one of the themes of the novel Crime and Punishment.</p>

scholarly journals WARUM TÖTETE RASKOL’NIKOV EIGENTLICH? MOTIVIERUNG IM LICHTE EINER PSYCHOHISTORISCHEN MOTIVATION

2021 ◽  
Vol XII (38) ◽  
pp. 163-184
Author(s):  
Nils Meier
Keyword(s):  
The Novel ◽  
Crime And Punishment ◽  
Psychological Structure ◽  
Historical Epoch

This paper shows that the text of the novel Crime and Punishment places plot and characters in the context of a specific historical epoch. The epoch implies a specific psychological structure of the characters. One aspect of this psychological structure is singled out and demonstrated on the basis of its intra-fictional as well as its extra-fictional motivating effect. In this way, the old riddle of why Raskolnikov actually became a murderer is solved.

Проявления скрытого сакрального порядка в творчестве Достоевского

SlavVaria ◽  
2021 ◽  
Vol 1 (1) ◽  
Author(s):  
ЧЖАН БЯНЬГЭ
Keyword(s):  
Development Process ◽  
The Novel ◽  
Crime And Punishment ◽  
The Core ◽  
Spiritual Movement ◽  
Divine Order

The Manifestation of Divine Order in Dostoevsky’s Work: On Dual Reality in Crime and Punishment and Bakhtin’s Carnivalesque Poetics. At the plot level of the novel, the core drive of promoting the development of incidents and fates of characters is a continued rising spiritual movement: a process of spiritual resurgence of man experiencing death and resurrection. This article discusses the development process of this divine order, which run through the plots and echoed in all details.

The Problem of “Higher Individuals” in the Works of F.M. Dostoevsky

2021 ◽  
pp. 119-134
Author(s):  
Li Xiaoyu ◽  
I.I. Evlampiev
Keyword(s):  
Personal Accomplishment ◽  
The Novel ◽  
Traditional Church ◽  
Crime And Punishment ◽  
Existential Crisis ◽  
Kingdom Of Heaven ◽  
The World ◽  
Three Stages ◽  
The Church ◽  
The Ideal

This article deals with the controversial issue of F.M. Dostoevsky’s concept of “Higher Individuals.” The latter are people who rise above other people and have a special influence on society and on history. The authors argue that this concept is most clearly expressed in “The Diary of a Writer” (1876) as well as in the story “The Sentence”, along with Dostoevsky’s commentaries on this story. By means of a detailed analysis of Raskolnikov’s “theory” within the novel “Crime and Punishment”, it is demonstrated that only a superficial version of the concept of “higher individuals” is refuted in the heroes’ argumentations; at the same time, the novel’s characters – Marmeladov, his wife Katerina Ivanovna, and Raskolnikov – can be viewed as examples of different degrees in the personal accomplishment of this “higher personality” state. In conclusion, it is observed how a person must go through three stages of development in order to become a “higher character”: firstly, the experience of an existential crisis and the understanding of the lack of meaning in one’s life; secondly, the “rebellion” against the Creator of the world and its laws along with the rejection of the traditional church faith, whose rejection leads this person on the edge of suicide; thirdly, the acquisition of a new faith, first of all, a faith in one’s immortality, which happens in an unusual, unorthodox form, as is well demonstrated by the character of Svidrigailov in Dostoevsky’s novel. According to Dostoevsky’s doctrine, the meaning ofimmortality lies in the continuation of a person’s existence in a new form in the earthly world or in a “parallel” world similar to the earthly one, and not in the ideal Kingdom of Heaven, as the church claims. Finally, the authors maintain that the process of a character’s transformation into a “higher individual” was consistently and fully described by Dostoevsky in the stories of Raskolnikov and Ivan Karamazov.

Traditional Symbolism in Crime and Punishment

PMLA ◽  
1955 ◽  
Vol 70 (5) ◽  
pp. 979-996 ◽  
Author(s):  
George Gibian
Keyword(s):  
The Novel ◽  
Crime And Punishment ◽  
To Receive

It may seem paradoxical to claim that critics have not sufficiently concerned themselves with Dostoevsky's attack against rationalism in Crime and Punishment; yet this aspect of the novel has frequently failed to receive adequate attention, not because it has been overlooked, but because often it has been immediately noticed, perfunctorily mentioned, and then put out of mind as something obvious. Few writers have examined the consequence of the anti-rationalistic tenor of the novel: the extent to which it is paralleled by the structural devices incorporated in the work.

scholarly journals The Patristic Doctrine About Prilog in the Novel of Fedor Dostoevsky Crime and Punishment

2020 ◽  
Vol 18 (2) ◽  
pp. 172-189
Author(s):  
Аleхandеr N. Uzhankov
Keyword(s):  
The Novel ◽  
Main Character ◽  
Crime And Punishment

<p>The article considers the influence of the patristic doctrine about <em>prilog</em> (the beginning of a thought) on formation of the psychological image of Rodion Raskolnikov in the novel of F.&nbsp;M.&nbsp;Dostoevsky <em>Crime and Punishment</em>. According to the teachings of Christian theologians, any sin begins with an intention (thought), a person establishes&nbsp;the conversation with, a&nbsp;union with the thought, which gradually becomes an irresistible desire. Being captivated by this thought, the person falls from grace (passion). Rodion Raskolnikov went through all these five stages in the development of sin. Initially, he had the idea to kill an old moneylender, that strengthened after he had overheard the conversation between a student and an officer in a&nbsp;tavern. Thereby, Raskolnikov constantly recured to his sinful thought. Having mentally prepared himself for the murder, he was preparing for its implementation: he searches for an ax, sews on a loop, studies the route to the old woman&rsquo;s house, and commits the murder. An unrepentant sin entails even greater sins&nbsp;&mdash; a double murder. And only through suffering the main character can endure the transformation and return to people.</p>

scholarly journals “EVANGELICAL TEXT” OF THE NOVEL “CRIME AND PUNISHMENT” IN VIETNAMESE TRANSLATION

2020 ◽  
pp. 148-152
Author(s):  
Nguyen Thi Hoan ◽  
Galina G. Yermilova
Keyword(s):  
New Testament ◽  
The Novel ◽  
Russian Orthodoxy ◽  
Fyodor Dostoevsky ◽  
Crime And Punishment ◽  
The Bible ◽  
The New Testament ◽  
The Subject ◽  
The 19Th Century ◽  
First Time

The article for the first time explores the translation of the ‟evangelical text” of Fyodor Dostoevsky’s novel ‟Crime and Punishment” into Vietnamese. The ‟evangelical text” refers to the New Testament quotations, for the first time both in the writer’s work and in the Russian literature of the 19th century as a whole, widely used by Fyodor Dostoevsky. Threeauthoritative translations by Trương Định Cư (1972), Lý Quốc Sinh (1973), Cao Xuân Hạo (1982-1983) are involved. The translation of the Bible into Vietnamese used by translators and involved in the liturgical practice of the Vietnamese Orthodox Church, has been revealed. On the basis of a continuous text sample of the «evangelical text» three translations were compared with the original and reverse translations, followed by an analytical commentary. The subject of the article is a monologue of «drunken» Semyon Marmeladov in the tavern (p. 1, ch. 2), saturated with New Testament quotations, and an evangelical scene about raised Lazarus (p. 4, ch. 4). It is concluded that when translating the «evangelical text» of the novel, the Vietnamese translators experienced serious difficulties due to ignorance of Russian Orthodoxy, which is still perceived in Vietnam to this day as a kind of exotic. Some specific refinements to existing translations are proposed.

scholarly journals Rodion Raskolnikov's dreams in Vietnamese translation

2019 ◽  
pp. 151-155
Author(s):  
Nguyễn Thị Hoan ◽  
Galina G. Yermilova
Keyword(s):  
Everyday Life ◽  
19Th Century ◽  
The Novel ◽  
Fyodor Dostoevsky ◽  
Crime And Punishment ◽  
Semantic Richness ◽  
Text Selection

Rodion Raskolnikov's dreams in Vietnamese translation The article analyses the Vietnamese translations of excerpts about the dreams of Rodion Raskolnikov, the protagonist of the novel "Crime and Punishment" by Fyodor Dostoevsky. It is these dreams that are narrated with high semantic richness as they explain the reason why the hero was driven to commit the felony. Three available Vietnamese translations of the novel have been included for analysis. As a result of the preliminary solid text selection and the followed analysis of the original and translated texts, we came to the conclusion that the translators experienced the greatest challenges in conveying the realia of the mid 19th-century Russian people’s religious and everyday life as well as the ontological issues in the novel. Some specific clarifications are suggested for unclear content in the available translations.

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