Crime and Punishment Essay Societal Rehabilitation Fyodor Dostoyevsky’s work in Crime and Punishment can be cited as largely autobiographical. Although the author never committed anything like the atrocious murders depicted in the novel‚ the nihilistic traits of his protagonist‚ Raskolnikov‚ closely resemble his own ideals as a youth. In 1947‚ Dostoyevsky joined the revolutionary Petrashevist cause. The author and this group of radical socialists narrowly escaped death after being
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“[He] did it all [himself]”: Oedipus’ Self-destruction Oedipus is demonstrating a very key component to the play when he says that “the hand that struck [his] eyes was [his] alone.” The metaphor of three fingers pointing back at you when you point a judging finger at someone else is perfect for this situation. In being so quick to judge the situation and assume that he will bring honour to the land‚ uncovering Laius’s murderer‚ Oedipus curses the one responsible and declares that they will be
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catastrophic event‚ the slave no longer has a purpose to latch on to‚ leading to mass nihilism‚ the new “will to nothingness” soon overcomes the will to power. Consequently‚ the unwilling last man prevails in society‚ a person who is imprisoned by the Apollonian‚ order that separates the man from his nature‚ unable to achieve anything beyond the act of living itself. In reaction to this‚ Nietzsche argues that man must continue the eternally recurring struggle between the master and slave morality‚ and the
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book works in a moderate classical liberal standpoint‚ but still too soft for me) Are there anything interesting and fun that I can look into? I’m finishing off my novel lately. I am also wondering what’s your stand or theory on art. The Apollonian/Dionysian division makes a lot of sense. It’s like the first-person/third person division of video games for me. I come from a Stirnerian school where art is just irrational human nature‚ but as I get more into Austrian economical theories‚ art seems
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In literary texts‚ Diotima‚ the “teacher” of Socrates in the Symposium‚ is often presented as a Beatrice-like figure which “inspires” creative men and guides them as a symbolic muse. However‚ in the immediate context of the speech of Socrates in the Symposium‚ Diotima was not a muse or an erotic-spiritual guide; she was a wise woman and priestess who taught Socrates the mysteries of love (Plato 31-34). The present paper calls for an adequate appreciation of Diotima’s status as a teacher‚ and - drawing
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with her audience‚ to allow you to put yourself in her place. She is speaking to her past self through the medium of art. Although I believe her intention was for her audience to view and feel her painting in a primarily Dionysian way‚ I analyzed the painting with a more Apollonian
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Antonis Papantoniou 19 November 2009 Anthropology 263g Alexis Zorbas: the man who has enough fight in him to devour the world. Many film attempts have been made aiming to portray the abundance of life within a man on the cinema screen. One of the most successful ones would be “Zorba the Greek” (1964)‚ directed by Michael Cacoyannis and with Anthony Quinn as the leading role. The plot of the movie originated form the novel “Zorbas The Greek” by Nikos Kazantzakis‚ that was first published
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Thomas Mann’s Death in Venice Death in Venice (1912) is a novella by Thomas Mann. It is the story of Gustave von Aschenbach‚ a successful German writer‚ who has lived a life of personal discipline and dedication to his art. He is a renowned novelist‚ who has devoted intense effort toward having a successful career as a writer. He lives a solitary life. His wife is dead‚ his daughter is married. One day‚ Aschenbach takes a walk from his home in Munich to a park that leads to a cemetery. As he is
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productive‚ overflowing and intoxicating power of nature carries man away from his usual quiet and sober mode of living. Dionysus can be compared to his brother‚ Apollo (Nietszche in the Birth of Tragedy)‚ where Apollonian are all types of form and structure‚ rational mind and individuation‚ and Dionysian is completely the opposite – ectasy and enthusiasm‚ instinctive‚ chaotic emotions‚ everything‚ that forces a man to give up his individuality and submerge himself with a greater
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mirroring his observations as a school psychologist‚ and used these descriptions as a basis in a greatly expanded and modified form of his own. Keirsey’s critical innovation was organizing these types into four temperaments (Apollonian‚ Promethean‚ Epimethean‚ and Dionysian) and describing observable behavior rather than speculation about unobservable thoughts and feelings. Keirsey provided his own definitions of the sixteen types‚ and related them to the four temperaments based on his studies of
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