Read more
This volume brings together philosophers and literary scholars to explore the ways that Crime and Punishment engages with philosophical reflection. The seven essays treat a diversity of topics, including: self-knowledge and the nature of mind, emotions, agency, freedom, the family, the authority of law and morality, and the self.
List of contents
- Introduction, Robert Guay
- Chapter 1: Portrayals of Mind: Raskolnikov, Porfiry, and Psychological Investigation in Crime and Punishment, Garry L. Hagberg
- Chapter 2: Love, Suffering, and Gratitude for Existence: Moral and Existential Emotions in Crime and Punishment, Rick Anthony Furtak
- Chapter 3: Crime and Expression: Dostoevsky on the Nature of Agency, Robert Guay
- Chapter 4: Metaphysical Motivation: Crime and Punishment in the Light of Schelling, Sebastian Gardner
- Chapter 5: The Family in Crime and Punishment: Realism and Utopia, Susanne Fusso
- Chapter 6: Raskolnikov Beyond Good and Evil, Randall Havas
- Chapter 7: Bakhtin's Radiant Polyphonic Novel, Raskolnikov's Perverse Dialogic World, Caryl Emerson
- Bibliography
About the author
Robert Guay is Associate Professor of Philosophy at Binghamton University, State University of New York, where he has taught since 2006. He works primarily on nineteenth-century European philosophy, especially as it relates to issues of agency, history, and ethics. His work has appeared in the The Oxford Handbook of Nietzsche (2013), the Journal of Nietzsche Studies, the Edinburgh Critical History of Nineteenth Century Philosophy, and other venues. He is currently working on a book on Nietzsche's ethical thought.
Summary
This volume brings together philosophers and literary scholars to explore the ways that Crime and Punishment engages with philosophical reflection. The seven essays treat a diversity of topics, including: self-knowledge and the nature of mind, emotions, agency, freedom, the family, the authority of law and morality, and the self.
Additional text
...[S]uperb...All of the volume's nine chapters do a convincing job of motivating a particular way of approaching Dostoevsky's great novel in a manner that is recognizably philosophical yet sensitive to the work's formal and dramatic handling of its content. The authors work in many traditions, yet there is a surprising uniformity of philosophical style and literary sensibility, and the reader has the impression of listening to a conversation unfold rather than a hearing an assemblage of disparate voices sound off on a common theme.
