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raskolnikov analysis essay the fischer thesis ..
Ethical egoists believe that one should look out for no one else but themselves, and a theory of psychological egoism states that whatever the reasoning is behind an action, the action is always an individual’s self-interest....
Utilitarianism, in Mill’s words, is the view that »actions are right in proportion as they tend to promote happiness, wrong as they tend to produce the reverse of happiness.«1 In that way, Utilitarianism offers an answer to the fundamental question Ethics is concerned about: ‘How should one live?’ or ‘What is the good or right way to live?’....
What is the thesis of the ballot or the bullet, Essay Writing Service
This definition is concomitant with the idea of knowing what is right and wrong and making a conscious decision to follow what is right (Paul & Elder, 2006).
Philosophers are most known for their work of arguing about morals and what is wrong or right however, what laymen do not understand is that they do not focus on the question of moral but rather whether or not the judgment of the morals of others is right or wrong....
Crime and Punishment Thesis Statements and Essay …
House of Representatives (US Code, 1) Though this is a seemingly black and white definition, the conditional “…other than pain or suffering incidental to lawful sanctions…” have led many to question what precisely this entails....
The article tries to answer a central question that what are the implications of Evolutionary theory to realist theory of international security and in what way can peace be achieved if warfare is part of human nature.
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We never get a clear picture of Raskolnikov’s return to life in Crime and Punishment. Dostoevsky does not provide all the details of his character’s redemption because any direct description of this process would fall short of the sublime experience that he seeks to convey. Sologub explicitly models his own story about a killer with a conscience, Bad Dreams, on Dostoevsky’s work, but the suggestive power of Sologub’s conclusion has long gone overlooked. If Dostoevsky points to salvation through truth, Sologub points to perdition through self-deception. Repressed guilt (like redemption) in both cases is conveyed indirectly through an artistic code of doubling and parallels.
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This essay examines the popularization of Russian museum culture via periodical press during the second half of the nineteenth century. The museum and the daily newspaper were two new public spaces engendered by the Great Reforms where discourses on nationality and art intersected in an open dialogue on Russia’s self-representation. This dialogue, uniquely preserved by the contemporary press, allows us to document how the museum age was written. It also demonstrates that Russian museums and exhibitions were fashioned in the popular press as much as they were by architects, curators, and patrons. While exhibitions and museums proper take care of material objects, the discourse constructed around them deals with the portrayal of these objective realities in light of national ideologies, public opinion, and personal preferences. A historically grounded analysis of this discourse gives insight into the larger process of culture making via writing. Between the two modes of representation which are at work in the museum—the visual and the verbal—layer upon layer of meaning have been created over time.
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Sigizmund Krzhizhanovsky’s fiction—dozens of short stories and a handful of novellas, written primarily in the 1920s and ’30s—is at once fantastical, playful, metafictional, and intellectual. Among the protagonists in his stories are many starving, idealistic writers and inventors, as well as figures from Western philosophy whom Krzhizhanovsky has fictionalized into his imaginative narratives. This essay argues that Krzhizhanovsky’s fiction is essentially theatrical, in accordance with Krzhizhanovsky’s own understanding of the theater. He worked as a lecturer, dramaturge, and playwright in Tairov’s Chamber Theatre, and much like Gustav Shpet, Fyodor Stepun, Nikolai Evreinov, and Viacheslav Ivanov, Krzhizhanovsky attempted to philosophize the theater in his writings.
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This essay explores the Hrabal and Schulz examples in order to tackle the question of the adaptability of modernist or at least less realist – in this case: grotesque – literature into visual artistic media – in this case: comics. As Linda Hutcheon has demonstrated, adaptations are the result of a complex process of “creative reinterpretation” and “extensive, particular transcoding”. What this essay focuses on, therefore, is whether, and if so, how these graphic narrative adaptations of modernist fiction have reinterpreted and transcoded the typically grotesque features of their literary counterparts.
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