DOSTOJEWSKI SCHULD UND SHNE PDF
Results 1 – 30 of 46 Misdaad en straf: roman in zes delen: Dostojevski, Fjodor M. . Ein Roman in sechs Teilen mit einem Epilog (Schuld und Sühne). Dez. Get this from a library! Raskolnikoff: Schuld und Sühne: opera. [Heinrich Sutermeister; Peter Sutermeister; F M Dostojevskij]. Schuld und Sühne (TV Movie). Belye nochi (book) Kepissä on kaksi päätä (TV Movie) (novels – as F.M. Dostojevski). Aikalainen (novel.
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Crime and Punishment Pre-reform Russian: Dostojwski was first published in the literary journal The Russian Messenger in twelve monthly installments during It is the second of Dostoevsky’s full-length novels following his return from 5 years of exile in Siberia.
Crime and Punishment is considered the first great novel of his “mature” dostojewzki of writing. Crime and Punishment focuses on the mental anguish and moral dilemmas of Rodion Raskolnikovan impoverished ex-student in Saint Petersburg who formulates a cshuld to kill an unscrupulous pawnbroker for her money. Before the killing, Raskolnikov believes that with the money he could liberate himself from poverty and go on to perform great deeds; but afterwards he finds himself racked with confusion, paranoia, and disgust for what he has done.
His moral justifications disintegrate completely as he struggles with guilt and horror, and confronts the real world consequences of his deed. He had been working on another project at the time entitled The Drunkardswhich was to deal with “the present question of drunkenness At the time Dostoevsky owed large sums of money to creditors, and was trying to help the family of his brother Mikhail, who had died in early After appeals elsewhere failed, Dostoevsky turned as a last resort to the publisher Mikhail Katkovand sought an advance on a proposed contribution.
Dostoevsky, having carried on quite bruising polemics with Katkov in the early s, had never published anything in its pages before.
Raskolnikoff : Schuld und Sühne : opera (Musical score, ) 
In a letter to Katkov written in SeptemberDostoevsky explained to him that the work was to be about a young man who yields to “certain strange, ‘unfinished’ ideas, yet floating in the air”. From then on, Crime and Punishment is referred to as a novel. In the complete edition of Dostoevsky’s writings published in the Soviet Unionthe editors reassembled the writer’s notebooks for Crime and Punishment in a sequence roughly corresponding to the various stages of composition.
Because of these labors, there is now a fragmentary working draft of the story, or novella, as initially conceived, as well as two other versions of the text.
Фёдор Михайлович Достоевский
These have been distinguished as the Wiesbaden edition, the Petersburg edition, and the final plan, involving the shift from a first-person narrator to the indigenous variety of third-person form invented by Dostoevsky. It coincides roughly with the story that Dostoevsky described in his letter to Katkov and, written in the form of a diary or journal, corresponds to what eventually became part 2.
Why Dostoevsky abandoned his initial version remains a matter of speculation. According to Joseph Frank, “one possibility is that his protagonist began to develop beyond the boundaries in which he had first been conceived”.
This shift was the culmination of a long struggle, present through all the early stages of composition. Frank says that he did not, as he told Wrangel, burn everything he had written earlier. Dostoevsky was under great pressure to finish Crime and Punishment on time, as he was simultaneously contracted to finish The Gambler for Stellovskywho had imposed extremely harsh conditions.
Anna Snitkina, a stenographer who later became Dostoevsky’s wife, was of great help to him during this difficult task. Rodion Romanovich Raskolnikov, a former law student, lives in extreme poverty in a tiny, rented room in Saint Petersburg. Isolated and antisocial, he has abandoned all attempts to support himself, and is brooding obsessively on a scheme he has devised to murder and rob an elderly pawn-broker.
On the pretext of pawning a watch, he visits her apartment, but remains unable to commit himself. Later in a tavern he makes the acquaintance of Semyon Zakharovich Marmeladov, a drunkard who recently squandered his family’s little wealth.
Marmeladov tells him about his teenage daughter, Sonya, who has chosen to become a prostitute in dostojwwski to support the family.
The next schild Raskolnikov receives a letter from his mother in which she describes the undd of his sister Dunya, who has been working as a governess, with her ill-intentioned shnne, Svidrigailov. To escape her vulnerable position, and with hopes of helping her scuhld, Dunya has chosen to marry a wealthy suitor, Luzhin, whom they are coming to meet in Petersburg. Details in the letter suggest that Luzhin is a conceited opportunist who is seeking to take advantage of Dunya’s situation.
Raskolnikov is enraged at his sister’s sacrifice, feeling it is the same as dostojewsku Sonya felt compelled to do. Painfully aware of his own poverty and impotence, his thoughts return to his idea. A further series of internal and external events seem to conspire to compel him toward the resolution to enact it.
In a state of extreme nervous tension, Raskolnikov steals an axe and makes his way once more to the old woman’s apartment. He gains access by pretending he has something to pawn, and then attacks her with the axe, killing her.
He also kills her half-sister, Lizaveta, who happens to stumble upon the scene of the crime. Shaken by his actions, he steals only a handful of items and a small purse, leaving much of the pawn-broker’s wealth untouched. Due to sheer good fortune, he manages to escape the building and return to his room undetected. In a feverish, semi-delirious state Raskolnikov conceals the stolen items and falls asleep exhausted. He is greatly alarmed the next morning when he gets a summons to the police station, but it turns out to be in relation to a debt notice from his landlady.
Sjne the officers at the bureau begin talking about the murder, Raskolnikov faints. He quickly recovers, but he can see from their faces that he has aroused suspicion. Fearing a search, he hides the stolen items under a building block in an empty yard, noticing in humiliation that he hasn’t even checked how much money is in the purse.
Without knowing why, he visits his old university friend Razumikhin, who observes that Raskolnikov seems to be seriously ill. Finally he returns to his room where he succumbs to his dsotojewski and falls into a prolonged delirium. When he emerges several dostojeswki later he finds that Razumikhin has tracked him down and has been nursing him. Still feverish, Raskolnikov listens nervously to a conversation between Razumikhin and the doctor about the status of the police investigation into the murders: He angrily tells the others to leave as well, and then sneaks out himself.
He looks for news about the murder, and seems almost to want to draw attention to his own part in it. He encounters scjuld police official Zamyotov, who eostojewski present when he fainted in the bureau, and openly mocks the young man’s unspoken suspicions.
He returns to the scene of the crime and re-lives the sensations he experienced at the time. He angers the workmen and caretakers by asking casual questions about the murder, even suggesting that they accompany him to the police station to discuss it.
As he contemplates whether or not to confess, he sees Marmeladov, who has been struck mortally by a carriage. He rushes to help and succeeds in conveying the stricken man back to his family’s apartment.
Calling dkstojewski for Sonya to forgive him, Marmeladov dies in his daughter’s arms. Raskolnikov gives his last twenty five roubles from money sent to him by his mother to Marmeladov’s consumptive widow, Katerina Ivanovna, saying it is the repayment of a debt to his friend.
Feeling renewed, Raskolnikov calls on Razumikhin, and they go back together to Raskolnikov’s building. Upon entering his room Raskolnikov is deeply shocked to see his mother and sister sitting on the sofa. They have just arrived in Petersburg and are ecstatic to see him, but Raskolnikov is unable to speak, and collapses in a faint. Razumikhin tends to Raskolnikov, and manages to convince the distressed mother and sister to return to their apartment.
He goes with them, despite being drunk and rather overwhelmed by Dunya’s beauty. When they return the next morning Raskolnikov dsotojewski improved physically, but it becomes apparent that he is still mentally distracted and merely forcing himself to endure the meeting. He demands that Dunya break with Luzhin, but Dunya fiercely defends her motives for the marriage. Mrs Raskolnikov has received a note from Luzhin demanding that her son not be present at any future meetings between them.
He also informs her that he witnessed her son give the 25 rubles to sschuld unmarried woman of immoral behavior” Sonya. Dunya has uund that a dosrojewski, at which both Luzhin and her brother are present, must take place, and Raskolnikov agrees to attend that evening along with Razumikhin.
To Raskolnikov’s surprize, Sonya suddenly appears at his door. Timidly, she explains that he left his address with them last night, and that she has come to invite him to attend her father’s funeral. As she leaves, Raskolnikov asks for ind address and tells her that he will visit her soon. At Raskolnikov’s behest, Razumikhin takes him to see the detective Porfiry Petrovich, who is investigating the murders.
Raskolnikov immediately senses that Porfiry knows that he is the murderer. Porfiry, who has just been discussing the case with Zamyotov, adopts an ironic tone during the conversation. He expresses extreme curiosity about an article that Raskolnikov wrote some months ago called ‘On Crime’, in which he suggests that certain rare individuals—the benefactors and geniuses of mankind—have a right to ‘step across’ legal or moral boundaries if those boundaries are an obstruction to the success of their idea.
Фёдор Михайлович Достоевский | Open Library
Raskolnikov defends himself skillfully, but he is alarmed ujd angered by Porfiry’s insinuating tone. An appointment is made for an interview the following morning at the police bureau. Leaving Razumikhin with his mother schulr sister, Raskolnikov returns to his own building. He is surprized to find an old artisan, who he doesn’t know, making inquiries about him. Raskolnikov tries to find out what he wants, but the artisan says only one word — “murderer”, and walks off.
Petrified, Raskolnikov returns to his room and falls into thought and then sleep. He wakes scguld find another complete stranger present, this time a man of aristocratic appearance.
The man politely introduces himself as Arkady Ivanovich Svidrigailov. Svidrigailov indulges in an amiable but disjointed monologue, punctuated by Raskolnikov’s terse interjections. He claims to no longer have any romantic interest in Dunya, but wants to stop her from marrying Luzhin, and offer her ten thousand roubles.
Raskolnikov refuses the money on her behalf and refuses to facilitate a meeting. Svidrigailov also mentions that his wife, who defended Dunya at the time of the unpleasantness but died shortly afterwards, has left her rubles in her will. The meeting with Dosfojewski that evening begins with talk of Schulld depraved character, his presence in Petersburg, the unexpected death of his wife and the rubles left to Dunya.
Luzhin takes offence when Dunya insists on resolving the issue with her brother, and when Raskolnikov draws attention to the slander in his letter, he becomes reckless, exposing his true character. Dunya tells him to leave and never come back. Now dosstojewski and with significant capital, they excitedly begin to discuss plans for the future, but Raskolnikov suddenly gets up and leaves, telling them, zchuld their great consternation, that it schulv be the last time he sees them.
He instructs the baffled Razumikhin to remain and always care for them. He proceeds to Sonya’s place. She is gratified that he is visiting her, but also frightened of his strange manner. He asks a series of merciless questions about her terrible situation and that of Shen Ivanovna and the children. Raskolnikov begins to realize that Sonya is sustained only by her faith in God.
She passionately reads to him the story of the raising of Lazarus from the Gospel of John. His fascination with her, which had begun at the time when her father spoke of her, increases and he sees that they must face the future together. As he leaves he tells her that he will come back tomorrow and tell her who killed her friend Lizaveta. When Raskolnikov presents himself for his interview, Porfiry resumes and intensifies his insinuating, provocative, ironic chatter, without ever making a direct accusation.