Summary Of Cesare Lombroso's 'Atavistic Criminal'

Throughout the centuries, there have been an infinite amount of literary works written by a sea of authors that write a variety of genres. All of these works are precious in their own way, and even if their theme is similar to that of another, the author always ads a bit of his/her own flare in order to make said literary creation unique in some way. William Wordsworth’s “London 1802” and Paul Laurence Dunbar’s “Douglass”, although quite similar in form and sentence structure, do add their own flare through the use of specific details. Through the use of these devices, the speakers show their disgust for the evil deeds humans do and

In the article “The Prisoner” by Skip Hollandsworth tells the life story of Edwin Debrow, a young boy who grows up in the streets and fell into an out of control spiral when he joined the neighborhood gang. Edwin Debrow will go on to kill a taxi driver at the age of 12 and would now spend most of his life in jail. The author who has done numerous stories about kids and their tragic life has now focused on the case of Edwin

Q. "Anthony Eaton portrays the issues of the abuse of authority and power through chracterisation". Discuss this statement providing close references to the novel.

The first Moore, the author, began his deviance in school through failing to do his assignments and performing extremely poorly in class. The second Moore, the prisoner, began through the use of a knife to solve conflicts as a child. Another case of defiance in the two children is evident when the first Moore, the author, started vandalizing public property. On the other hand, the other Moore was busy helping drug peddlers in supplying narcotics in the neighborhood. The mother of the first Moore became concerned of his son’s behavior and enrolled him to a prison school, where he would later become a leader of several cadets. It was while at this school that he gave his deviant behavior after several attempts to escape failed. The discipline levels in the school were extremely high, resulting in the young Moore changing his behavior for the better (Moore, 2011).

Although he saw the atrocities committed by Perry and was strongly in favor of his hanging, it “aroused another response, for Perry possessed a quality, the aura of an exiled animal, a creature walking wounded, that the detective could not disregard” (341). Capote includes this unexpected emotion to demonstrate the extreme pity a person completely against Perry could feel, which, in result, is meant to produce a greater sense of empathy for the reader, sympathizing with the detective. Sympathy can be gained toward this person who executed a happy family, proving how worthy this book is due to its life lesson.

According to Victor Rios in his book Punished, it can be argued that minority youth are systematically targeted and mistreated. They are often victims of police brutality and racism. Constantly under surveillance, many of the black and Latino boys grow up fighting the “youth control system”. I believe that these components contribute to the factors in which the poor and minorities are often affected by the child welfare system and the cycle continually repeats itself.

The crime is defined as the law-breaking cruel action committed by the criminals. These criminals usually have some deep trauma deep in their heart and the sudden bursting of all the negative sentiments will result in very devastating consequences of hurting other human beings. This essay will mainly compare Perry Smith in In Cold Blood and Misfit in A Good Man is hard to find, which is both the main character and the main criminal in the two crime stories. They have a lot of things in common as a criminal with minor differences. They a are both cynical to the society; They have both found themselves isolated from the society.

The protagonist holds to his immature beliefs that by looking, acting and maintaining a false façade as a “dangerous character” (Boyle,114) it would bestow on him an the badness he desires.

“The third stage of narrative development was characterized by the appearance of rogues… relying on cleverness more than force, and motivated more by profits than by passion” (Williams 14). Rogues defied whatever came in between their pursuit, whether it be law or authority (Williams 14). In the third stage of criminal literature, the protagonists were all rogues despite of their unlawfully ways, they “aroused reader sympathy” (Williams 16). Williams described these rogues as “outsiders, existing apart from the social structure either by choice or by fate” (William 16). He also described these rogues as “individualistic, opportunistic, self-reliant” as well as “defiant of authority and entirely free” (Williams 16). William argues that the evolution of these narratives took place in three stages: the first being the “early execution sermons and final confessions”, the second being “the incomplete narratives of life and, finally the full length rogue narrative” (Williams 17). Williams’ article describes how criminal literature changed from “promoting obedience, [to] encouraged defiance” (Williams

In Part 1 of his essay, Arata argues that though Hyde’s atavist appearance and behavior are indicative of lower class status, his proclivities and character–particularly his vices–instead reflect his being among the ranks of the bourgeois. He notes that although Hyde is short, hostile, and brutish (all stereotypical markers of the lower-class), he is described as having a discriminating palate for good wine, an appreciation for art, and his apartment is furnished with “luxury and good taste.” (Arata, 235) “This is not a savage's den but the retreat of a cultivated gentleman,” he writes. (235) More indicative of the bourgeois membership, however, is Hyde’s proclivities for vice. While the specifics of Hyde’s debased activities are left open to the reader, we can assume they are those that would require a rich, leisurely lifestyle to take part in–sexual deviance in the form of prostitutes is the basic assumption.

The Victorian times in Britain brought with it the rigorous standards of class distinction and the importance of one’s reputation. Queen Victoria provided a long period of harmony, prosperity and distinguished sensibilities. Many writers used their art to express their tiredness and possible irritation of such required dignities. Oscar Wilde used farce to achieve this while Robert Louise Stevenson used gothic fiction. At first glance, one might think the differences of “The Importance of Being Earnest” and “The Strange case of Dr. Jekyll and Mr. Hyde” outweigh the chance of a meaningful similarity.

Despite the characteristics that we cannot admire, in Act Three Shylock is at his most passionate and eloquent in a piece of unrehearsed prose prompted by yet more goading from Salerino and Solanio. The fundamental questions he poses are rhetorical – they require no answers. He sets out, forcefully and incontrovertibly, facts so basic about human existence that they would make even the most hardened racist think twice.

He notes how, many readers saw the markers of the Lombrosan criminal born out in the physical description of Hyde– his being referred to as “troglodytic”(240) by Utterson being the most clear-cut example. Arata then ties the atavist description of Hyde in to the class discourse of the period, noting how it was customary for the lower classes

How important is an individual that most often than not authors focus on the growth of one over the growth of the many? Is it because the growth of one symbolizes the growth of all? Or is the focus on the individual due to the image it presents which is the growth in us? In any event, this outlook of individualism is widespread in literature and different genres and techniques excavate the development of the individual. Another factor that comes into play in the development of the character is the situation and the effects of the environment. Within William Shakespeare’s play The Tempest and Michael Cervantes Saavedra’s satire Don Quixote are two different characters molded and formed or in both cases malformed to incorporate their

As a result, Adams establishes the British prisoners as those that must be saved, those whose rights are being compromised. This ties Beccaria’s quote to an element of his central argument -- that the protection of rights is the priority -- and clarifies that is the prisoners who are being subjected to tyranny. By appealing to the jury’s pathos and beliefs, who most likely feel that they themselves are victims of tyranny, he invites them to sympathize with this argument. The provocative diction -- words such as “agonies,” “fatal,” and “tyranny” are used -- triggers an emotional response from the jury, and allows them to make a connection between their own fervent defense of liberty and the liberty of the British soldiers (Ellis 2-3). Beccaria’s quote develops the logic of Adams’s argument by supporting the protection of the soldiers’ rights; it effectively plays on the values of the jury to appeal to pathos and make his claim more convincing.