Abstract
The paper states that only the human species is known to inflict pain purely for retribution. The fact that justice and punishment for rule violations are evident in animals, and that different human cultures have defined justice, crime, and punishment in myriad, and often in mutually contradictory terms, suggests the need to establish objective principles for concepts of justice that are indeed just. The paper concludes that "justice" incorporates objective rules without basis, which reflect the strength to impose the will of the of those more powerful in society, over the less powerful. The paper also states that crime and punishment are exclusive to human societies, notwithstanding our current relative inability to administer those concepts uniformly and justly, in most human society.

Outline:
A Survey of Cultural Variation of Crime and Punishment Throughout History
Toward the Objective Standard of Justifiable Criminal Definitions and Punishment
Conclusion

From the Paper
"In particular, purposeful actions on the part of society or dominant group of leaders to address unwanted behaviors or actions of the individual is apparent among many animal species, such as in relation to violations of established social and pair-bonding relationships and hierarchy of access to food and other natural resources (Gerrig & Zimbardo 2005). In certain primates, for example, group members risk both physical retaliation and elements of social exclusion if they are discovered by other group members to have hidden or failed to share resources by not disclosing its existence or location."

Tags:criminal, justice, crime, punishment, behaviors

Abstract
This paper examines Fyodor Dostoevsky's Crime and Punishment and notes its parallels to Marxist theory. Principally, the paper explores class struggle, atheism, violent revolution and the social causes for proletarian unrest as they reveal themselves in Dostoevsky's nineteenth century masterpiece. The paper argues that, unwittingly, Dostoevsky provides a social template that gives a certain real-world authenticity to Marx's ideas.

From the Paper
"There can be little doubt that communist and Marxist theories suffuse Fyodor Dostoevsky's Crime and Punishment. Among other things, this paper will examine the uneasy "capitalist" relationship between the impecunious Raskolnikov and his avaricious landlady. The paper will also examine the redistributive theme found in Dostoevsky's text and its obvious parallel to Marxist theory. From there, the paper will explore the social roots of violence (an idea that is implicit in Marxist thought) and conclude with a look at how the absence of "God" in Raskolnikov's life makes him the ideal proletarian solider in Marx's imaginings. To sum it all up, Dostoevsky's text is a text about Marxist class warfare. As most university students who have studied the philosophy of Marx (and Engels) know, Marxism holds that all human actions, institutions and social distinctions in society are economically determined."

Tags:crime, punishment, marx

Abstract
This paper offers a comparison of Susan Glaspell's short story "Trifles" with Dostoevsky's novel "Crime and Punishment," based on the interplay of conscience, crime and social experience. The paper describes plots of premeditated murder and the investigation surrounding the murders.

From the Paper
"This research examines ways in which social experience informs conscience and behavior with reference to Dostoevsky's "Crime and Punishment" and Glaspell's play "Trifles" and the short story on which it was based, "A Jury of Her Peers." The research will set forth the cultural context of each narrative and then compare and contrast how conscience-related issues are treated by the texts with a view toward identifying ways in which inter penetrations of conscience and social constructs affect or explain behavior."

Tags:Dostoevsky, Glaspell, Crime, and, Punishment, Trifles, Jury, of, Her, Peers

Abstract
This paper examines the novel "Crime and Punishment" by Fyodor Dostoevsky. The paper describes the way in which Dostoevsky paid great attention to graphic detail and description when he created the setting and literary atmosphere of this classic novel. Careful study of Dostoevsky's prose style reveals the literary power unleashed by his graphic descriptions of scenes and characters that help to define Dostoevsky's view of the meaning of life, the nature of good and evil and the role of free will.

From the Paper
"Crime and Punishment: An Analysis of Descriptive Elements In Crime and Punishment, Fyodor Dostoevsky paid great attention to graphic detail and description when he created the setting and literary atmosphere of this classic novel. Careful study of Dostoevsky's prose style reveals the literary power unleashed by his graphic descriptions of scenes and characters. These scenes help define Dostoevsky's view of the meaning of life, the nature of good and evil, and the role of free will, which are important throughout the novel and are repeatedly expressed through setting, descriptive narrative, characterization, and plot structure. "

Tags:crime, and, punishment

Abstract
Explains some history of Russian dialogue, Russian history, and Fyodor Dostoevsky's life experiences. It tells the symbolism of the names in "Crime and Punishment," how Fyodor Dostoevsky was imprisoned, and the history of Russian tsarist government.

From the Paper
"Authors write their novels using literary techniques such as symbolism. However, when entire novels are translated from the native language to another, there are some things that are lost in translation. Fyodor Dostoevsky wrote Crime and Punishment in Russian and when the novel was translated to English, symbolism was lost in translation. The symbolism requires knowledge of Russian history and language and some history of Fyodor Dostoevsky's life, to know and understand. Without prior knowledge of the use of some names and words, the symbolism is unknown to the reader."

Tags:crime, dostoevsky, fyodor, punishment, symbolism

Abstract
This paper looks at dream sequences in Dostoevsky's novels "The Double" and "Crime and Punishment" and analyzes how they allow the reader to understand more about the psychology of the characters in a way that would be difficult to portray in the character's waking thoughts and actions.

From the Paper
"In both The Double and Crime and Punishment, Dostoevsky describes dream sequences that are very revealing about the fears of Mr. Golyadkin and Raskolnikov. Using his characters? nightmares as a way to convey something about their psychology allows Dostoevsky to reveal the characters? mental state with an untainted honesty that is not possible in their thoughts and actions. In this way, Dostoevsky is able to crystallize and clarify the characters? deepest fears. In particular, the examination of Golyadkin's dream about his double turning everyone against him reveals that his peers? opinions of him are of the highest importance to him, and as such, his great fear is that others will dislike him. Raskolnikov's dream about the horse reveals his fear of his own weakness, his fear and repression of his past, and his fear of his own humanity and capacity for compassion."

Tags:crime, double, golyadkin, psychology, punishment, raskolnikov

Abstract
Daniel Curran and Claire Renzetti's work, "Theories of Crime" presents us with a tome in which the theories of crime are addressed with poignant and pointed research directly addressing the psychology of crime, punishment and victimization. The paper specifically covers elements of crime within the context of their argument. Crime and punishment, victimization and retribution are our natural and legislated balances. Romancing the outlaw goes part of the way toward explaining the desire not to speak of violent crime in social terms. A first step in breaking these rounds of crime-and-punishment, punishment-and-crime, is to recognize the fact of their existence.

Abstract
This paper traces the history crime and punishment in Europe. It looks at the influences of that time the social and philosophical movements and how they affected the whole evolution of treatment of crime and the thought behind punishment. The paper details about the neoclassical period, its forbearers and how they regarded the issue of crime and punishment and their assumptions regarding the problem.

From the Paper
"Crime is as old as civilization itself and where you find groups of people, you will consistently find some shape of criminal activity. You will also find punishment. The criminal has always been seen as undermining the values and, even, the very fabric of the society she or he deceives. Accordingly, those found out or found culpable have often been dealt with unsympathetically. Again, the Jewish Mythology will spring to the Western mind with its mantra of an eye for an eye etc. Very often, to the contemporary western mind, the harshness of the penalty was far in excess of the gravity of the original offense. However, the prehistoric, medieval or even early modern people of western society did not like the insights into human behavior which modern society claims for itself. To them, the criminal was, quite simply, a threat to the order, which was essential for the very existence of their society. As society developed and the great cities of the world began to develop and swell so too did the criminal alliance grow and expand."

Tags:society, criminal, enlightenment, Mercantilism, philosophes, Descartes, Maupertuis, Voltaire, law

Abstract
This paper offers a review of Fyodor Dostoevsky's famous work, "Crime and Punishment". The author explains that "Crime and Punishment" is the story of a desperate young man, Rodion Romanovitch Raskolnikov, who plots the perfect crime. Raskolnikov, alternately called Rodya, Rodenka, and Rodka throughout the novel, is a handsome, but poor student who lives in a garret in the slums of St. Petersburg. He owes money to his landlady and uses the services of a pawnbroker as a way to pay back his landlady. He plans carefully to murder an unattached pawnbroker, Alyona Ivanovna, an old woman loved by no one, whose conduct is despicable and completely unredeemed. He reasons carefully that it is just for a man of genius, such as himself, to commit such a crime and defy moral law because his action ultimately benefits humanity. He is disgusted by the thought of the murder, and yet he eventually kills the pawnbroker. He is ultimately convicted of the murder and sentenced to Siberia.

From the Paper
"Like his other novels, Dostoevsky's "Crime and Punishment" is heavily concerned with the psychological life of his characters. While Dostoevsky was alive, he suffered a great deal of criticism over the poor style of his novels, including their "hysterical and morbid nature", and lacking "balance, restraint, and good taste" (Terras, 4). In defense of Dostoevsky, Terras notes, "Dostoevsky's novels encompass antagonistic philosophies and value systems. He is an excellent 'devil's advocate'. Sophisticated readers have mistaken for his own ideas what Dostoevsky was in fact trying to refute"."

Tags:charcater, russia, philosophy, Raskolnikov

Abstract
This paper examines how Lev Kulidzhanov's film adaptation of Fyodor Dostoyevsky's novel "Crime and Punishment" features a similar narrative structure to its predecessor, however upon comparison it becomes clear that there are subtle differences of structure in many aspects of the film. In comparing the film to the novel, the paper looks at how the film's structure focuses more on Raskolnikov's suffering he and those around him go through due to their social conditions. However in Dostoyevsky's novel, the structure largely revolves around Raskolnikov's crime being due to his obsession of ideas, with his social condition acting as a way to mislead the reader. The paper further discusses how the novel's structure is largely imbedded with themes of religion and faith, whereas Kulidzhanov's film instead chooses to omit these themes, and place a much stronger emphasis on themes such as suffering instead. The paper also contends that the differences in structure are due to the social implications at the time in which the film was made in.

From the Paper
"Unlike Dostoyevsky's novel, Kulidzhanov's film Crime and Punishment sees its structure place less emphasis on Raskolnikov's experiment as his motivation for his crime, and instead directs the audience's attention to the suffering of Raskolnikov and those around him which he suggests are the main motivation for it. Previous to Raskolnikov's crime the audience are introduced to strikingly visual characters and events in order to set up his murder. We are introduced to the drunk, Marmeladov, and hear about the tragic story of his starving children and wife, as well as his daughter who has been forced to turn to prostitution. The film is also able to reinforce the visual elements that the novel cannot, such as Raskolnikov's cupboard-like room and sickly appearance. This representation of suffering continues after the crime in Katerina Ivanova's descent into madness where she takes her children into the street and effectively begins to lose her sanity in front of the audience. "

Tags:kulidzhanov, communism, Raskolnikov, Katerina, Ivanova