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__ Romanticism __ : artistic and intellectual movement origination in C18 – heightened interest in nature, emphasis on the individual, expression of emotion and rebellion against social rules and restrictions. __ Existentialism: __ the uniqueness and isolation of the individual in a hostile or indifferent universe – expresses freedom of choice and the individual as a free agent in a seemingly meaningless universe. ** Pechorin: ** ** Princess Mary ** // Characterisation // // Symbolism // // Thematic discussions // // Role of women //  **General Notes** __ Symbolism __ //** Maxim Maximych **// //**Taman**//
 * //Anna A.: //**
 * Release from nature
 * Expresses a great deal of emotion
 * Rebels against social rules and restrictions – cynical and hurtful manner
 * However, isn’t fully a romantic hero – bitterness, cynicism, hurtful believing in the superiority of reason
 * Mélange of romanticism and realism
 * <span style="font-family: 'Times New Roman',Times,serif; font-size: 11pt;">Is he an existentialist? He says he believes in fate – but arguably is in total control of his actions.
 * <span style="font-family: 'Times New Roman',Times,serif; font-size: 11pt;">Winston as an existentialist? – at the beginning, but changed because of Julia, but never has freedom of choice (believes he does, does that count?)
 * <span style="font-family: 'Times New Roman',Times,serif; font-size: 11pt;">Mood is lighter, more romantic and sublime when people aren’t around – darkens and changes with people around
 * <span style="font-family: 'Times New Roman',Times,serif; font-size: 11pt;">o Psychological side of the novel
 * <span style="font-family: 'Times New Roman',Times,serif; font-size: 11pt;">Tone becoming more cynical as he comes closer from society
 * <span style="font-family: 'Times New Roman',Times,serif; font-size: 11pt;">Wants to encounter society, gives hints that he wants to be in it, but when he gets to be around people he rebels – not sure about his place in the world, superfluous
 * <span style="font-family: 'Times New Roman',Times,serif;"> o // “However, enough of that. I’m off to the Elizabethan spring. I hear all spa society gathers.” //
 * <span style="font-family: 'Times New Roman',Times,serif; font-size: 11pt;">Disdain and rancour aimed more towards men – frustrates him
 * <span style="font-family: 'Times New Roman',Times,serif;"> Although Pechorin seems to be superfluous to society, he understands and pays such attention to detail of society’s inner workings – again, we see that there are contradictions and complexities to his character.Monster!! // “ambition is nothing more than a lust for power and my chief delight is to dominate those around me. To inspire in others love, devotion, fear.” // – lust, dominates, devotion, fear – contradiction in semantic field – sweet, power, evil, torture, suffer, love
 * o <span style="font-family: 'Times New Roman',Times,serif; font-size: 11pt;">Sublime with nature, cruel and harsh with people
 * <span style="font-family: 'Times New Roman',Times,serif; font-size: 11pt;">Although Pechorin seems to be superfluous to society, he understands and pays Looking for beauty and poetry, but also savagery – looking extremities of behaviour, like Winston who searches for something different in the people around him
 * <span style="font-family: 'Times New Roman',Times,serif; font-size: 11pt;">Lermontov continuously maintains a sense of contradiction
 * o <span style="font-family: 'Times New Roman',Times,serif;">// “I was born with a passion for contradiction. My whole life has been nothing but a series of dismal, unsuccessful attempts to go against or reason. An enthusiast turns me cold as ice, and I fancy that frequent contact with a languid phlegmatic would turn me into an ardent idealist.” //
 * <span style="font-family: 'Times New Roman',Times,serif;"> o // “I’m no longer capable of losing my head in love. // <span style="font-family: 'Times New Roman',Times,serif; font-size: 11pt;">” – but he wants to!
 * <span style="font-family: 'Times New Roman',Times,serif; font-size: 11pt;">Malady to society – so many sides of Pechorin, amalgamation of all these different character traits, makes sense that he’s a construct, not a real person
 * <span style="font-family: 'Times New Roman',Times,serif; font-size: 11pt;">Warped, bizarre motivation – elements of a rather odd desire to be needed (competitive sense of masculine pride)
 * <span style="font-family: 'Times New Roman',Times,serif; font-size: 11pt;">Proud of himself because he can spin a good story, but critical of others because they laugh and roar because of his story, but didn’t put much thought in it
 * <span style="font-family: 'Times New Roman',Times,serif; font-size: 11pt;">Why does he bait men? We know why and how he manipulates women
 * o <span style="font-family: 'Times New Roman',Times,serif; font-size: 11pt;">Pride at being able to draw in those around himself
 * <span style="font-family: 'Times New Roman',Times,serif; font-size: 11pt;">Attention to detail – charming, intellectual (makes him dangerous)
 * <span style="font-family: 'Times New Roman',Times,serif; font-size: 11pt;">Desire to be needed – move backwards
 * o <span style="font-family: 'Times New Roman',Times,serif;">// “Now all I want is to be loved, and by few people at that. I think I’d even be content with just one lasting attachment—such is the heart’s pathetic way.” //
 * <span style="font-family: 'Times New Roman',Times,serif; font-size: 11pt;">Effortless feel to his character – stories, manipulation of women, arrogance in how easily he can do everything
 * o <span style="font-family: 'Times New Roman',Times,serif; font-size: 11pt;">//“Or is it the magnetic attraction of a strong personality.”//
 * <span style="font-family: 'Times New Roman',Times,serif; font-size: 11pt;">Shouldn’t trust this diary completely – Pechorin doesn’t understand himself completely
 * <span style="font-family: 'Times New Roman',Times,serif; font-size: 11pt;">Monster that Lermontov is creating coming out
 * <span style="font-family: 'Times New Roman',Times,serif; font-size: 11pt;">Brutality to romanticism, love of nature, movement, of pace of horses galloping and beautiful scenery – emotional side of Pechorin, becomes more positively emotional because of the setting, release freedom for him (superfluous to society around himself)
 * <span style="font-family: 'Times New Roman',Times,serif; font-size: 11pt;">o Does Pechorin seem less superfluous at the end?
 * <span style="font-family: 'Times New Roman',Times,serif; font-size: 11pt;">oSadistic — loves to hurt the world around him
 * <span style="font-family: 'Times New Roman',Times,serif; font-size: 11pt;">Uniform and dress & rank (social status) – symbolic for superficiality and pretence, everyone is walking around in uniform but nobody actually fights (unless caused by Pechorin) Grushnitsky’s greatcoat – no benefit to society, like in 1984 where everything everyone does is banal etc.
 * <span style="font-family: 'Times New Roman',Times,serif;">// “Grushnitsky is a cadet.” // – again emphasis on rank. Social hierarchy – Pechorin likes to emphasise it, of a higher rank
 * <span style="font-family: 'Times New Roman',Times,serif; font-size: 11pt;">Grushnitsky – superficiality of society, where uniform creates status rather than actions (just because he’s a soldier he demands attention)
 * <span style="font-family: 'Times New Roman',Times,serif; font-size: 11pt;">Have to emphasise what Pechorin symbolises – hyperbolic, contradictory shows beautifully how symbolic he is – preface, how shocked society took Pechorin as a real character
 * <span style="font-family: 'Times New Roman',Times,serif; font-size: 11pt;">Masculinity – arrogant, manly pursuit (hunting, duels, competing with other men) ~ is that why he’s drawn to dislike other men?
 * <span style="font-family: 'Times New Roman',Times,serif; font-size: 11pt;">Self-deception – ironic, describing Grushnitsky as himself – dislikes Grushnitsky for what he is, psychological unravelling: Pechorin doesn’t fully understand himself
 * <span style="font-family: 'Times New Roman',Times,serif; font-size: 11pt;">External vs internal – internally Pechorin isn’t understood by others around him (Maxim, Vera, Mary, Grushnitsky), but he comments on the external aspects of society – superficiality
 * <span style="font-family: 'Times New Roman',Times,serif; font-size: 11pt;">Point of name – importance of respect in society
 * <span style="font-family: 'Times New Roman',Times,serif;">// “Through all my life **fate** always seems to have brought me in for the denouement of other people’s dramas.” //
 * <span style="font-family: 'Times New Roman',Times,serif;"> o // “I’ve been the indispensable figure of the **fifth act**, **thrust** into the pitiful role of executioner or betrayal. What was **fate’s** purpose? Perhaps I was **meant to be** a writer of bourgeois tradgedies or novels of family life or a purveyor of stories, perhaps for the reader’s library? How can one tell? Many people start life expecting to end up as **Alexander the Great or Lord Byron**, then spend their whole lives as titular councillors.” //
 * <span style="font-family: 'Times New Roman',Times,serif; font-size: 11pt;">Women as contradiction – wants to be loved by them, yet pushes them away
 * <span style="font-family: 'Times New Roman',Times,serif;">// “I must confess I don’t really like strong-willed women. That’s not their role in life.” //
 * <span style="font-family: 'Times New Roman',Times,serif; font-size: 11pt;">Women representing the superficiality of society – have no real purpose in life
 * <span style="font-family: 'Times New Roman',Times,serif; font-size: 11pt;">Vera – pretty pathetic, Orwell and Lermontov don’t write very strong woman characters
 * <span style="font-family: 'Times New Roman',Times,serif; font-size: 11pt;">Women in the novel are just as lost as Pechorin? Julia just as lost as Winston? What role do they have?
 * //Bela// **
 * Caucasus—Pechorin's character, hidden depths and challenges
 * Horse—prize, power, masculine desire to control
 * Bela—similar to horse
 * purity and lack of cynicism—symbolises the setting and its inherent lack of complications
 * P&MM—difference between the superfluous generation and the older Russians
 * views on colonial superiority
 * Hunting—Pechorin's desire to escape from the banality of life
 * Rank—higher rank of MM symbolises the superficiality and meaninglessness of rank/customs
 * manipulation of MM symbolises a lack of respect for older traditions and customs
 * P's treatment of MM—P's inability to take responsibility for, or reflect on, his own actions
 * Feminisation of P—symbolises P's hypocrisy (later he dislikes dandies and women)
 * P's rejection of food—symbolises a lack of respect for past traditions and customs
 * MM's non-drinking—integrity of older generations
 * Whole chapter—superfluous nature of P's character
 * The sea—Pechorin himself~his capricious nature and lust for adventure
 * Fear of the sea = fear of looking too deep within himself
 * Blind boy— judgmental nature of P and the importance he places on the external
 * Loves natural beauty of the setting but devalues the unnatural defects in humans
 * The 'undine'—P's desire to own and control what is wild and free
 * //Princess Mary//**
 * Uniforms—class status and pretentions
 * Grushnitsky—objectification of women, vanity (symbolises parts of P's character which he criticises in others but cannot see in himself)
 * Rank—superficiality of class labels
 * Balls—meaningless nature of forced societal interactions and pretentions
 * Spa town—colonialism's lack of adherence to local customs and traditions
 * Wider Russian society
 * Antithesis of the colonized
 * Duel—futility of society, masculine friction within superfluous generation
 * Mis-channeling of energies
 * Setting of mountains—symbolises freedom from social restrictions, setting of people—social restrictions lead to boredom
 * Vera—extremity of the superfluous man, desire for lust and absolute control
 * End of the duel—a bit of Pechorin's death
 * Princess Mary—victim of the superfluous man
 * //The Fatalist//**
 * Russian roulette—lack of appreciation for life (nihilism)
 * Misguided sense of fate—lack of responsibility and empathy
 * MM—pragmatism, lack of metaphysical or creative thinking, a closed mind
 * P's haste in joining events—desire for adventure, lack of a value in himself and others
 * Motivation to dissemble

__Pechorin__
 * Preconceived idea of Pechorin before we 'meet' him
 * Start by being intrigued to being repulsed, much like other characters
 * Unusual structure shifts focus from story/plot to Pechorin—revolves around him
 * Not wholly affected by setting—love for mountains doesn't stop his misanthropy
 * Inner conflict—dichotomy in nature
 * Contrast between his ability to control others, yet doesn't understand himself
 * Heart and the head
 * Dead part of the self and the living
 * Fate and free will
 * Lost generation—symbolises desire of the Bourgeoisie to lead interesting lives
 * Misogyny—Verya, takes comfort in the fact that she will always be there
 * Supremacy of intellect over emotions, despite this he is subject to the power of his emotions
 * Women are more emotional—explains why he is so harsh with them, yet he understands them or else wouldn't be able to manipulate them
 * Dislikes predictability—reason why he loves nature, hunting, and not people
 * Doesn't only control women—control over Maxim Maximych
 * Sympathetic for him, parallelism in his loss of Bela and Pechorin (always left waiting)
 * Is Pechorin naïve? Not able to make connections between other people and himself.
 * Structure—action first, psyche later
 * he is what he dislikes, described as effeminate—like a dandy—shows the contradiction and lack of self-awareness
 * Relies on the society he seemingly has a sense of disdain and cynicism for (he needs someone to rebel against)
 * 1984—Inner Party relies on Outer Party and dissidents to maintain power
 * Pechorin's duality—despite his dark side, there is still emotional beauty and a sense of the aesthetic within him—juxtaposition of the semantic fields between setting and people
 * 1984—despite the figurative darkness, Winston still strives for emotional beauty (Party spends so much time watching citizens because they can't control desire for emotional beauty)
 * Starts with spring, ends with spring, flowers growing at the end
 * Unable to reflect—frightened of the past, explains why he pushes Maxim Maximych away
 * He is the malady—lack of direction, challenge for the sake of it, cruelty towards women
 * //"let it suffice that the malady has been diagnose—heaven alone knows how to cure it."//
 * Both AHOoT and 1984 portray problems and questions—neither propounds a solution
 * Vagueness in stylisation of the confessions
 * Inconsistencies in his character—written originally as independent stories
 * Eavesdropping tendencies as an insight into character as well as a necessity in first-persion narration
 * Duty of an officer—Maxim Maximych in Bela, Pechorin in Taman
 * General paranoia P has helped to foster
 * P's inner activity manifested by his sharpened watchfulness
 * MM's failure to understand P is seen as a part of a general strategy to make the hero more mysterious
 * //"The idea of evil cannot enter a man's mind without his wanting to fulfill it in practice."//

__Setting__
 * Sublime nature of the setting—changes when he gets close to people
 * Reinforces Pechroin's duality, not fully a monster
 * 1984—setting changes to portray Winston's emotional growth and his state of mind (when he's with Julia, setting shows safety and refuge)
 * Nature symbolises freedom from social restrictions—Romantic nature of Pechorin
 * Unconquerable nature of the mountains instils admiration—an infinite challenge, gives motivation for his superfluous life.

__Narrative structure__
 * Originally published as separate entities
 * Adherence to the narratorial primacy of the travel notes—allows the illusion that we are reading travel notes and not a straightforward narrative
 * Adds to the realism
 * Structure determined by the narrator's experiences, not the hero's
 * Polyphony
 * Sujet—text order; fabula—real order
 * Structure as a device to create ambiguity and lack of closure
 * Novel's apparent progression towards greater intimacy with P. is illusionary—remains vague and inconclusive
 * Link between openness of interpretation and structural incompleteness
 * Lectorial disorientation—left to our own conclusions (adds ambiguity)
 * Reader's interest in maintained by the gradual revelations
 * Chain of reliability of narrators
 * Narrative structure focused around Pechorin not a plot—Lermontov's purpose of painting a portrait of the 19th century Russian 'superfluous man' not tell a story