To what extent does the nature and form of a film and literature influence what is or is not presented as “reality?” How do we define what is considered as realism and what isn’t?In the world of realism we find ourselves engulfed in an attitude of living in the moment. By this I mean in regards to realism, we deal with situations as they arise. We do not plan or fabricate or use emotions; we use logic. We see this realism prevalent in Dostoyevsky’s Notes from the Underground. In this story realism is continuously shoved at us through the eyes of a disgruntled man. By the same token, we also see realism in Ray’s Panther Panchali. However, I propose the question: are these two realistic media sources the same? Can we clump these two sources …show more content…
In Notes from the Underground, we witness this peevish man express how he is much more intelligent than most people. He intrinsically brags about how everyone should be just as sullen as he is. If we take this expression at face value all we are left with is a man who is conceited and angry. However ,if we dig a little deeper, we find that underneath his boastfulness, this man secretly wants change. Even though one can argue that the man is looking for counterproductive change. Change is still change at the end of it all. In contrast, Panther Panchali expresses little to no want for change. At the beginning of the film you see the characters going about their everyday routine. Some smiling and laughing, others somber and gloomy. One could argue that the actors, and actresses are, for lack of a better phrase “just going through the motions”. There is no spark or desire to change the circumstances in which they live. Not only does this speak to the general realism of both pieces, but I also believe it speaks to the society depicted in each …show more content…
In Notes from the Underground, his society is peculiar, at least through his eyes. He is visibly upset when his friends reschedule their restaurant reservations and seemingly forgets to tell him. “I must give Zverkov a slap in the Face! I am obligated to do it” (Dostoevsky 753). He is agitated and distraught when Liza takes so long to show up at his house after he invites here. “ I stood before her, crushed, humiliated, abominably ashamed” (Dostoevsky 773).Now to many readers these just seem like petty things and virtually ridiculous to even get upset about. However through the eyes of the Underground man, its logical. Its real and he has a legitimate reason to be upset. The realism in this piece is often found in the reactions of the Underground man in response to the actions of society and vice versa. To both parties they feel as though it is logical for them to feel the way that they do, which is in essence at the heart of realism. This ties into how Notes from the Underground, in parts, can be considered subjective. We have this back and forth between the Underground man and society because of how unreliable the narrator of the story is, which gives us trouble judging what is “real”. So we as readers are conflicted between telling if the Underground man’s reality is sound or are we accepting a distorted view of reality.On the other hand, as mentioned earlier, the society in Panther Panchali, views
In the novel existentialism and isolationism are interpreted through different writing styles, personal taste of the the translator, historical and social context, as well as Dostoevsky’s personal views and experiences. Notes from Underground can be interpreted in many different ways. Some find it tragic, some find it funny. It can be difficult to say what tone the novel is intended to have. Escpecially when translations of the novel can differ so greatly.
Using characterization of Pyotr Petrovich and Andrey Semyonovitch and a criticising, almost condescending, narrative voice, Dostoevsky communicates his belief that the new generation is full of ignorant people who put on an affectation to seem educated and progressive. Andrey Semyonovitch appears first in the passage. He is thought to be “a leading young progressive” (8) who plays “an important part” (9) in the new revolution. His appearance as a leading revolutionary was enough to “impress Pyotr Petrovitch” (11). At first he is appears to be bright, but it is quickly revealed that “Andrey Semyonovitch really was rather stupid” (58).
Dostoyevsky controlled Raskolnikov 's character into inherently agreeing with Christie’s quote, as his life of hate lead him into an existence disengaged from
Despite the Underground Man’s existential crisis, Dostoevsky depicts nihilistic behavior by projecting the protagonist’s thoughts on having control over himself outside of a superior authority. Although it deviates from Dostoevsky’s Russian Orthodox philosophy and morality, it provides insight to the individual becoming a free agent through will ("Notes from the Underground: Book
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 Underground Man wishes to have a role of authority over other individuals however his role in society detains him from even feeling social equal to others. The Underground Man does not
It represents the state of society, with all of its inequalities, prejudices, and deficits. But it also represents the state of society, with all of its inequalities, prejudices, and deficits. But it also represents Raskolnikov’s delirious, against state as he spirals through the novel toward the point of his confession and redemption . He can escape neither the city nor his warped mind from the very beginning, the narrator describes the heat and “the odor” coming off the city, the crowds, and the disorder , and says they “all contributed to irritate the young man’s already excited nerves.” Indeed, it is only when Raskolnikow is forcefully removed from the city to a prison in
The film that is based on realism is simply getting the social values and culture to be seen as a reflection of average values of the different societies to be reflected in the country as a whole. The realism has to do with the
Raskolnikov is an ex-student who spends most of his days crammed in a “closet sized” room. When Raskolnikov is introduced, the reader sees an “ordinary” man who lives day to day and has very little care in the world besides the obvious debt most grown individuals face. But, in some instances of the novel he begins to seem cynical and unstable on many levels of life. Raskolnikov states, “Crime? What crime?
The Underground Man strives to have a role of authority over other individuals, however, his low insignificant position in society detains him from even feeling socially
In Fyodor Dostoyevsky’s, Notes from Underground, we are presented with a complicated character named The Underground Man. He is exceedingly egocentric and believes that he is more intelligent than those in his surroundings. Despite all this, he is also a man who hates himself and often times feels humiliated. As a person who has isolated himself from society, he consistently analyzes and critiques every interaction with another person. For example, when an officer casually shoves the Underground Man In order to deescalate the situation in the tavern, the Underground Man takes offence to this and plots a long term solution to a meniscal problem.
In the Novella Notes From the Underground , by Fyodor Dostoevsky , the Underground Man’s constant demand for power over others leads to the Underground Man losing self-control over his thoughts and actions. In part one, the Underground man believes he is superior over others due to his powerful free will, rejecting logic and the implementations of society. This is contrasted in part two, where he utilizes the stories from romantic novels he reads while in school, and applies them to real life situations with Liza the prostitute, and the Police officer. The underground man equivalates his intelligence to power in part one. His hyperconsciousness gives him superiority over the average citizens in society due to their logic based decisions since he rejects logic because he concludes that a utopian society is absolutely unreachable and absurd.
Dostoyevsky, Fyodor, and Constance Garnett. The Brothers Karamazov. Dover Publications, 2015 Fyodor Pavlovich Karamazov was a vulgar and immoral man that one would wish to never have the pleasure of meeting. His only mission in life was to give in to the many vices that lay in the world around him.
The time period and the way the actors talk, dress, and do are all realistic and true which would make is realism but it is formalism in the fact that a man ages in reverse, is born a 90 year old child and dies a
He uses the underground man from Notes from the Underground as an example again. One of Dostoevsky’s central ideas is good and evil, believing that humanity is “an endless dialectic between good and evil” (Scalen 83). The question of moral epistemology also comes up with Dostoevsky’s ethics. We must look at Conscience and faith. Lastly, Scalen writes about the ethical significance of suffering.