One of the horrors of Soviet Union domination is the destruction of cultures and the way of life in regards to the ethnic minority groups. This tragedy may be witnessed by the governments attempts to equal all people through affirmative action policies. Yet the governments good hearted choices back fired on them as the people they attempted to help suffered through forced relocation, cultural degradation, as well as segregation. But regardless of the governments attempts to create a sort of “Soviet Culture”, writers and poets stood up to the cause and made their voice heard by all the people. The writer and poet Askold Bazhanov of the Saami people once wrote about the hardships and regret of his people in the Poem titled How They Loved Us Half-Savages. …show more content…
To describe these damages, Bazhanov takes the homes he lives in and compares them to the homes he used to live in. Bazhanov describes how the “faceless brick houses” create a homesickness towards his “traditional and habitual” tents. The use of the word “faceless” shows the destruction of the Saami culture and its architectural traditions in regards to tent building. This also shows how plain and identical the new era buildings are giving a lack of identity to the Saami people. To add on, the use of the term “faceless” indicates the author does not find his living quarters as a home. This simple example shows the extent the Soviet Union went into creating a unified state. By doing something as simple as creating identical housing for all people, the term home looses its true meaning and everyone becomes equal. By doing so ethnic groups are already forced to pick up the Soviet culture through the means of their homes becoming identical to all the rest.
Bazhanov also enlightens the reader by describing his distaste for collectivization and how this broad change critically effects the Saami culture. Bazhanov points out the fact that he can no longer “bear the torch of our family’s honest work” implying that the collectivization method has critically harmed his family work ethics ands his lively hood. By writing this sentence, Bazhanov implies to the reader that embracing the changes that are brought by the Soviet Union not only change the Saami culture but also disrupt the living habits of its
The contrast Shalamov’s proposes allows us to place ourselves within the train of thought of a prisoner—allowing us to distinguish between the perceptions and thoughts of different positions within the system. While a person with the position of running the Gulag may depict the life of a prisoner as nothing more than animal-like—our narrator allows us to delve further into the treatment of prisoners. The mindset of a prisoner is one of the most significant components when attempting to understand the Gulag so that the culture, prison, and specific mentality is more accurately
Matryona is the little old lady of the village, where people don’t really respect her. He living conditions are shabby- with its wooden shingles and weathered logs, its withered garden and potted plants, its Russian tile stove and icons in the corner and its nanny goat, large cat, mice and cockroaches- but they did not change the kind and generous, unselfish person she was. The dismantling of the outbuilding symbolizes or anticipates the death of the old woman; more than that, it warns of the death of rural Russia, of its ancient, time-tested ways that must not be forgotten. Ultimately, the symbolism and the interconnection of Matryona and here house is used to convey the unnatural ideas of communistic ideology. In communist government, there is no one person but a group of people in power.
It is designed to serve up a series of onslaughts on its prisoners’ both physical and spiritual dignity and pride. With features of the camp ranging from; the nearly intolerable living conditions, to guards forcing the prisoners to strip off their garments for body searches at temperatures of minus forty degrees, to having their (the prisoners) names replaced by unwelcoming combinations of the alphabet and numbers. By doing these horrendous acts the camp erases all traces of individuality and self-worth. However some prisoners counteract, and passively fight against the ‘system’. In this essay Shukhov is taken as a prime example of how he counteracts and holds on to his dignity and
The poem “Siberia” by James Clarence Mangan and the article “Siberia” by Curtis Manley discuss and describe the positive and negative sides of the region. The point of view, imagery, and tone, contrast the stark differences between the two writers' opinions. Both of the writers describe Siberias the areas conflicts and landscapes in different ways using pathos and logos in contrasting variance. In James Clarence Mangan’s poem he expresses Siberia as a cold, gloomy, and an isolated area. He explains Siberia as a place of death and destruction and uses pathos and a depressing tone to create an emotion the reader empathizes with the sadness that prisoners in Siberia felt.
For instance, this shows how Shukhov learns the new ways of consuming his food to survive longer at the gulag. "You had to eat with all your mind on the food-like now, nibbling the bread bit by bit, working the crumbs up into a paste with your tongue and sucking it into your cheeks." (40) It refers to those zeks who do not make it in the gulag, because they scavenge for food instead of earning it by working. " The ones that don't make it are those who lick other men's leftovers..." (4) The hunger will always come back no matter how well you eat at the gulag. "
Post WWl, Russia was still not industrialized, suffering economically and politically and in no doubt in need of a leader after Lenin’s death. “His successor, Joseph Stalin, a ruthless dictator, seized power and turned Russia into a totalitarian state where the government controls all aspects of private and public life.” Stalin showed these traits by using methods of enforcement, state control of individuals and state control of society. The journey of Stalin begins now.
1. Who is narrating the story? The narrator of this short story is not a character of “A Horseman in the Sky” because the text uses third-person narrative mode according for example to the first line of the first paragraph “a soldier lay in clump of laurel” or the second line “He lay”. The use of “He” underlines the narrator point of view that is omniscient.
The nature of Russian society is characterized by a sense of idealism. Russia’s beliefs of the potential for an ideal future have been pervasive throughout history. In 1920, Yevgeny Zamyatin wrote the short story “The Cave” during the midst of the Russian Civil War, a time when nationalism was at an all time low and people were hoping for a brighter future. In contrast to the goals that sparked the revolution, Zamyatin argues that the Russian Civil War will result in a primitive and decimated society that is ultimately worse off than the society that existed prior to the rebellion.
He uses descriptions of spaces in St. Petersburg to morph protagonist Raskolnikov’s mind and his surroundings into an indistinguishable amalgamation of confusion and claustrophobia, showing the Westernized city’s stifling effect on the internal workings of a traditional Russian man bombarded by new ideas. Dostoevsky focuses on St. Petersburg on the scale of individual rooms as opposed to full cityscapes. This use of space is most evident in his repeated descriptions of the cramped living quarters which act as barriers to Raskolnikov’s achievement of his full potential. At many points in the novel, Raskolnikov appears stuck in his own mind as well as in his physical space. The first description of his living-quarters immediately conveys this feeling of entrapment: “His closet was located just under the roof of a tall, five-storied house, and was more like a cupboard than a room.”
The need of disengaging themselves from the others, i.e. the mainstream and the normal, in the description of a Irkutsk hippie, is crucial in the process of getting approved by the community: “the main thing was— the non-acceptance of Soviet life… If you dress differently, it means you are one of ours. If you curse Soviet power— you are one of ours” (“Love, Peace” 585). Their apparent resistance to the Soviet propaganda drew attention from the party authorities, who attempted to suppress the counter culture by arresting and interrogating the participants and condemning them to be “the parasites on the Soviet system” for having no jobs (“Where Did” 635). For instance, in merely a period of six months in 1972, Komsomol activists and police organized more than one hundred raids against hippies (Zhuk 7).
Anton Pavlovich Chekhov’s Three Years (1895) was written a decade before the Revolution of 1905—A period of marked lull that preceded the Revolution wherein the intellectuals either harboured a hope for a resurgent Russia or some (like Chekhov) viewed present with a critical eye knowing that dreams of a rosy future need more than just dreaming. This transitory phase had its tremendous impact on the Russian life and character. In the present paper, I am analyzing one of Chekhov’s work Three Years which sets its characters against the milieu of a pre-revolutionary Russia showing how the passage of time not only determines the work of art per se but human relationships as well: My prime focus being the marriage at the heart of the story—that of Yulia and Laptev. Not only serial time but historical time as well finds a deep
Joseph Stalin (1878-1953) announced the Great Nature Transformation Plan on 20 October 1948 to overcome the yearly droughts by building shelterbelts in the European part of the Soviet Union. Meanwhile, in the Soviet art world, Stalin’s Russian Nationalism reached the pinnacle in the year 1946 and 1948 with the birth of the first and second Zhdanov decrees, which set a firm boundary to the freedom of expression of the artists and musicians. In 1949, when the Zhdanov decrees had already made a severe impact on the artistic career of Dmitry Shostakovich (1906-1975), he composed the oratorio Song of the Forests op. 81. Not only did this oratorio praise Stalin’s
Raskolnikov’s accumulating debt owed to his landlord prevents him from moving outside of Saint Petersburg and causes massive emotional damage. Each time he leaves his apartment, he fears seeing his landlady, The stress and anxiety arising from the debt he owes to his landlord causes him to become unruly and he had, “fallen into a state of nervous depression akin to hypochondria,” feeding into his detachment from society. Not only does Raskolnikov’s living situation seem grim, but his room itself furthers his emotional detachment from society. Raskolnikov’s room allows him to dehumanize himself.
It is a known fact that society undoubtedly fears change. Whether it is fear of the unknown or fear of being vulnerable, society as a whole does not like the idea of change. However, that is simply not the case for the author of Anna Karenina, Leo Tolstoy. Unlike the rest of society during his time Leo Tolstoy sees change as the only method to improving society. Many people in Russian society are, in fact, afraid of change and are more concerned with how they appear to others than what positive effect they could potentially have on society.
[...]and by no means are they thinking about their social condition (Parker, 26).” In contrast the painting itself is a clear social commentary and this grand oil on canvas is rooted in the growing discontent in pre-reform Russia in both general and artist societies. In addition to the shock Russia was enduring over the loss of serfdom, many artists’