Crime and punishment cliff notes

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crime and punishment cliff notes

CliffNotes on Williams Glass Menagerie & Streetcar Named Desire by James Lamar Roberts

The original CliffsNotes study guides offer a look into key elements and ideas within classic works of literature.CliffsNotes on Glass Menagerie & Streetcar Named Desire explores two popular plays, both of which take place in the South and borrow heavily from author Tennessee Williams’s own life experiences.

Following stories marked by struggle among loved ones, this study guide provides summaries and critical commentaries for each scene within the works.  Other features that help you figure out this important work include

Personal background on the playwright
Introduction to and synopsis of the plays
In-depth analyses of the cast of characters
Review section that features interactive quizzes and suggested essay topics
Selected bibliographies for both plays
Classic literature or modern-day treasure — youll understand it all with expert information and insight from CliffsNotes study guides.
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Published 24.12.2018

Crime and Punishment - Lecture - Professor Michael Katz - Jan. 2015

Raskolnikov, an impoverished student, conceives of himself as being an extraordinary young man and then formulates a theory whereby the extraordinary men of the world have a right to commit any crime if they have something of worth to offer humanity. To prove his theory, he murders an old, despicable pawnbroker and her half-sister who happened to come upon him suddenly. Immediately after the crime, he becomes ill and lies in his room semi-conscious for several days.
James Lamar Roberts

Crime and Punishment

After Raskolnikov recovers from his fainting spell, everyone seems at a loss for something to say. Without warning, Raskolnikov throws a dark cloud over everything by announcing that he is not only violently opposed to Dunya's engagement, but he also forbids her to sacrifice herself to such a scoundrel as Luzhin. He says "I may be infamous, and even so, I would disown such a sister. Razumihkin attributes Raskolnikov's outburst to his illness and suggests that it would be better to leave him alone for the present. When Pulcheria Alexandrovna wants to remain with her son, Razumihkin points out that Dunya cannot remain alone in such dreadful lodgings that Luzhin has secured for them. When all agree, he escorts them to their lodgings, promising to return later and bring Dr.

As he descends the steps, he is overcome with a dread of meeting his landlady, who lives on the floor below. As he leaves the boardinghouse, the young man turns his thoughts to an extreme, though unspecified, act that he is thinking about committing. He considers himself incapable of the act—if he lacks the stomach even to face his landlady, it seems impossible that he would ever go through with the deed that he now mulls. The young man wears ridiculously tattered clothes, but he is so contemptuous of the people who live in his wretched neighborhood—which is filthy and populated with drunks, prostitutes, and tradesmen—that he feels no embarrassment about his shoddy appearance. He walks along in a trancelike state, thinking over his awful plan, again considering the idea and then dismissing it.

Part I: Chapter I

In the nineteenth century, the western world moved away from the romanticism found in the works of Pushkin in Russia, Goethe in Germany, Hawthorne and Poe in America, and Wordsworth in England and moved in toward a modern realistic approach to literature. While the world was still reading popular romantic novels and love poems, Russia was leading a movement into the new realistic approach to literature. Dostoevsky was one of the forerunners of this movement, along with Gustave Flaubert in France and Mark Twain in America. This movement can be seen in many ways, some from a very philosophical way and some in the most simple way. For example, in the romantic writings, the writer was concerned with the mysterious, the strange, and the bizarre.

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