Elena Is A Dense Film

This story’s general setting takes place in nineteenth century Russia. But, there are also many particular settings throughout this narrative that largely affect the characters and create many problems the narrator and Anna Sergeyevna have to face. In the beginning of the story Gurov and Anna find themselves taking vacations in the same city to get away from their other lives. But, when they have to part they realize how much they actually mean to each other. This can be seen in the following excerpt when Gurov realizes that Anna has not left his mind ever since they went home, “He would pace a long time about in his room, remembering it all and smiling; then his memories passed into dreams, and in his fancy the past was mingled with what was to come. Anna Sergeyevna did not visit him in his dreams, but followed him about everywhere like a shadow” (Chekhov 172). Therefore, the conflict that the setting creates is the distance between Gurov and

Gurov, dissatisfied with his monotonous life, goes to Anna because he needs the scandal to relieve a numbness that has taken effect, not because he loves her. She merely reciprocates his affection, not out of love, but to escape the entrapment she feels from her marriage. In a subtle climax during his return home to Moscow, Gurov feels the agonizing absence of anyone he can talk to meaningfully about the personal secrecies of his life, specifically Anna. This intolerable sensation sends him to “S—,“ to find her. Only when Gurov is standing outside Anna’s house does he actually relate to her situation and form some genuine connection. “Just opposite the house stretched a long grey fence adorned with nails…One would run away from a fence like that," thought Gurov, looking from the fence to the windows of the house and back again…He loathed the grey fence more and more, and by now he thought irritably that Anna Sergeyevna had forgotten him, and was perhaps already amusing herself with some one else, and that that was very natural in a young woman who had nothing to look at from morning till night but that confounded fence” (p.230). With Gurov’s realization, he actually escapes his fenced in world and partially enters her miserable one. In sharing a connection, their emotions and psychological needs start to blend together and they become entrapped by the same fence, where inside, the two of them are alone and vulnerable in a shared arena. This isolation

During a chance encounter, Danilov and Vassily meet the beautiful and educated Tanya, a soldier in the Stalingrad home defense campaign. They both fall in love with Tanya. In an attempt to win Tanya’s love, Danilov offers Tanya a safer position within the military, however, she prefers to fight with a rifle in her hand and looks to Vassily as a hero worthy of praise. His shy uncertainty and obvious discomfort in her presence only serve to intensify their feelings for each other.

had a fever just before they were to leave. She went with Victor Komarovsky, a friend of her mother 's. Lara is apparently Victor’s niece but that was not made to be an important factoid. Victor is a powerful and rich figure in Russian society just based on his comments like “do you have any idea how expensive this meal is?” Earlier in the movie, a reformer named Pasha Antipov is passing out fliers to a crowd. The fliers are for a peaceful rally that is pushing for a revolution. That night after Lara comes home from dinner with Victor Komarovsky, Pasha Antipov, who we find out later is going to marry Lara, comes to Lara’s house after being injured by the Cossacks who came out to forcefully stop a peaceful protest. Pasha goes to Lara because he needs help treating the cut on his face. There is a bit of foreshadowing when they grab the bottle because later on Lara 's mother finds her messing out with Victor Komarovsky and tries to use what was in the bottle to commit suicide. Victor Komarovsky sends a letter to get assistance from the doctor but he sends it to a doctor who was really far away. When the letter arrives, Zhivago just happens

Early in this graphic novel the reader encounters a tension between Vladek and his son, Artie. In the opening sequence the reader is told that Artie has not visited his father in two years, even though they lived very close, and details the status of their relationship. There are two types of guilt in this novel; survivors guilt which laid the foundation for family guilt.

The stories of Anton Chekhov mark a focal moment in European fiction. This is the point where 19th realist caucus of the short stories started their transformation into modern form. As such, his work straddles two traditions. The first is that of the anti-romantic realism which has a sharp observation of external social detail. It has human behavior conveyed within tight plot. The second is the modern psychological realism in which the action in typically internal and expressed in associative narrative that is built on epiphanic moments. In consideration of the two sides, Chekhov developed powerful personal styles that presage modernism without losing traditional frills of the form. This essay will discuss the Chekhov's portrayal of women.

In an emotional sense she tried to deliver her feelings and her aching soul’s agonies to the reader as a means of explaining why she decided to write this book which ultimately addresses her own personal life, as she writes in her book “I was ravenous for love” (23). It is evident that when she speaks about love she is referring to her own emotions which can be categorized as a personal component of her life.

Not only is Petrukhina’s family falling apart, she also experiences professional distress. After the war, she remains an authoritative figure as a headmistress. Nevertheless, her new profession requires her to fulfill a maternal role. In the school, her rough demeanor makes her mean and unpopular among her students. Her failure to help a problematic student makes her appear unsuitable for her job in the school. It shows her failure to achieve “professional self-realization” as expected for the women in the new post-war society (77). Her professional failure seems to contradict her independent personality, showing the ambivalent interpretation of gender equality before and after the war. Women gained equality during the war when they were recruited into the military, but the post-war equality is based on maternal images of the women. This paradox of gender equality causes Petrukhina to feel frustrated when her personality from the war clashes with a new identity that she tries to foster in order to fit into the post-war soviety.

“Days of a Russian Noblewoman” is a translated memoir originally written by a Russian noblewoman named Anna Labzina. Anna’s memoir gives a unique perspective of the private life and gender roles of noble families in Russia. Anna sees the male and female gender as similar in nature, but not in morality and religiosity. She sees men as fundamentally different in morality and religiosity because of their capability to be freely dogmatic, outspoken, and libertine. Anna implies throughout her memoir that woman in this society have the capacity to shape and control their lives through exuding a modest, submissive, and virtuous behavior in times of torment. Through her marriage, Labzina discovers that her society is highly male centered.

Furthermore, the deterioration of marriage is shown to impede individual transcendence. After Lara's parting, Pasternak describes Zhivago's emotional decline, stating, "Something incongruous was taking place in Yuri Andreevich. He was slowly losing his mind . . . He neglected the house, stopped looking after himself, turned nights into days, and lost count of the time that had passed since Lara's departure" (537). Indicative of Zhivago's emotional and psychological deterioration after the permanent departure of Lara and Sonia from his life, Zhivago devolves into a beggar and takes a common wife for the singular purpose of having someone.

But it is also this spiritual deterritorialization that follows Nabokov throughout his life that makes his account of his life seem more artistic and disconnected, even if there is a profound emotional impact on the reader in the end. While some moments in his life might evoke sympathy, like his retelling of his father’s death, or make readers to take a side, such as the incident with Nesbit during his time in Cambridge, Nabokov keeps the reader at a distance by concealing his feelings in rhetoric. An example of this is the “short biography” (173) of his father. Using vivid details to describe his father, one can feel the spiritual resonance the experience had on Nabokov. “And behind it all there was yet a very special emotional abyss that I was

|How symbolic are object and materials in “Kitchen” and “A Day in the Life of Ivan Denisovitch”? |1 |

For my future essay, I have chosen Tarkovsky “Stalker”, a cult movie of my generation. I realize that volumes were written, and I probably won’t be able to add anything new but my own personal reflection, and yet I dare to write on this subject since “Stalker” became a special landmark in my (and not only my) spiritual development. Although at this very moment, I do not have a strong compositional arrangement for my essay, first, I would like to explore the combination of reasons why “Stalker” along with other Tarkovsky’s movies had such a profound effect on me and my peers. While the movie itself, its language and questions that it raised was a major reason, the historic context and country where we all grew up played its role: in spite

Gurov has found a woman he can love for the rest of his life, and he hates the fact that she is not with him. She has left him just as the way he would leave the women he has had affairs with. He feels that she is the only woman to make him happy in the world. His own past has doomed him; He knows he can never be with Anna but trys to make a effort to see her again in S--. He arrives at her home to see that she is enclosed by a long fence, slammed in with nails, a prison he imagines it to be. Desperately seeking to find her he attends a theater at night. He sees her there with her tall husband, wearing a uniform. While her husband is gone, Gurov approaches her to speak with him, as she leaves the auditorium to avoid him. Gurov catches up to her and they speak for a short while and Anna promises to him that she will come to Moscow to visit him.

In 19th century Russian literature there was often a gender inequality depicted between the male and female characters. Women were expected to get married, start a family, and obey their husbands. Women often made sacrifices and married men they weren’t fond of in order to support their families. Anton Chekhov’s writing questions these gender relationships. The female characters have a strong presence within Chekhov’s works, and they transcend typical gender roles.