I found the differences between sentimental and realist writing strikingly obvious, but the details as of why were hidden to me until I went deeper into analyzing the text. To figure out the exact differences and similarities that set these two writing eras apart, I examined The Island of Bornholm, a sentimentalist story written by Nikolai Karamzin, and The Family of a Vourdalak, a realist piece by Alexis Tolstoy. With a gap of forty-six years between the two pieces, there is bound to be certain differences in style and word choice, but beyond this were variances in character details, scene descriptions, and tension building that made these two stories so unique to the reader.
The best place to start is at the beginning, where a big difference in scene setting is marked by a varied use of details. The Island of Bornholm, in classic sentimentalist fashion, creates an eloquent opening based around the change of nature and the joyful time between friends. Descriptions are flowing poetry described in extensive detail, and every possibility of nature being involved in a scene is emphasized to its fullest possibility. In the section of our main character walking inside the grounds of the castle on page 357, we are given exact details of minor elements that play no part in the story other than to build mood. We are told the exact plants growing in the courtyard, the types of lamps and chandeliers lighting the surroundings, and even the details of where fragments of pillars and cornice lay strewn about. Setting is created through this physical description rather than in details of ‘why’ or ‘how.’ This style of scene setting is used instead in The Family of a Vourdalak, where our entire opening is based around why the story is being told,...
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... beauty is evident at first glance, but needs to be pulled apart and examined to truly grasp its story. As a horror story it fails to keep up an interesting buildup of fear or character connections, and the biggest scare inside this story is the hint of incest, which the reader is required to deduce. The Family of Vourdalak is the opposite, and gives everything to its reader so that they will never feel confused. Everyone is given a clear name, the reasoning for every action is obvious, and the overall plot has a clear story pattern. They are symbols of their respective eras of writing and hold up to expectations, but they may have made a powerful story if their greatest aspects had been combined together. They still manage, however, to engross the reader until the very end with their unique writing styles, and for this they will continue to stand the test of time.
The readers discover that Tolstoy’s motivation for writing “Sevastopol in May” was to provide Russia with an honest war narrative, not a literary cornerstone or a piece of light reading material. This realization is the clean ending that gives readers the they closure desire. By including an explicit declaration of theme and purpose at the
In describing the setting, the general locale is the prison in the coldest part of Russia- Siberia, geographically but socially depicting the social circumstances in the prison, but draws analogies to the general social, political and economic circumstances of Russia during the Stalinist era (form 1917 revolution up to 1955). The symbolic significance of the novel and the film (genres) reflects experiences, values and attitudes of the Russian society. The genres reflect the origins of the Russian social disorders and massive counts of political misgivings which watered down real communism in Russia. We are constantly reminded of the social and cultural heritage and originality of Russian ethnic groups through those different levels of meanings
Few authors can convey the raw emotion of world changing events in such a moving and simplistic fashion. Anna Ahkmatova is able to capture this through her almost tangible use of imagery. Her words can transport the reader through time, allowing them to feel the same pain and fear she survived in Russia during Stalin’s reign of terror. Ahkmatova’s writing is known for its abrupt changes in point of view, and quickly shifting stanzas. Her unique style and poetic form can be attributed to the emotional turmoil of the world changing events she and her nation suffered through; and her innate love for music, as found in Mussorgsky’s Russian Opera, Boris Godunov.
During Russia’s transition to communism in the early 20th century, conflict and unease permeated every part of life. Nothing was stable and very little of what the Bolsheviks had fought for had come to fruition by the time the USSR disbanded in 1991. The “classless society”, which was to work together for the prosperity of everyone, never became a reality. In the end, the majority of Russia’s 20th century was an utter failure on a grand scale. However, there were many amazing products of the system do to the great importance of education in Russian culture. Priceless novels were written, timeless movies were made, and great scientific endeavors were realized despite the rigid control placed upon Russian persons by the government. In fact, some of the most memorable written works of the time were written protests to the creativity-stifling situation many writers found themselves in. Because of the danger to their lives should the wrong people be upset by their writings, Yevgeny Zamyatin and Mikhail Bulgakov wrote their most popular, Soviet-life condemning novels under the guise of satire. Even though they’re satirizing the same subject, in both We and The Master and Margarita respectively, they take very different paths to do so.
When comparing Chekov’s elements that construct a love story to those in Leigh Michaels’ “The Essential Elements of Writing a Romance Novel”, readers must make their own judgments with what little Chekov provides. Chekov accomplishes this task by portraying Anna's and Gurov's relationship through using a lens of representative true human behavior. Unlike a traditional romantic story, Chekov fails to provide the reader with a concrete answer to how or if the lover’s will endeavor. Furthermore, the expectations of the romantic hero and heroine are skewed when analyzing Gurov and Anna. Readers are forced use their own judgments to fill in the blanks that Chekov provides because of the vast uncertainty due to human nature in the short
The Art of the Chekhovian Language escapes from the personal intentions. Reality is neither embellished nor blackened, altered or "signified" through a restrictive conceptual vision.
Through this sympathetic faculty, a writer is able to give flesh, authenticity and a genuine perspective to the imagined. It is only in this manner that the goal of creating living beings may be realized. Anything short of this becomes an exercise in image and in Kundera’s words, produces an immoral novel (3). The antithesis of liv... ...
Ivan Turgenev’s Fathers and Sons takes place in midnineteenth century Russia. Throughout the text Turgenev explores the pros and cons of the nihilist philosophy and how nihilism, coupled with the presence of generational and class based animosities, affects the greater Russian identity. Properties of nihilism are examined and tested as the characters encounter aristocratic lifestyles and the redeeming power of love. The female characters in Fathers and Sons represent a wide range of socioeconomic positions and temperaments, these women test the thinking of the nihilists by their propensities towards emotion, order, feminism, shyness, and propriety. This exploration of gender roles and the balance of power between women and the men that they control is subject to their ascribed classes and the relationships they hold. These women fall into two major categories: the autocratic and the dependent. The aristocratic “mothers” and dependent “daughters” of Fathers and Sons bring about the reevaluation of Bazarov and Arkady’s nihilistic beliefs and furthermore utilize their feminine qualities to manipulate the men in their lives.
It is said that this book is considered as one of the most famous horror novels, if not the most famous one. The Gothic descriptions in the novel are very prominent at the beginning. The portrayal of the countryside of Transylvania, of the ruined Dracula Castle, etc, all provide the effect of horror in the sense of spooky and gloomy atmosphere, which you can obtain close at hand. Everything is so obvious. The originally beautiful scenes are changed by the writer¡¯s magnification of some specific details which provide certain effect on the readers. All of the above reminds how one¡¯s personal feelings can alter their attitudes towards what they see or what they experience. Sometimes when you are sad, everything look so depressing. It is like the whole world is against you. The sunset could be a fantastic scene when you are filled with joy but an extra source of sorrow when you are not in the mood. Harker is separated from her lovely fianc¨¦e to meet some foreign count in the exotic and unknown eastern world.
Family, defined by the Online Merriam Webster Dictionary is, “a group of related people including people who lived in the past.” I believed that the wording of this definition is important because of the word related. The Online Merriam Webster Dictionary defines related as “belonging to the same group because of shared characteristics, qualities, etc.” This goes to show that a family does not have to be lineage, heritage, or chromosomes. There are many different types of families, and though many people think of a nuclear family when they think of a family, there are so many more qualities to consider when deciding how to personally define family.
Chopin, Kate. The Awakening. Anthology of American Literature. Volume II: Realism to the Present. Ed. George McMichael. New Jersey: Prentice Hall, 2000. 697-771.
... to mind works written by subsequent generations of women novelists. One sees Chopin’s text straining toward, among other elements, the narrative innovations achieved in Virginia Woolf’s Mrs. Dalloway and The Waves. One is also reminded of the “lyric” novels of the American writer Carole Maso, whose so-called experimental works typically eschew plot and conventional linear narration. In a recent book of essays, Maso admits that her erotic novel Aureole was “shaped by desire’s magical and subversive qualities,” she notes; “[desire] imposed its swellings, its ruptures, its erasures, it motions.” (Break Every Rule, 115). If contemporary authors like Maso are able to access such boundless spheres of narrative play, it may be due in part to the pioneering efforts of writers such as Chopin, who first began to articulate the need for such liberating spaces in the novel.
... story but it also reflects Russian society. This, however, isn’t why many Russians still continue to hold this piece of literature as central to their culture. Although, it tells of their heritage and society, it is the simple genius of the structure of the novel of –14-line stanza form-and his lyrics, which are complex and meticulous but are written with such ease that they appear effortless, simple, and natural.
Dostoevsky’s noteworthy literary works each contain similarities in theme, character development, and purpose when analyzed beyond face value. Dostoevsky’s early life and ideals, intertwined with life-changing events that shifted his ideologies, and critiques of fellow Russian writers during his time period lay the groundwork for Dostoevsky’s recurring arguments for the way which Russian society would be best-off, as well as ways in which the people of Russia would be suited to live the most fulfilling, non-corrupt lives.
Setting - Identify the physical (when/where) settings of the book. How do these settings affect the moods or emotions of the characters?