Reading Log Strategy: Analyze A Character Of Pencherjevsky

This book, unlike its predecessor, begins in the thick of things. There is no tearful farewell from the homeland, there is, in fact quite the opposite. While Harrison’s men head toward the harbour that will bring them away from home, McDougall’s men are heading toward a harbour that will lead to their enemy, which they will heroically engage in mortal combat. This heroism is shown exquisitely in “Private Jones’s martyrdom.” (Mason, 95).

Mansur Abdulin takes his experiences on the front ranks and shares them in great detail in his book Red Road From Stalingrad. By describing all the things that are happening in the day to day combat, Abdulin is also giving the readers a glimpse at himself. He tells of mental and physical aspects of battle and shows how it effects all involved. His descriptions and feelings bring the readers into his mind and heart and they see the real Abdulin. His intent is to show and share the “real” life of war and battle. He cares for the cause and is a strong passionate Soviet soldier; however he also creates a different kind of hero by letting his loyalty and conscience to be his guide.

Pre-Revolutionary Russia was infamous for the growing discontent amongst the people from systematic mistreatment and neglect. Sources 6, 7 and 8 despite differing in content and provenance all provide insight into the social situation in pre-revolutionary Russia and reasons for the peoples’ discontent. According to its context statement by M, Anderson, Source 6, Living conditions in pre-revolutionary Russia, is a photograph from the early 20th century that illustrates the standard living conditions of peasants in Russia at the time. This visual source provides primary insight into the standards of poverty that were frequent amongst the working classes and serfs during the circa 1900s. The photograph depicts an emaciated and impoverished family

Generals Die in Bed certainly demonstrates that war is futile and the soldiers suffer both emotionally and physically. Charles Yale Harrison presents a distressing account of the soldiers fighting in the Western front, constantly suffering and eventually abandoning hope for an end to the horrors that they experience daily. The ‘boys’ who went to war became ‘sunk in misery’. We view the war from the perspective of a young soldier who remains nameless. The narrator’s experience displays the futility and horror of war and the despair the soldiers suffered. There is no glory in

His conflict shows us the peasant’s dignity in the depths of deprivation. His full tolerance of his new identity and of his camp life, and his remarkable ability to build a worthwhile existence for himself out of the capricious camp system, make him a spiritual hero. His intensity in living, eating, and working puts him in control of his world. This is exemplified when Shukhov labors on a brick wall, the narrator says that he concentrates on it as if he owned every inch of it. In a way, although he is a slave, he is still the leader of his own small dominion. He is not an aristocrat by birth, but inwardly he is proud, dominant, and invulnerable. Accordingly, immortalizing Shukhov through publication will paint a poignant portrait of survival to the Soviet people, with the added bonus of expediting the liberalization of the national political and intellectual climate.

The details in the memoir have biases that are balanced, and understandable in many instances; when one is passionate about a certain thing, it is hard to take a truly objective view. John Scott’s beliefs about America are unmistakable and it is important to realize that he was considered to be ranked higher than the average Russian peasant in Behind the Urals, nevertheless, he does make an unbiased stand on the true cost of industrial accidents, the overwork of the workers, the hyper-industrialization of the five year plans enacted by Stalin, the peasants pushed out of their land in the collectivization program to be forced into becoming industrial laborers, and the severity of the Stalin’s political purges.

Spiegelman has presented his father’s memoirs in a creative way by portraying racial groups as animals and by making the story into a graphic novel. By presenting it in comic form, Art Spiegelman is able to better capture the emotions of those in the graphic novel. Not a dedication in the conventional sense, the book eternalizes the memoirs of Vladek and those around him.

It would be a challenge not to wonder what causes him to be so nasty, audacious, and insensitive toward everyone, including himself. The transient beauty of Bukowski’s prose is hidden within the elusive and terse nature of his writing. Although it might be hard to appreciate at first glance, it gradually becomes more transparent as the reader becomes increasingly familiar with the two books. With this, the reader gains the ability to enter into the mindset of the protagonist and embark on a series of self-reflections regarding what type of person he/she might have become if he/she experienced similar neglect. Charles Bukowski wrote in a scramble, with a nothing-to-lose truthfulness that became the expedient in reliving the downtrodden generation in which Chinaski is raised. Along with some opinions that were expressed in the critical article in Time Magazine, Bukowski’s main character has deemed himself as none other than what he is in life: a “low life loser.” It does not require an immense level of effort to describe him as such, but attempting to explain a man of his particular genre is unquestionably abstruse. He is ornery and taciturn; when he does speak, it is with no apologies. He lives his life botching any remedial job for which he is lucky enough to get hired, and has no desire to escape the sphere he lives in as a “loser.” The reader must first ask why Henry

Were it a testimony to the rigors and cruelness of human nature, it would be crushing. As it is, it shatters our perception of man and ourselves as no other book, besides perhaps Anne Franke`s diary and the testimony of Elie Wiesl, could ever have done. The prisoners of the labor camp, as in Shukhov?s predicament, were required to behave as Soviets or face severe punishment. In an almost satirical tone Buinovsky exclaims to the squadron that ?You?re not behaving like Soviet People,? and went on saying, ?You?re not behaving like communist.? (28) This type of internal monologue clearly persuades a tone of aggravation and sarcasm directly associated to the oppression?s of communism.

With that thought in mind, we are back to looking at how Arthur Koestler portrayed the character of Rubashov as a vehicle to illustrate the struggle between the ideas of the party and of the individual. The conspicuous disagreement of the Communist Party is the contention between

Rubashov, though a committed Marxist, during his time in the prison seems vexed by the notion that the end justifies the means because he has himself seen that the final result is often not what is seen in the present moment but the truth that becomes apparent only in the light of retrospective thought. Rubashov realizes that it is only history that can pass judgment and thus, the shooting of B. and thirty others by No. 1 will be decided later “He who is in the wrong must pay; he who is in the right will be absolved. That is the law of historical credit;

As stated that the definition of Marxism, it says that one goes from a capitalist government, to a socialist government, and ultimately a classless society with communism.   Here,  this novel stands to be a perfect example of a rise to communism, and the rise of a proletariat. With this, a Marxist theory would begin to see Raskolnikov as a version of the proletariat, or common man, in charge of a violent overthrow.  It is believed by Marxist theorists that the proletariat goes through various stages of development. In the beginning they struggle against the bourgeois, then this metamorphosizes itself into suffering, and the finally through the growth of the masses, victory arises for the common man.  The goal of the Marxist man is to violently overthrow capitalism.  Even though Raskolnikov does not conduct a violent overthrow of the government, he comes together in the same way, by violently killing what he sees as a leach on society.  Raskolnikov battles his emotions and morality because of the murder of the pawnbroker and therefore suffers because of it.  Though Porfiry and Sonia partake in him finding his salvation, it is ultimately Raskolnikov himself that realizes that by accepting his sins he overcomes his emotions and finds redemption.  When “suddenly it was as if something lifted him and flung him down at her feet. He wept and embraced her knees”,

Despite his unpleasant attitude, the Underground Man does crave attention from others and wants to be respected for his intelligence and knowledge. However, he is completely unable to interact with people normally, a characteristic that is perhaps best illustrated through his experiences with the officer who casually pushes him aside one night when the Underground Man is looking for a fight (48). He tries to bring himself to challenge the officer, but lacks the “moral courage” to do so because he is convinced that if anyone were to witness him protesting and speaking “literary Russian,” they would “misunderstand and jeer at [him]” (49). He becomes obsessed with the idea of confronting the officer, dedicating “several years” (49) to “gather[ing] information” about him, even taking a pay advance to buy clothing that he believes will make him and the officer seem “on an equal footing in the eyes of high society” (52). Instigating a conflict is the only way that the Underground Man knows how to somehow participate in life, and regardless of whether or not the interaction he has is a negative one, it’s something. Though it

Poverty is an essential motif in Crime and Punishment that enables characters to expose their isolation from society. Raskolnikov demonstrates the true effect that poverty can have on an unemployed man in the 1860s. Razumikhin is seen as Raskolnikov’s foil character that reacts to his form of poverty in the opposite way of Raskolnikov towards society. The weight of being desperately pour effects Marmeledov to extensive lengths that ultimately ends in his death.

The protagonist, Rodion Romanovich Raskolnikov, a former student, decides to murder and rob an old pawn broker, Alyona Ivanovna, not due to his desperate need of money, but due to a theory he wants to test. Raskolnikov leaves no evidence which would lead the investigation to him; however, the police lieutenant in charge of the case, Porfiry Petrovich, a meticulous thinker, understands Raskolnikov’s theory and has a big role in influencing the student to confess. Between the murder and the confession, Raskolnikov undergoes a long and painful process of thought. His friend, Razumikhin Prokofych, along with a prostitute and his future significant other, Sonia Semyonovna Marmeladova, are part of the protagonist’s path. In the end, Sonia turns out to be Raskolnikov’s salvation as she helps him find redemption and start living