Abstract This paper discusses the beliefs and philosophies of the rhetorical theorist MikhailBakhtin. Amongst the ideas examined are Bakhtin's belief that everything ideological possesses a meaning which is indicated by a sign and how he unified physical utterance and the written word. The author also identifies which of Saussure's ideas Bakhtin accepted and which he rejected.
From the Paper "Mikhail Bakhtin, in his rhetoric, mixes literary criticism with rhetoric, following in the footsteps of Saussure and others in this regard. At the same time, Bakhtin rejected many of Saussure's ideas, such as that "the meaning of discourse is to be found in the psychological processing of signs" (911). Saussure's approach is also known as Structuralism and has been applied to a wide variety of forms of human communication. In literary criticism, for instance, the Structuralist approach owes much to linguistic studies and to ideas about language in general. Bakhtin in his literary criticism rejected the distinction between literary and ordinary language and so attacked the existing Russian Formalist school. The Formalists sought to isolate the text, while Bakhtin did not."
Abstract This paper looks for the 'truths' in Mikhail Kuzmin's novella, 'Wings'. The paper encompasses, embodies and embraces comparative, as well as, contrasting characters, concepts, components and considerations reportedly related to the novela, ". . . the first overtly gay novel ever published." The paper explains that there is a need for research that examines and expounds on contemporary "truths," contributing to erotic and homoerotic literature, in order to delineate whether "Wings" qualifies as diabolical or divine.
Outline:
I. Introduction
Search after "Truths"
Mikhail Alekseyevich Kuzmin's Works
From the Paper "Mikhail Alekseyevich Kuzminm, born October 6, 1872, a prominent Russian poet, playwright, and writer during the Silver Age period, prolific in multiple genres, was considered by his aficionados as one of the boldest, creative proponents of the reassessment process in Russia. Kuzmin, born into a family of the minor nobility in Saratov, near Yaroslavl, Russia, initially planned a career as a composer as he studied at St. Petersburg University. In 1891, Kuzmin became a member of Nikolai Rimsky-Korsakov's music composition there. During his educational pursuits under Nikolay Rimsky-Korsakov at the St. Petersburg Conservatory in1894, however, Kuzmin discontinued his musical education, after completing only three years of a seven-year course. During this time, however, he learned Italian and German.
The year following his withdrawal from St. Petersburg (1895), Kuzmin traveled to and throughout Egypt with his mother. After his mother returned to Russia, Kuzmin settled in Alexandria where his years in this city notably inspired his most acclaimed collection of poetry. In 1897, Kuzim visited Italy, later basing much of his 1906 novel Kryl'ia (translated in 1972 as Wings: Prose and Poetry ) on his experiences there. "
Tags: controversial, soviet, union, gay, homosexual, liberty
Abstract An analysis of Mikhail Bulgakov's "The Master and Margarita". The author describes the use of structure, text and style in the novel often referred to as 'fantasy'. The author discusses how these reveal the theme of good and evil in the novel.
From the Paper "Mikhail Bulgakov's The Master and Margarita is a tale of black magic and of a spiritual journey. Ivan Bezdomy, whose surreal spiritual adventure, is the eye of the story's illusionary hurricane, doesn"t even get his name in the title. This discussion, based on the premise that this is more Ivan's story than the Master"s, attempts to track the trickery that masquerades as Bulgakov's search for a hero. Careful analysis of structure, text and style reveals that Ivan and the Master are actually schizophrenic halves of the same character. The style in which Bulgakov chooses to write this novel, has been variously described as "magical realism" (Grenier 286), ? bizarre phantasmagoria? (Wakeman 240), and a "fantasy" (Calendar 76). This style is brilliantly suited to Bulgakov's intent which is not only to satirize Stalinist Russia, but to deeply ponder the nature of good and evil and to present the union of Ivan and the Master as a foil for Satan."
Abstract This paper analyzes early twentieth-century Russian theater and cabaret. It focuses on the work of writer, poet and playwright Mikhail Kuzmin and Italian commedia dell'arte. It provides a background of Kusmin's life and focuses on the impact of his homosexuality in his writing. The paper then describes some of his works and critics' analyses of them.
Table of Contents:
Objective
Introduction
Kuzmin (writer, poet, playwright) Russia's First Openly Gay Writer
The Entire Life of the People Lived Out in the Theatre
Integration of Elements of Commedia and Reality
Summary and Conclusion
From the Paper "The unleashed sexuality, the brewing revolution, and the overall societal shift during this period of time resulted in vivid displays of contention of the present political system at this time in Russia. Masses flooded the theaters and the theaters took to the streets as a revolutionary spirit moved in and among all in the Russian society, inciting rebellion against the status quo and in the dramatic displays in the artistic events and movement of that time period that was the driver of and to a great extent of the progression of the revolution that took place in Russian in the early twentieth century."
"Artists were given prominence among scholars and politicians however, only for a moment of time as post-Revolution thought exhibited little appreciation of those who provided such fire and energy propelling the revolution forward. The post-Revolution period witnessed the work of Kuzmin "falling out of favor with the Communists, and Leon Trotsky (1879-1940), in the work entitled: "Literature and Revolution" (1924) labeled the work of Kuzmin as "disreputable and useless." (Clayton, nd )"
Abstract This paper examines the era of the Cold War and in particular, the role played by Mikhail Gorbachev in influencing the course of historical events in the 1980s. The thesis is argued that Gorbachev initiated the processes that brought about the end of the Cold War not so much in response to international conditions so much as to the domestic situation in the Soviet Union - both economic and political. It also argues that he realized that immediate steps to reform were required if the Soviet Union were to meet the challenges of a new era.
Outline:
Introduction
The Soviet Union Before Gorbachev
The Domestic Climate of the USSR
Gorbachev's "New Thinking" and the End of the Cold War
Riding the Dragon of Reform
Conclusion
From the Paper "While it is undeniable that Mikhail Gorbachev is the single most important Soviet figure during the 1980s, and arguably the personality most responsible for the end of the Cold War, his rise to power in the Soviet system represents a fascinating problem for students of Soviet history. Indeed, several years after Gorbachev had come to power George Kennan - the U.S. diplomat who had played a key role in the development of the "containment strategy" in the 1940s - was asked in a television interview how so unconventional a figure could have risen to the top of the Soviet system that had - during the long Brezhnev era - being characterized as moribund and extremely conservative. Kennan's response is illuminating: "I really cannot explain it." "
Abstract Finds that the sole purpose of TV shows is to create messages. Discusses the role of TV as an instrument to present things to people, Bakhtin's theory and situational comedies, such as "Cheers," "Seinfeld", and "The Simpsons."
From the Paper "Facts, shmacts! Don't worry about facts Lisa. People can use facts to prove anything. Forget facts and listen to Daddy." (Homer J. Simpson, 1990) This paper will maintain..."
This paper examines Mikhail Bulgakov's novel "The Master and Margarita", a satirical portrayal of Soviet repression in 1930s, focusing on censorship of artistic and religious expression.
1,350 words (approx. 5.4 pages), 1 source, 1994, $ 47.95
From the Paper "This study will examine Mikhail Bulgakov's "The Master and Margarita", focusing on the the novel's portrayal of Soviet life in the period from 1929 to 1939 (that is, how citizens were expected to act, think, and express themselves). The study will discuss Bulgakov's critique of this culture, and will discuss the author's alternative to this repressive culture insofar as it is implied in the novel.
Bulgakov is interested in one specific aspect of the relation of the repressive governmental structure to the individual, and that aspect has to do with artistic creation. As the translator writes in the introduction, Bulgakov has a "lasting concern with the relation of the artist, the creative individual, to state authority, and with the fate of the artist's work" (Bulgakov xi-xii). This concern was due in part to the ... "
Abstract This paper analyzes the symbolism contained in Mikhail Zoshchenko's short story, "Bees and People". Zoshchenko skillfully created a political satire that was able to slip through the cracks of Stalin's scrupulous censorship. The writer argues that each character represents a historical figure and presents a theory and proof, piecing together the historical puzzle.
From the Paper "Joseph Stalin was a man of steel, in the sense of barriers, that is. During his prime in the 1940s, Stalin was a master of secrecy. He kept missions as significant as the "Manhattan Project" under wraps. His main medium of secrecy was censorship. After carefully selecting his censors, they were made well acquainted with a book called An Enumeration of Information Prohibited for Publication in the News Media. This clearly defined what was permitted and what was to be banished. Mikhail Zoshchenko was one such writer who passed Stalin's examination. His short story, "Bees and People", outlines just how Stalin's "community" works."
Abstract This paper looks at Mikhail Lermontov's hatred for Russian society by closely examining a story ("Princess Mary") from his book "A Hero of our Time". By illustrating the interactions between Pechorin and his two female acquaintances, Princess Mary and Vera and also by examining the story's setting, the author shows Lermontov's true feelings for the Russian upper caste.
From the Paper ""People have been fed enough sweets"they need bitter medicine? Lermontov could have created the protagonist, Pechorin, as an anti-hero for a multitude of reasons. However, Lermontov's incentive for such a fabrication as Pechorin can basically be traced to his general disillusionment with mankind. The author even states, in his introduction to ?A Hero of Our Time,? that while some people might not fully believe a person like Pechorin could exist, ?[i]s it not perhaps because there is more truth in this character than you would like there to be?? ("Introduction" 132). While the reader is tempted to automatically hate the character Pechorin for the things that he does and the motives compelling him to do them, many readers will also feel a generally unwanted connection between Pechorin and themselves."
A discussion of whether Mikhail Bulgakov's use of the fantastic in "The Master and Margarita?" is designed to undermine, even to ridicule, the "certainties" of the materialist world-view.
1,851 words (approx. 7.4 pages), 0 sources, 2002, $ 59.95
Abstract This paper reviews Mikhail Bulgakov's book "The Master and Margarita" and examines his views on the accepted Soviet stand on fate, human nature, atheism, censorship, personal identity documentation and forced literature. It looks at how through the use of the fantastic in his novel Bulgakov seeks to ridicule and undermine the foundations of these Soviet certainties. It shows how throughout the novel Bulgakov's use of implausible and incredible happenings effectively undermine the "certainties" of the materialist world. It analyzes how Massolit is destroyed, bureaucracy is ridiculed, xenophobic attitudes are parodied and institutions and theories are mocked relentlessly, even in the epilogue. It examines how the Soviet machine is even able to rationalize the supernatural and how this rationale creates such absurdities as people arresting cats and furthermore, giving glowing references for their release. Bulgakov's use of the fantastical as a device to satirize and thereby undermine accepted "certainties" of his time is genuinely masterful.
From the Paper "Throughout the novel, Bulgakov bends the parameters of space, time and imagination, for the Moscow residents, and the reader. Passports, papers, people and money all come and go at Woland's will. Parties that last for hours take only minutes. Guns have no effect and people start to fly. Despite the fact that Soviet Citizens are generally used to mysterious disappearances, and unexplained circumstances, such as those that often lead to arrest, during the Devil's stay in Moscow, they are understandably bewildered. The rumours cannot be put down until the Devil and his retinue have left."
Abstract Alexander Pushkin's "The Shot" and Mikhail Lermontov's "The Fatalist" are two stories of fate and the possibility of life being planned out for us before it happens. The paper shows that both of these stories try to convey that even if at first it seems that a person is able to escape his immediate future, sooner or later, destiny will catch up and they will be proven wrong. The paper shows that while "The Shot" explains this point in a metaphorical way, "The Fatalist" shows that predestination exists by a physical example of death. The paper compares the two books and draws conclusions in terms of similarities and differences.
From the Paper "But just like in "The Shot", Vulich is proven wrong, because later that same night, he is killed by a drunk in the street. Vulich, after many times of avoiding his fate, was shown that he can try to hide from it as much as he can, but in the end, it will catch up with him. Pechorin says that Vulich's last word were "he was right," referring to Pechorin's prediction of saying that Vulich will die today (Lermontov, 182). At the end of his life, Vulich finally admitted to himself that he is unable to avoid the future that is planned out for him. This time, predestination and its existence was proven by actual death."
Examination of the frontiers of power as portrayed in Gabriel Garcia Marquez's "One Hundred Years of Solitude" and Mikhail Bulgakov's "The Master and Margarita."
Abstract This paper is a discussion of the struggle for political power as portrayed in both novels. It looks at the themes of power of the individual against the machinery of history, dehumanization, and re-humanization.
From the Paper "Gabriel Garcia Marquez's One Hundred Years of Solitude and Mikhail Bulgakov's The Master and Margarita are both novels which concentrate thematically on the relations of power between humans, and the violence of authoritarian control. Both contain characters in the midst of, and at the mercy of 'great history', and both portray the dehumanising effects of ideological struggle."
Abstract The end of the Cold War found Mikhail Gorbachev and Boris Yeltsin seeking solutions for problems that needed to be solved. Their attempts to reform the socialist state are reviewed in this paper, followed by a summary of the research in the conclusion.
Outline
Introduction
Review and Discussion
Background and Overview
Gorbachev's Glasnost
Yeltsin and Democratization
Analysis
Conclusion
From the Paper "In many ways, Mikhail Gorbachev came to power during a period in Soviet history where things had been going downhill for some time, and the Old Guard was dying off; however, the primary catalyst for reform during Gorbachev period of glasnost, or "openness," was one of economics. For example, in their book, Glasnost, Perestroika and the Socialist Community, Bukowski and Walsh (1990) report that, "The impetus for reform in the Soviet Union came from a number of directions, but the factor of fundamental importance was the economic one. Gorbachev's economic reforms are meant to revitalize a stagnant Soviet economy that has been growing at only about 2 percent annually for a decade. The reasons for the slowdown are partly internal and structural, and partly external." "
Abstract This postgraduate paper examines the NEP and perestroika. The paper discusses how Vladimir Lenin's New Economic Policy and Mikhail Gorbachev's perestroika were similar in terms of their short term political and economic goals, for Lenin and Gorbachev both felt compelled to face economic realities. Both men were confronted by an enormous range of economic challenges, for Lenin not only had to rebuild an economy shattered by years of war and revolution he was intent upon replacing Russia's capitalist economic system with a communist economic system.
Abstract The paper examines whether Russia, which had made significant progress towards democracy under Gorbachev, is slowly being led back to an authoritarian-like rule by Putin or whether Putin is hamstrung by his predecessor, Yeltsin. The author believes that Gorbachev made exemplary strides in taking Russia on the path of democracy. His successors' policies, however, caused Russia to take serious steps backwards in this process. The paper is especially critical of Yeltsin and Putin, citing their backgrounds and personalities as leading to the current backward trends in Russian attempts at democracy.
From the Paper "Over the past century, the Russian Federation has undergone numerous changes in government. From a Tsarist regime in the early 1900s to a totalitarian state under brutal dictator Joseph Stalin, to its present, semi-democracy under ex-KGB leader Vladimir Putin, it's a wonder that Russia has been able to sustain its position as a world power for all these years. In the past decade, Russia had been making an effort to rid themselves of their totalitarian (and communist) past, by moving the government towards democracy, thanks to progressive leaders such as Mikhail Gorbachev and Boris Yeltsin. However, in recent years, Putin has strayed from the democratic path. By taking such measures as jailing his main Presidential opposition, and with the Duma, Russia's parliament, practically controlled by his party, Putin has given himself more power than his predecessors ever had. This, combined with what many call an "anti-democratic culture", has outsiders questioning whether Russia is again veering off course. The main question is whether it's solely Putin's fault for the present state of the Russian government, or if his predecessors left him with little room to maneuver."
