“Notes from Underground” was published in 1864 as a feature presentation of his first 1860 issue “The Epoch”. “Notes from Underground” was written by the author during a time when he faced many challenges in his life. Dostoyevsky faced failure in the publishing of his first journal “Time”, his financial position was becoming weaker and embarrassing. Moreover, his wife was dying and his conservatism was eroded leading to a decline in his popularity with the liberal reading Russians and consequently, he became the focus of attack by the radical and liberal press (Fanger 3). Therefore, this research seeks to find how the author presents the aspect of “underground man” and how he approached Charles Darwin’s thoughts of man in “Origin of the Species”.
The tone of “Notes from Underground” is sharp, strange and bitter. The bitterness of the book is traced to the multiple personal misfortunes the author suffered as he wrote his novel. Through these personal tragedies it can be argued that the author presented the position of the “underground man” through his own experiences. Additionally, the research holds the second belief that the novel’s presentation of “underground man” is founded on the social context the novel addresses (Fanger 3). Through this, it was found that Dostoevsky presented the suffering of man under the emerging world view directed by European materialism, liberalism and utopianism. As he began writing his novel, Dostoevsky had been directed by the romantic error that looked at utopian social life and the social vision of satisfying and perfecting regular life for man. The failure for the society to gain these achievements was as a result of the distant liberalism and materialism that reduced the power of reasoning and...
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..., his physical inertia thwarts his aggressive desires and he has compulsive talk of himself but has no firm discussion (Frank 50). Moreover, the underground man is full of contempt for readers but is desperate that the reader understands, he reads very widely but writes shallowly, he depicts the social thinkers as superficial and he desires to collide with reality but has no ability to do this. Therefore the underground man is completely emotional, babbly with no real form.
Works Cited
Dostoevsky, Fyodor. Notes from Underground and the Grand Inquisitor, trans. R. E. Matlaw. New York: Dutton, 1960.
Fanger, Donald. Introduction: Notes From Underground. By Fyodor Dostoevsky. Trans. Mirra Ginsburg. NY: Bantam, 1992.
Frank, Joseph. “Nihilism and Notes from Underground." In Modern Critical Views: Fyodor Dostoevsky. Ed. Harold Bloom. NY: Chelsea House, 1988: 35-58
The use of mass terror was one of the most representative characteristics of the Stalinist regime. The Gulag embodied the constant and large scale use of fear by the Bolsheviks to administer the population. Varlam Shalamov’s Kolyma Tales and Fyodor Mochulsky’s Gulag Boss stood out by their treatment of the question. While relating the same events, namely the daily routine of an arctic Gulag, these two works dealt with this topic from two diametrically opposed perspectives. Indeed, Shalamov was a political prisoner for seventeen years while Mochulsky was a supervisor in the camp. Therefore, their experience of the Gulag diverged in nearly every aspect. Furthermore, Mochulsky and Shalamov pursued different designs. On the one hand, Shalamov attempts to depict the Gulag’s ability to dehumanize prisoners. On the other hand, Mochulsky wrote his book after the fall of the USSR. As a former guard, he attempted to justify his past behavior, not to say exonerate himself.
Intro with Thesis: A Day in the Life of Ivan Denisovich is a novel by Alexander Solzhenitsyn that documents totalitarian communism through the eyes of an ordinary prisoner in a Soviet labor camp. This story describes the protagonist, Ivan Denisovich Shukhov, as he freezes and starves with the other prisoners, trying to survive the remainder of his ten-year sentence. In this story, Solzhenitsyn uses the struggles in the camp as a way to represent the defaults of the Soviet Union under Stalin’s regime. By doing this, Solzhenitsyn uses authoritative oppression in his labour camps to demonstrate the corrupt nature of the Soviet system.
As the story unfolds, Dostoevsky introduces the reader to Raskolnikov, a troubled young man who is extremely isolated from those who surround him. He lives in a small, dingy, dusty, and dirty room in a small unattractive house. He lives in an abstract world neglecting the real. He is quite separate from all the people with whom he has contact. In the opening chapter, Raskolnikov is said to be, "so completely absorbed in himself, and isolated from his fellows that he dreaded meeting, not only his landlady, but any one at all" (1). People come physically close to him, but everyone is forced to remain distant mentally. He walks through the crowded, noisy, dirty streets of St. Petersburg physically but somehow he never does so mentally, moving through the streets like a zombie, not a man. He is not aware of his location and often jostles bewildered pedestrians. Therefore, at the outset of the novel Dostoevsky illustrates the apparent schism between the mind and body of Raskolnikov.
...Agent. Both feel called to action, but when action is in front of them, asking them make a decision, they change their minds. Both are pessimists of the world, and both are desperate to see society and its twisted norms slowly go away. Even their names both symbolize a certain aspect; the man underground or the man that is hidden away, and the professor which is a name omits him from the rest of the classroom. Verloc has chosen a job that keeps him from the usual and allows it to alienate himself from others. Though his family’s falling relationship influences him be alone. When Verloc dies he sees his family fall apart in front of him. Mr. Verloc is like the Underground man because he alienates himself from getting close to other people. Mr. Verloc is like the underground man in the way he distances himself from everything including his wife, family, and world.
The problem of reconciling an omnipotent, perfectly just, perfectly benevolent god with a world full of evil and suffering has plagued believers since the beginning of religious thought. Atheists often site this paradox in order to demonstrate that such a god cannot exist and, therefore, that theism is an invalid position. Theodicy is a branch of philosophy that seeks to defend religion by reconciling the supposed existence of an omnipotent, perfectly just God with the presence of evil and suffering in the world. In fact, the word “theodicy” consists of the Greek words “theos,” or God, and “dike,” or justice (Knox 1981, 1). Thus, theodicy seeks to find a sense of divine justice in a world filled with suffering.
Light, James. "Violence, Dreams, and Dostoevsky: The Art of Nathanael West." College English 19.5 (1958): 208-213. Print.
“The Slynx”, the first novel of Tatyana Tolstaya, had been under process of writing for nearly 14 years and was finally released in 2000. Tatyana Tolstaya is a Russian author, who began her writing career in mid-1980s as a publisher of short stories in various literary magazines. In 1986 she started working on “The Slynx”, a.k.a. “Кысь”. This novel is an intentional example of writing during the censorship period. Therefore, it is largely inter-textual, ironical and, most importantly, Aesopian. The plot is based in “the town of Fyodor-Kumichsk” (Tolstaya 10), which is in fact, the city of Moscow, 200 years after a mysterious and apocalyptic catastrophe – the Blast. The society, however, is not advanced at all, it reminds more of the medieval communities full of exclusion, inequality, tyranny and illiteracy.
Dostoevsky’s St. Petersburg is a large, uncaring city which fosters a western style of individualism. As Peter Lowe notes, “The city is crowded, but there is no communality in its crowds, no sense of being part of some greater ‘whole.’” Mrs. Raskolnikov initially notices a change in her son marked by his current state of desperate depression, but she fails to realize the full extent of these changes, even after he is convicted for the murder. The conditions and influences are also noticed by Raskolnikov’s mother who comments on the heat and the enclosed environment which is present throughout the city. When visiting Raskolnikov, she exclaims "I'm sure...
Kjetsaa, Geir. Fyodor Dostoyevsky, A Writer's Life. New York, New York: Viking Penguin Inc., 1987,
Dostoevsky, Fyodor. Notes from Underground: A New Translation, Backgrounds and Sources, Responses, Criticism. Norton Critical Edition. New York: Norton, 1989.
Dostoevsky, Fyodor. Notes from Underground: A New Translation, Backgrounds and Sources, Responses, Criticism. Norton Critical Edition. New York: Norton, 1989.
In describing the setting, the general locale is the prison in the coldest part of Russia- Siberia, geographically but socially depicting the social circumstances in the prison, but draws analogies to the general social, political and economic circumstances of Russia during the Stalinist era (form 1917 revolution up to 1955). The symbolic significance of the novel and the film (genres) reflects experiences, values and attitudes of the Russian society. The genres reflect the origins of the Russian social disorders and massive counts of political misgivings which watered down real communism in Russia. We are constantly reminded of the social and cultural heritage and originality of Russian ethnic groups through those different levels of meanings
In Notes from Underground, Dostoyevsky relates the viewpoints and doings of a very peculiar man. The man is peculiar because of his lack of self-respect, his sadistic and masochistic tendencies, and his horrible delight in inflicting emotional pain on himself and others. Almost instantly the reader is forced to hate this man. He has no redeeming values, all of his insights into human nature are ghastly, and once he begins the narrative of his life, the reader begins to actively hate and pity him.
Dostoyevsky's characters are very similar, as is his stories. He puts a strong stress on the estrangement and isolation his characters feel. His characters are both brilliant and "sick" as mentioned in each novel, poisoned by their intelligence. In Notes from the Underground, the character, who is never given a name, writes his journal from solitude. He is spoiled by his intelligence, giving him a fierce conceit with which he lashes out at the world and justifies the malicious things he does. At the same time, though, he speaks of the doubt he feels at the value of human thought and purpose and later, of human life. He believes that intelligence, to be constantly questioning and "faithless(ly) drifting" between ideas, is a curse. To be damned to see everything, clearly as a window (and that includes things that aren't meant to be seen, such as the corruption in the world) or constantly seeking the meaning of things elusive. Dostoyevsky thought that humans are evil, destructive and irrational.
The arena for this ideological contest is Petersburg, full of slums, revolutionary students and petty titular councilors. Scientifically and artificially constructed in the midst of marshland, the city itself is a symbol of the incompatibility of logical planning with humankind's natural sensibilities. The city did not grow randomly or organically, but entirely by czarist decree. Nonetheless, it is a dank and depressing place to live, at least for those in the vicinity of Haymarket Square, where the story takes place. Joseph Frank, Dostoevsky's biographer, says of ...