Choose one, and only one, very specific difference between the 1999 film Onegin and Pushkin’s novel. Since this is a transposition (carrying art across mediums, from the written word into a movie) there are many differences, even before we look at actual plot changes.
1. First, illustrate or describe the difference (that is, concisely depict the film scene in 1-2 sentences, and then give a short quotation and interpretation of the Pushkin text which differs from it). This can be your first paragraph. Some summary is permitted here but not much — the focus should be on which specific difference you will analyze.
2. Then provide some insight or analysis on how this difference leads to a different interpretation of the story or characters in the film — as opposed to the text. In other words, what effect does this difference have on the story? This is the main thrust of the paper and you should dedicate at least a page to this. Focus and cut out all extra words–that means yes, you must reread and revise.
You do not need to use any outside texts, only the Pushkin novel Eugene Onegin we read for class and the 1999 film. If you like, you may use the Emerson, Gheith, and/or Lotman texts — if you do, be sure to include in-text citations.
Ex: If a sentence incorporates “a direct quote,” or even a paraphrased idea about duels from Lotman, then you give him credit in parentheses with his last name and page number even though the analysis is yours (Lotman 44).
Some more guidance:
There are two ways to tackle this prompt. Either way, watch the movie with the text in mind and jot down differences, especially ones which strike you or stand out. Think about why they stand out. And then you may choose to 1) work backwards, starting with your interpretation how the book (as a whole) feels, how the movie (as a whole) feels, and how these are different. From this big-picture view, go back to figure out what details contribute to this difference, and that can be your specific one difference, one detail.
Alternately, 2) choose the small difference that strikes you first, and then extrapolate or tease out its implications for the story and how this shifts your interpretation of the film from your interpretation of the novel as a whole. Either way, you must do the tricky work of connecting one specific difference between movie/novel to your interpretation of the work as a whole (of both works, in fact, but you can focus on one!). This is the “so what” part, where you connect your specific scene/difference to a theme of the work (film or book) as a whole, or a character’s arc, or some bigger idea. A successful argument will do the same kind of work on any topic.
Maybe the characters are motivated differently, or someone is excluded, or added, or events are skipped or happen in a different order. And this is hard–you must connect your small single difference to this slightly different interpretation of the work (big-picture). So when you choose your one difference, make sure you choose one that you can connect to your big-picture analysis. If it’s not going anywhere, you might need to pick another specific difference while keeping the big picture analysis in mind.
Do not tell me that showing the dance is more dramatic than reading about it. Rather, tell me about how the dance was shown, what specifically (music, breathy gasps, sensual flashes of hands and waists, camera spinning) gave the impression of Onegin seducing Olga at the Name-Day celebration, how that is different from the book where the narrator intimates that people stared and whispered “short quotation of this,” and how this might change our interpretation of Olga or Onegin as a character –just to give an example. Don’t use that one verbatim 🙂
You should brainstorm, outline, write, and revise — in that order. Make sure you have a thesis that connects your small difference to the big-picture difference. Remember, your thesis is essentially a “spoiler.” You will need to revise it after you write your first draft, because the argument typically emerges over the course of writing our first draft. Go back and align/turn up the thesis to “fit” the argument and then revise your essay, cut anything that might be considered “fluff” and leave only the convincing evidence and analysis. Choose one, and only one, very specific difference between the 1999 film Onegin and Pushkin’s novel. Since this is a transposition (carrying art across mediums, from the written word into a movie) there are many differences, even before we look at actual plot changes.
1. First, illustrate or describe the difference (that is, concisely depict the film scene in 1-2 sentences, and then give a short quotation and interpretation of the Pushkin text which differs from it). This can be your first paragraph. Some summary is permitted here but not much — the focus should be on which specific difference you will analyze.
2. Then provide some insight or analysis on how this difference leads to a different interpretation of the story or characters in the film — as opposed to the text. In other words, what effect does this difference have on the story? This is the main thrust of the paper and you should dedicate at least a page to this. Focus and cut out all extra words–that means yes, you must reread and revise.
You do not need to use any outside texts, only the Pushkin novel Eugene Onegin we read for class and the 1999 film.
Some more guidance:
There are two ways to tackle this prompt. Either way, watch the movie with the text in mind and jot down differences, especially ones which strike you or stand out. Think about why they stand out. And then you may choose to 1) work backwards, starting with your interpretation how the book (as a whole) feels, how the movie (as a whole) feels, and how these are different. From this big-picture view, go back to figure out what details contribute to this difference, and that can be your specific one difference, one detail.
Alternately, 2) choose the small difference that strikes you first, and then extrapolate or tease out its implications for the story and how this shifts your interpretation of the film from your interpretation of the novel as a whole. Either way, you must do the tricky work of connecting one specific difference between movie/novel to your interpretation of the work as a whole (of both works, in fact, but you can focus on one!). This is the “so what” part, where you connect your specific scene/difference to a theme of the work (film or book) as a whole, or a character’s arc, or some bigger idea. A successful argument will do the same kind of work on any topic.
Maybe the characters are motivated differently, or someone is excluded, or added, or events are skipped or happen in a different order. And this is hard–you must connect your small single difference to this slightly different interpretation of the work (big-picture). So when you choose your one difference, make sure you choose one that you can connect to your big-picture analysis. If it’s not going anywhere, you might need to pick another specific difference while keeping the big picture analysis in mind.
Do not tell me that showing the dance is more dramatic than reading about it. Rather, tell me about how the dance was shown, what specifically (music, breathy gasps, sensual flashes of hands and waists, camera spinning) gave the impression of Onegin seducing Olga at the Name-Day celebration, how that is different from the book where the narrator intimates that people stared and whispered “short quotation of this,” and how this might change our interpretation of Olga or Onegin as a character –just to give an example. Don’t use that one verbatim 🙂
You should brainstorm, outline, write, and revise — in that order. Make sure you have a thesis that connects your small difference to the big-picture difference. Remember, your thesis is essentially a “spoiler.” You will need to revise it after you write your first draft, because the argument typically emerges over the course of writing our first draft. Go back and align/turn up the thesis to “fit” the argument and then revise your essay, cut anything that might be considered “fluff” and leave only the convincing evidence and analysis.
Remember, keep it focused and concise. Have 12pt Times New Roman font, double spaced 1.5-2 pages. Have a thesis which addresses the prompt directly at the end of the first paragraph. Give ample textual evidence and tie it back to your argument in your body paragraphs. Conclusions can be short. Remember, keep it focused and concise. Have 12pt Times New Roman font, double spaced 1.5-2 pages. Have a thesis which addresses the prompt directly at the end of the first paragraph. Give ample textual evidence and tie it back to your argument in your body paragraphs. Conclusions can be short.
https://www.youtube.com/watch?v=5flw-c9pnnIhttps://www.youtube.com/watch?v=5flw-c9pnnI
Here is the audiobook
https://www.gradesaver.com/eugene-onegin/study-guide/summary-chapter-1https://www.gradesaver.com/eugene-onegin/study-guide/summary-chapter-1
– Use this website as the book. It summarizes every chapter 100% accurately meaning you don’t need a 300pg book. When writing the essay, and you use textual evidence, just say “In the text __________” (Chapter _). I can fix it later if needed
https://myflixer.to/movie/onegin-53070https://myflixer.to/movie/onegin-53070https://myflixer.to/movie/onegin-53070
Here is the movie