Carlisle article explained that the dark side envelops their personality by the fantasy they were living in subconsciously. Now that the dark side consumed them they start satisfying their urges in reality. His theory is effective because it relates to how the serial killer thinks while they are under their other persona. The psychological theory that Carlisle describes in his article does not contribute to the role of situations and socioeconomic factors in crime. Psychological theory doesn’t explain the social reasons why the serial killer becomes who he is, such as poverty and the people around him creating the behavior of killing tendencies.
Assess the usefulness of functionalist approaches in explaining crime The functionalist approach to analysing deviance and the causes of crime looks at society as a whole. It explains crime that the source of criminal behaviour lies in the nature of society itself rather than in psychology or biology. Functionalists such as Durkheim see deviance as an inevitable and necessary part of society and too little is unhealthy. Some also consider crime to have positive aspects for society. In this essay we will assess the usefulness of these functionalist theories, and look at how it helps us explain crime.
Therefore, I try to dig out every clue that causes his motives to kill people and every detail that built up his personalities so that it would help me understand why a genius becomes a villain. “Understanding the mindset of a psychopath is very important in order to understand why a criminal would not feel the need to justify his or her transgressions; psychopaths do not believe that they are doing anything abnormal or morally inept” (Siler 3). In this research paper, Freudian psychoanalysis will be applied to explore the protagonist’s mental journey and explain the motives of his crimes. Tom Ripley is a fictional character in a series of novels composed by Patricia Highsmith, including The Talented Mr. Ripley, Ripley Under Ground, Ripley's Game, The Boy Who Followed Ripley, Ripley Under Water. This research paper is expected to focus on Highsmith’s first book about Tom Ripley and try to dig out any Freudian imagery of Ripley’s personalities.
He presents himself with only limited information about his motivations, and his ambition to finish off his master piece and careful manipulation of Fortunato indicates the care with which he has planned his execution. However, we again have a classic case of Poe's unreliable narrator, whose guilt and occasional irrationality prevents him from presenting himself truthfully to the reader. However, we can see that Montresor shows a particularly black sense of humor, with which he amuses both himself and the horrified reader as he leads Fortunato into his trap. He informs the audience of his intentions before he begins the story of his encounter with Fortunato, and Poe employs both verbal and dramatic irony to convey the darkness of the story. A very good example of black humor can be found at the very beginning of the story itself: Montresor’s had "vowed revenge" against Fortunato, but he decided to mask his real feelings by outwardly appearing friendly towards him.
Durkheim argued that by having public punishments and executions for criminals, society was reminded of its shared norms and values (Bohm and Vogel, 2011, pg 70). Also, it could be argued crime and deviance can act as a safety valve, with Kingsley Davis claiming that there is a conflict between a man's instinctual need for sexual satisfaction and society's need to restrict the legitimate expression of sex to within the family. Therefore, prostitution is functional because it provides sexual satisfaction without threatening the family as an institution (Matza, 2010, pg 74). However, it is argued by Downes and Rock that suggesting functions for crime and deviance is not the same as finding an explanation for them. ‘ It is one thing to assert that crime can be made to serve some social end or other once it has occurred, for example to heighten solidarity by uniting against the offender.
Harry develops a “code” which consists of a formal set of rules used to enact justice on criminals who have evaded punishment by finding loopholes in the justice system. As Dexter grows into adulthood, he continues to kill by “Harry’s Code”. Yet his passion for enforcing death creates disconnect from the real Dexter Morgan and the societal norms that he is required to abide by in able to avoid detection. These conflicting interests develop an interesting and entertaining psychological cocktail. I believe that Dexter Morgan suffers from Antisocial Personality Disorder.
‘The White Devil is nothing more than a demonstration of imaginative ways to commit murder’ How do you comment on this judgement? In the White Devil, murderous plots and deadly scheming dominate the play, with the story revolving around the various motives and actions towards the murder of husbands, wives and brothers. However, to see the play as merely a vehicle for Webster’s fatal imaginings would be overly simplistic, and would overlook vast swathes of a play that, behind the murders, pivots on desire, love and intrigue, rather than plain bloodlust. The fact that the characters in the play are not designed to be consumed by murderous desires is apparent when Cornelia questions, ‘What? Because we are poor, shall we be vicious?’, illustrating clearly her belief that murder or violence is not the correct or dignified way of conducting oneself.
Poe presents a narrator who is vile and brutal. He is a murderer who is open to admitting this and he believes that he is right in performing this task. Poe is trying to show that when in first person perspective, there may not always be trust or preference of the narrator. Poe has written this story in a form so that the audience feels more sympathy for Fortunato rather than the narrator. He does not give the reason why Montresor wants revenge on this poor man, leaving the option open that the narrator may be simply mad.
A critic from the Literature Network said “Poe's "The Tell-Tale Heart" consists of a monologue in which an accused murderer protests his sanity rather than his innocence. The point of view is the criminal's, but the tone is ironic in that his protestation of sanity produces an opposite effect upon the reader. From these two premises stem multiple levels of action in the story. The criminal, for example, appears obsessed with defending his psychic self at whatever cost, but actually his drive is self-destructive since successful defense upon either implied charge— of murder or of criminal insanity— automatically involves admission of guilt upon the other (1).” In summary, when Poe creates two personalities within one character, one part of the character will blame the other part of the character. Eventually on part of the character will give in and accept everything.
Interrogation, Miranda, and Invocations of the Rights to Silence and to Counsel I am a "Law & Order" addict who thinks I could get a perp to confess. A little glaring, some getting in the guy's face, a revelation that his fingerprints are all over the murder weapon and voilà! He's recounting his crime. In real life, police interrogation requires more than confidence and creativity (although those qualities do help) -- interrogators are highly trained in the psychological tactics of social influence. Getting someone to confess to a crime is not a simple task, and the fact that detectives sometimes end up with confessions from the innocent testifies to their expertise in psychological manipulation.