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The main theme of 20th century Russian literature
Russian art and literature
Russian literature themes
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Identity Loss in Pelevin's Novel "Generation P" and "Empire V"
When Russia transitioned from the soviet system of the USSR to the capitalistic system of today's economy, it underwent significant shifts in both societal structure and culture. The societal structure shifted to a more open framework of a financial ladder compared to the USSR's political hierarchy; the cultural ideology changed from a soviet socio-focused culture to a western individualistic mentality. The abrasive nature of this transition stems from its rapidity, and the turbulence of the 1990's represents a time which challenged Russia as a nation and as a society.
Victor Pelevin captures this transitionary period in his novels "Empire V" and "Generation P" in which the main
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Throughout the novel, Tatarsky progresses up the corporate and financial ladder of the media advertisement industry, finally finding himself at the top where his job is to hold the system he climbed in place without an understanding of the underlying mechanism of his power. Through viewing this simplified synopsis of the text, it is evident that Pelevin set Tatarsky up to be representative of the 1990's youth through his identity loss at the beginning of the plot. Moreover, once Tatarsky reaches the top of the new system, he feels lost since even though his new identity is firmly established as the leader of media in Russia, his primary idea of self as a poet pervades his cognitive framework and makes this new identity seem fake. Therefore, the recurring motif of the ziggurat, the use hallucinogenic mushrooms, and the help from surrealistic sources like Che Guevara all support the notion that his rise did not come from his autonomy, and that he does not have control over his new identity. The system dictates what role he will place in the system rather than his idea of self-finding a role in the system that fits
The short story, “Ivan Fyodorovich Shponka and His Aunt”, explicates the life of a man named Ivan Fyodorovich Shponka. We see him briefly in his young years, followed by his life in the army, and his return to the farm where his strong characterized aunt resides. We can see immediately that this man lives in constant cleanliness and dutiful paranoia; these are some of his desires that he wishes to exhibit to others. We can also see his fears, which reside in the confiscation of his masculinity and independence. This short story has many elements that resemble others in the Nikolai Gogol collection.
As the story unfolds, Dostoevsky introduces the reader to Raskolnikov, a troubled young man who is extremely isolated from those who surround him. He lives in a small, dingy, dusty, and dirty room in a small unattractive house. He lives in an abstract world neglecting the real. He is quite separate from all the people with whom he has contact. In the opening chapter, Raskolnikov is said to be, "so completely absorbed in himself, and isolated from his fellows that he dreaded meeting, not only his landlady, but any one at all" (1). People come physically close to him, but everyone is forced to remain distant mentally. He walks through the crowded, noisy, dirty streets of St. Petersburg physically but somehow he never does so mentally, moving through the streets like a zombie, not a man. He is not aware of his location and often jostles bewildered pedestrians. Therefore, at the outset of the novel Dostoevsky illustrates the apparent schism between the mind and body of Raskolnikov.
...looked at as he is the literate outsider who knows how to write and read , yet this presupposed privilege later on makes Liutov as minor instead of being superior . During the story , Liutov gives up gradually his academic superiority and in other words gives up his ‘individual’ identity in order to be part of this solidarity and collectivism that shape the Cossacks society.
The Web. 5 May 2015. Franklin, Simon and Emma Widdis, eds. National Identity in Russian Culture: An Introduction.
Dostoyevsky's writing in this book is such that the characters and setting around the main subject, Raskolnikov, are used with powerful consequences. The setting is both symbolic and has a power that affects all whom reside there, most notably Raskolnikov. An effective Structure is also used to show changes to the plot's direction and Raskolnikov's character. To add to this, the author's word choice and imagery are often extremely descriptive, and enhance the impact at every stage of Raskolnikov's changing fortunes and character. All of these features aid in the portrayal of Raskolnikov's downfall and subsequent rise.
... himself in the service of others. Though Raskolnikov initially holds the belief that he is a higher being among others, his sense of regret and internal conflict after the murder shows otherwise. If Raskolnikov truly embodied the ubermensch as he envisioned himself to, he would show no sign of sorrow for bringing “happiness” to the rest of society, as well as providing justice for all the people Alyona Ivanovna has scammed. In Crime and Punishment, Raskolnikov’s sense of emotional and physiological regret works against him, and helps portray to readers his false sense of justice and self image. By using murder as a key event, Dostoevsky gives readers an opportunity to understand the protagonists’ logic and justification for killing, how the character would react in such extreme situations, and how those reactions reflect his view toward society and his own beliefs.
In Dostoevsky's Crime and Punishment, Raskalnikov undergoes a period of extreme psychological upheaval. By comparing this death and rebirth of Raskalnikov's psyche to the story of the resurrection of Lazarus, Dostoevsky emphasizes not only the gravity of his crimes, but also the importance of acceptance of guilt.
Although the novel depicts a variety of characters, it mainly revolves around one figure – a young man, named Benedikt. From the beginning he seems to be rather naïve and comparable to the traditional Russian character – Ivanushka Durachok (Иванушка Дурачок). He does not ask questions, he goes with the system and, in general, is quite ignorant of the world. However, he does experience a major character transformation once he encounters the “joy” of books. Although, what is supposed to bring happiness and knowledge, to him becomes a physical addiction without the mental benefits – he reads just to read, not to understand. Besides Benedikt, there are other characters that seem to stay in the background. They are very strictly divided in to the social groups, as the Golubchiks, the naïve and easily controllable commoners; the Olderners, people who survived the Blast, do not get older and resemble the intelligentsia; the Murzas, ...
This man is the absolute opposite of everything society holds to be acceptable. Here is a man, with intelligent insight, lucid perception, who is self-admitted to being sick, depraved, and hateful. A man who at every turn is determined to thwart every chance fate offers him to be happy and content. A man who actively seeks to punish and humiliate himself. Dostoyevsky is showing the reader that man is not governed by values which society holds to be all important.
Dostoevsky’s St. Petersburg is a large, uncaring city which fosters a western style of individualism. As Peter Lowe notes, “The city is crowded, but there is no communality in its crowds, no sense of being part of some greater ‘whole.’” Mrs. Raskolnikov initially notices a change in her son marked by his current state of desperate depression, but she fails to realize the full extent of these changes, even after he is convicted for the murder. The conditions and influences are also noticed by Raskolnikov’s mother who comments on the heat and the enclosed environment which is present throughout the city. When visiting Raskolnikov, she exclaims "I'm sure...
...Russian society and social norms. The greatest reminder of this is found in the fact that Lopahkin, the man who Ranevsky once spoke to condescendingly, is now the family’s last hope for survival. Ironically enough, Lopahkin is often glancing at his watch, a reminder that time is changing, and a message that he, himself, is a testament to.
The arena for this ideological contest is Petersburg, full of slums, revolutionary students and petty titular councilors. Scientifically and artificially constructed in the midst of marshland, the city itself is a symbol of the incompatibility of logical planning with humankind's natural sensibilities. The city did not grow randomly or organically, but entirely by czarist decree. Nonetheless, it is a dank and depressing place to live, at least for those in the vicinity of Haymarket Square, where the story takes place. Joseph Frank, Dostoevsky's biographer, says of ...
Turgenov’s Fathers and Sons has several characters who hold strong views of the world. Pavel believes that Russia needs structure from such things as institution, religion, and class hierarchy. Madame Odintsov views the world as simple so long as she keeps it systematic and free from interference. This essay will focus on perhaps the most interesting and complex character in Fathers and Sons: Bazarov. Vladimir Nabakov writes that "Turgenov takes his creature [B] out of a self-imposed pattern and places him in the the normal world of chance." By examining Bazarov this essay will make this statement more clear to the reader. Using nihilism as a starting point we shall look at Bazarov’s views and interpretations of science, government and institution. Next we will turn to the issue relationships. Finally we examine Bazarov’s death and the stunning truths it reveals. These issues combined with the theme of nihilism will prove that chance, or fate is a strong force which cannot easily be negated. Nihilism as a concept is used throughout Fathers and Sons. To gain a better understanding of the ideas behind this term let’s look at what Bazarov says on the subject. "We base our conduct on what we recognize as useful... the most useful thing we can do is to repudiate – and so we repudiate" (123). The base concept of nihilism is to deny or negate, and as we learn later in the same paragraph, to negate everything. With this ‘destruction’ of everything from science to art there is no building for nihilists, as Bazarov says "That is not our affair" (126). Nihilists view the current structure of society as concerned with such trivialties as ‘art’ and ‘parliamentism’ while ignoring real life issues such as food, freedom, and equally. Nihilists are aware of these social woes and hence mentally deny to recognize any of the present authority or institutions which only serve to perpetuate a myth. Bazarov agrees with the statement that nihilism "confine[s] [oneself] to abuse" (126). "... I don’t believe in anything: and what is science—science in the abstract? There are sciences as there are trades and professions, but abstract science just doesn’t exist" (98). For Bazarov anything that is not tangible and concrete doesn’t exist. Psychology, quantum mechanics, neurochemistry would be scoffed at by Bazarov. It seems peculiar that Bazarov would say, "... nowadays we laugh at medicine in general, and worship no one," (197) while at the same time he pursues a career as a doctor.
Raskolinkov’s beliefs transform from the beginning of the novel to the ending. His theory was never complete and to test his theory he commits the murder of an evil soul. The irony of this novel is Raskolinkov who though he was an extraordinary men, have the will to commit murder but not the power to live with the crime on his hands.
After the death of his father, Pavel, who is only a teenaged boy, joins the factory and there he learns the collective power of the proletariat. He discovers that the working class is the real agent of change in society. That leads him to a series of study circles and book-reading sessions in which like-minded, socialist workers actively take part. The studious, caring and politically aware person Pavel becomes a hero of the revolutionary circle.