The image and characterization of Kukshina based on the novel Fathers and Sons (I. S. Turgenev)
Evdoksiya Kukshina. Quote characteristic
Mrs. Kukshina is one of the minor heroines of the novel “Fathers and Sons” by Turgenev. Kukshina is a friend of Evgeny Bazarov and Arkady Kirsanov. She first appears in Chapter XII of the novel "Fathers and Sons".
This is a young woman with a "progressive outlook" on life. She separated from her husband, lives alone and takes care of the estate herself. Kukshina calls herself an “emancipated woman” and a fighter for women’s rights.
Kukshina is far from beautiful: she has a plain appearance. In addition, she dresses casually and behaves cheekily.
Quote characteristic
Full name - Avdotya (Eudoxia) Nikitishna Kukshina: "...Eudoxie, Eudoxia Kukshina..." "...Avdotya Nikitishna (or Eudoxia) Kukshina..."
Noblewoman, landowner: "...However, I really am a landowner. I manage the estate myself..."
Appearance:"...a lady, still young, fair-haired, somewhat disheveled, in a silk, not entirely neat dress, with large bracelets on her short hands and a lace scarf on her head. She stood up from the sofa and, carelessly pulling a velvet coat on yellowed ermine over her shoulders fur, lazily said: “Hello, Victor”..." "...looking at Bazarov with her round eyes, between which her tiny upturned nose blushed forlornly, she added..." "...In the small and inconspicuous figure of an emancipated woman, there is no There was nothing ugly; but the expression on her face had an unpleasant effect on the viewer. One couldn’t help but want to ask her: “Are you hungry? Or are you bored? Or are you timid? Why are you jumping?” "...When she laughed, her upper gum bared her teeth..." "...clacking her flat nails..." "...even Kukshina herself, who appeared at the ball without any crinoline and in dirty gloves, but with a bird of paradise in her hair..."
Untidy:"...not quite a neat dress..." "...lady...somewhat disheveled,.."
Nondescript:“...In a small and inconspicuous figure;
Ugly:“... – Is she pretty?” Bazarov interrupted. “N... no, that can’t be said...”
Emancipated, independent woman: "...This is a wonderful nature, emancipee in the true sense of the word, an advanced woman..." "..."emancipe" like Kukshina.."
Family status. Lives separately from her husband (which was rare at that time): “...She, you understand, separated from her husband, does not depend on anyone...” “...Before, I lived in Moscow in the winters... but now there my beloved, Monsieur Kukshin, lives..."
No children: “...Thank God, I’m free, I don’t have children... What did I say: thank God!..”
With progressive views: "...clear signs of the progressive aspirations of the hostess..."
Wants to seem like a good person:“... she obviously considered herself a good-natured and simple creature...” “... Kukshina is a wonderful person...” “... because I told you: a wonderful person! That’s what kind of women we wish we had more of.” She is, in her way, a highly moral phenomenon..." (Sitnikov’s opinion)
Smokes cigarettes and likes to drink:“...there were scattered cigarette butts everywhere..." "...Eudoxia rolled up a cigarette with her tobacco-brown fingers, ran her tongue over it, sucked on it and lit it..." "...The first bottle of champagne was followed by another, third and even fourth..."
Plays the piano and sings: “...tapping her flat nails on the keys of the out-of-tune piano, she began to sing in a hoarse voice, first gypsy songs, then Seymour Schiff’s romance “Sleepy Granada Slumbers”...”
Does not maintain cleanliness and order in the house: “...The room in which they found themselves looked more like a study than a living room. Papers, letters, thick numbers of Russian magazines, mostly uncut, were lying on dusty tables; cigarette butts were scattered everywhere... "
Always moping:"...And she, like Sitnikov, was always scratching her soul..."
Cheeky, unnatural:"...She spoke and moved very casually and at the same time awkwardly: she obviously considered herself a good-natured and simple creature, and yet, no matter what she did, it always seemed to you that she was exactly that and not wanted to do it; everything she did came out, as children say, on purpose, that is, not simply, not naturally..."
Acts like a child:"...Mrs. Kukshina dropped her questions one after another with pampered carelessness, without waiting for answers; spoiled children talk like that to their nannies..."
Interested in chemistry:"...Do you do chemistry? This is my passion. I even invented one mastic myself<...>Yes I. And do you know for what purpose? Make dolls, heads so that they don’t break. I'm also practical. But it's still not ready..."
Is reading books and magazines: "...You also need to read Liebig. By the way, have you read Kislyakov's article on women's labor in Moskovskie Vedomosti?..." "...Georges Sanda. A backward woman, and nothing more! How is it possible to compare her with Emerson!<...>Oh, what an amazing article Elisevich wrote on this subject!.." "... read better book Michelet "De l'amour". This is a miracle!.."
Considers himself a fighter for rights women: “...for the rights of women, which I swore to defend to the last drop of blood...” “...I cannot hear indifferently when women are attacked,” continued Eudoxia. “It’s terrible, terrible...”
At the end of the novel goes abroad and studies architecture: "...Kukshina ended up abroad. She is now in Heidelberg and is no longer studying natural sciences, but architecture, in which, according to her, she discovered new laws..."
Kukshina is a minor heroine in Turgenev's novel Fathers and Sons. This is a fairly young woman, she adheres to modern views, she does not live together with her husband and everything is her own. free time dedicates himself to taking care of the estate. In addition, she fights for women's independence.
Outwardly, she was not distinguished by beauty - she dressed very casually and untidy, and at the same time behaved very cheekily and indecently. She loves to drink and smoke, she has cigarette butts and dirty things scattered everywhere in her house.
She does not have those signs of spiritual qualities that any woman should have. She can easily start a conflict out of nowhere.
With all this, she believes that she is a kind and generous woman who performs any of her actions solely out of good intentions. She is ready for absolutely any action in order to achieve what she wants or in order to take revenge on her offender.
Her facial expression is always the same, it does not express any emotions or feelings.
In the eyes of others, she also does not look like an interesting conversationalist. She, while defending nihilistic ideas, does not even really know the meaning of this teaching. People feel this insincerity and understand how ridiculous and absurd this woman is in her thoughts.
The main characters of the novel, when visiting Kukshina, are quite patient with her, with her disorder and fiery speeches, but after a while, they, disappointed, stop communicating.
Her interest in promoting nihilistic beliefs is explained by the absence of a loved one nearby. To escape from worries and unsettledness in her personal life, she goes into discussion of public life.
She is not interested in men, most of her emotional movements seem insincere and unreal. Her first husband left her, after which she ceased to be attractive to other males.
The image of this woman appears in the novel for a reason. Despite her caricature, she is, in a way, a litmus test for understanding other, more important characters.
Essay about Kukshina
Avdotya Nikitishna Kukshina is a minor hero of the work and one of the brightest female characters in the novel.
Kukshina is described by the author as an emancipated representative of the landowner class, imitating radical views and being an adherent of nihilism. Having once been abandoned by her husband and not arousing the interest of other men, Avdotya is interested in exact sciences, studies the situation and rights of women in other countries of the world, since she considers herself a feminist, does not accept compromises and sharply expresses her own opinion in an unceremonious manner.
At the same time, when communicating with her interlocutors, Kukshina reveals herself as a cheeky, vulgar, unkempt woman of unpleasant appearance, who loves booze and tobacco products. In her house, where she manages single-handedly, there is constant disorder and chaos, things, books, cigarette butts, clothes are scattered everywhere.
Avdotya is characterized by a lack of human, emotional feelings and the manifestation of signs of stupidity, rudeness, and rudeness. She is able to easily start a quarrel for no reason, in which she will not think about expressions and statements. However, the woman herself positions herself as a generous, good and decent person, but never forgets the insults that were caused to her personally. Having set a goal for herself, Kukshina strives to achieve it by any available means and means, ready even to commit an unseemly and unsightly act, but at the same time confident in her own sinlessness.
Looking at Kukshina, who dresses sloppily and tastelessly with a feigned and faceless expression, one gets a repulsive, unpleasant impression, since all the woman’s emotions and actions carry a tinge of unnaturalness.
Participating in conversations and self-confidently thinking that she is an active nihilist, Avdotya is perceived in the eyes of those around her as an awkward and clumsy woman who does not have any elements of femininity, charm, charm.
Kukshina’s comrades treat the woman with incredible patience and try to calmly accept all her antics and bitchy character, but gradually, they turn away from Avdotya and stop communicating.
Revealing the image of Avdotya Kukshina, the writer emphasizes that all the characteristic features of the heroine are due to her female inferiority, inferiority and lack of full-fledged personal happiness. A woman internally convinces herself that she is engaged in a noble and worthy cause, agitating for nihilistic principles, in which she finds a way out of salvation from worries about her failed female lot and drawing inner inspiration for herself.
From the point of view of the author of the novel, who portrayed Avdotya Kukshina using the method of satire and parody as a caricature of the main character Evgeny Bazarov, such women are capable of depriving the authority of even the most literate and far-sighted people, but, unfortunately, these female representatives are very numerous in modern society.
Option 3
Turgenev’s novel “Fathers and Sons,” written in 1860, reflected a global problem in society and politics before the reform of 1861. One of minor characters, but playing an important role in the novel is Avdotya (Evdokia) Nikitishna Kukshina.
This is a young woman, a landowner. Her views on life are progressive, she is an active fighter for women's rights, and is constantly interested in the “women's issue.” Kukshina was married for some time, but her husband left her, and she continued to run her household alone. Outwardly, Evdokia is unremarkable; most consider her ugly. Likes to read a lot, study natural sciences, plays the piano and smokes cigarettes. Kukshina behaves cheekily in society, looks sloppy and untidy.
Evdokia Kukshina has a dual nature. On the one hand, when we first meet her, she seems quite ordinary, sometimes even an interesting person. But on the other hand, upon closer acquaintance, her image reveals itself more vividly. In fact, this is an unnatural, homely woman, trying in her passion for nihilism to hide her personal drama and female failure. Her image is satirical in nature; she does not have that femininity that should be present in every representative of the fair sex.
Evdokia Kukshina is frankly stupid, it is not so much her appearance as her demeanor that repels men from her, even her own husband left her. Her strange expression on her face was especially repulsive, and many wanted to ask the question: “Are you hungry? Are you shy? Are you hungry? Any mannerisms, whether she moved or spoke, seemed unnatural and forced to everyone. Although Evdokia herself most likely considered herself a simple and good-natured lady. But, whether because of her timidity or shyness, it seemed to everyone that she was being dishonest with them.
The image of Kukshina shows the reader that a woman in those days, just like today, strives to be independent. She actually tried to defend her rights as an individual, maintain conversations on any topic, read a lot and was interested in the lives of women abroad. But because of her stupidity and uncertainty, she seemed to others to be an unnatural and strange person.
Essay Image and characteristics of Kukshina
In the book by Ivan Turgenev, the image of an emancipatory woman, new for that era, is well revealed. This image is displayed too sharply, feignedly and exaggeratedly in the person of Avdotya Nikitishna Kukshina. She is like a twisted mirror of Bazarov’s image and the direct antipode of Fenechka.
The novel clearly shows the negative attitude of the author, Ivan Turgenev, towards his character; apparently, he was greatly irritated by the trends that were beginning in society at that time, in particular, the fashion for emancipation and emancipated women. Maybe that’s why even at the first meeting with Eudoxia main character he just frowns, although there is nothing negative in the description of the heroine’s appearance, or rather “there was nothing ugly in her “figure....” Nevertheless, she plays her role in the novel, since it was in a conversation with her that the name Odintsova was first heard, who later played an important role in the development of the characters.
Avdotya Nikitishna Kukshina is a liberated mistress, a pseudo-nihilist. Avdotya expresses radicalism, is decisive and principled in her assessments and views. She is interested in the “women's issue” in various countries, she has an interest in exact sciences. She's opinionated, rude, and definitely ridiculous. On top of everything else, she is ugly and sloppy; it is difficult to find anything human, much less charming, about her. It can be assumed that the heroine’s interest in “nihilism” may help her forget about the feeling of disadvantage from her own female insufficiency. She is ugly, has never been the center of male attention, and her husband abandoned Avdotya. “Nihilism” instills in her a feeling of being busy with a very “important matter”, in which she finds joy, having forgotten about her bitter fate. However, this image is more of a mocking character. After all, even in the heroine’s surname, which corresponds to the word “kukish,” there is a comic orientation of this hero.
In the image of Avdotya Nikitishna, the terrible sides of the female population are presented. Avdotya is an inconspicuous woman who has confusion in her head, everything is mixed up, and there is no worldview of her own. She is incredibly harsh in her views and uncompromising in her assessments. She loves to argue and create problems for people without noticing it. He can make a scandal out of any trifle. If someone does any harm to her, she will remember it for a very long time, but if they do harm to her, she may be offended. He will always achieve his goal, even if it means doing something bad. Most often he overdoes it with emotions.
The main character of the work is Prince Lev Nikolaevich Myshkin, whom the writer presents as a twenty-six-year-old tall young man, having thick blond hair, bluish eyes, sunken cheeks and a pointed beard.
The story “The Nose” belongs to the genre of fantastic realism. Turning to science fiction most fully expresses the absurdity of the official’s worries, which do not go further than his nose
One of the main characters of Fadeev’s novel “Destruction” is the commander of a partisan detachment, the fearless Osip Abramovich Levinson.
Bazarov and Arkady were returning from the governor when they were intercepted by Sitnikov, Bazarov’s “disciple,” and invited to visit Evdoksia Kukshina. The chapter begins, the essence of which Pisarev spoke of as follows: “The young man Sitnikov and the young lady Kuk-shina present a superbly executed caricature of a brainless progressive and a Russian-style emancipated woman...”
The satire begins from the first lines, already when describing a room that looks like an office. Turgenev uses harsh characteristics to emphasize the unnaturalness of the hostess: “There was nothing ugly in the small and inconspicuous figure of the emancipated woman; but the expression of her face had an unpleasant effect on the viewer”; “Madame Kukshina dropped her questions one after another with pampered carelessness, without waiting for answers; spoiled children talk like that to their nannies.”
Honestly, when you read the stupid and boring arguments between drunk Sitnikov and Kukshina about marriage, you want to say something harsh to them. And the attempt of these heroes to find out “what kind of people will be born - the same or not? And what, in fact, does individuality consist of?” - the utmost sarcasm of I.S. Turgenev.
To some extent, the author needs these heroes in order to emphasize and more clearly reveal some of the features of Arkady and Bazarov. Even the fact that they leave without saying goodbye is already a characteristic. Bazarov’s intolerance towards what he sees as ugly is one of the traits of Russian nihilists; there is no wisdom or human kindness in this towards the weaknesses of others.
The novel "Fathers and Sons" reveals the cruel and complex process of breaking down old social relations. This process appears in the work as a destructive element that changes the usual course of life. Turgenev structured his novel in such a way that the nihilist Bazarov and Pavel Kirsanov are in the spotlight all the time. Contemporaries reacted sharply to the appearance of this work. The reactionary press accused the writer of currying favor with young people, while the democratic press accused the author of slandering the younger generation. Nevertheless, the novel "Fathers and Sons" was wildly successful in Russian literary circles.
The novel "Fathers and Sons" is always considered as an anti-nihilistic novel or a novel about a generational dispute. At the same time, the images of Arkady Kirsanov, Pavel Petrovich and Bazarov are drawn to the analysis. Few people consider female images. In Turgenev's novel "Fathers and Sons" their role is quite significant. In total, in the novel we see five main characters: Fenechka, Odintsova, her sister, Bazarova’s mother Arina Vlasevna and Kukshina.
Evdoksiya Kukshina
Female characters in the novel "Fathers and Sons" perform different functions. Evdoksiya Kukshina at first glance cannot evoke anything but antipathy. Firstly, she is casually dressed, unkempt, with disheveled hair. Secondly, she behaves provocatively. She seems to know nothing about decency. But what is most indignant is her desire to seem advanced and cutting-edge. She pretends to be knowledgeable in all areas modern science and philosophy. In fact, her knowledge is superficial. Bazarov sees this immediately. Her friend Sitnikov is as pathetic as she is. These two heroes are pseudo-nihilists. Turgenev uses the image of Kukshina to reduce the level of perception of nihilism as a trend. If these are his representatives, will they go far? Even Bazarov himself begins to doubt the correctness of his beliefs. People like Kukshina and Sitnikov can undermine the authority of any teaching. How powerfully the image of the omnipresent, babbling nonsense Kukshina contrasts with the noble figure of Odintsova.
Anna Odintsova
Yevgeny Bazarov met her at a ball in the city. If we classify female images in the novel "Fathers and Sons" by importance, then the image of Odintsova should take first place. She amazes with her grace and calmness, her gaze is full of intelligence. That is why Bazarov immediately pays attention to her. However, subsequently the reader becomes convinced that Odintsova’s coldness is not only external, she is also too rational in reality. So, Bazarov, a cynic who denies all attachments between people, falls in love. He talks for a long time with Odintsova, finds in her speeches that he is truly interested in this woman. Odintsova allows us to identify the internal conflict in the soul of the protagonist; from this point of view, her image is very significant. Bazarov's mind comes into conflict with his feelings. Nihilism does not justify itself; ideas turn out to be erroneous.
Why didn't their relationship work out? All female characters in the novel by I.S. Turgenev's "Fathers and Sons" are interesting and mysterious. In general, Turgenev paid special attention to the depiction of psychology and in response to Bazarov’s confession, Odintsova states that he misunderstood her. And then he thinks to himself: “God knows where this could lead.” Her peace of mind is more valuable to her. She turned out to be too reasonable, afraid of feelings. And Bazarov, in turn, was afraid of feelings.
Arina Vlasevna
The idyll of Bazarov's parents also clearly shows the inconsistency of his idea. The mother loves her “Enyusha” excessively and tries in every possible way to surround him with love. The image of this elderly woman seems very touching. She is afraid that her son will be offended by her warmth, she does not know how to behave with him, she is careful with every word, but sometimes a mother’s heart cannot be appeased and Arina Vlasevna begins to lament near her smart and talented son, of whom she is sincerely proud. Perhaps Evgeny cannot stay at home for a long time precisely because of Arina Vlasevna’s love. Always uncompromising and tough, he is afraid that he will melt from his mother’s caresses and will indulge in unnecessary romanticism.
Fenechka
Female images in the novel "Fathers and Sons" are opposite to each other. I can’t believe that Fenechka can be in the same space as Kukshina and Odintsova. She is modest, quiet and timid. She is a caring mother. Without wanting it, Fenechka becomes a grain of discord between Pavel Petrovich and Bazarov, the last straw of patience. The scene in the gazebo becomes the reason that Pavel Petrovich challenges Evgeniy to a duel. And the duel demonstrates the author’s assessment: the heroes are similar, and because of the similarity they hate each other. Therefore, their duel is comical and looks like a farce.
Katya Odintsova
This is Odintsova's younger sister. Compared to Anna, she seems less interesting, overly modest and inconspicuous. However, over time, spiritual strength is discovered in this sweet girl. She gives vital energy to Arkady, he can finally express his opinion and act as his heart tells him. Together, Arkady and Katya create a family, the kind of relationship that both dreamed of. After all, Arkady was initially too different from Evgeny, he was simply seduced by his intelligence, knowledge, and strength of character. Katya is a female image that confirms the author’s original thought.
Female images in the novel "Fathers and Sons" (conclusions)
The author involves several heroines in order to express his assessment. For example, Kukshina shows how Turgenev treated nihilism. In his opinion, mostly useless and empty people were carried away by this direction. The female characters in Turgenev's "Fathers and Sons" also complicate the conflict by adding action to it. Here, first of all, we should name Fenechka. As for Irina Vlasyevna and Anna Odintsova, they are called upon to reflect the internal conflict in Bazarov’s soul. Katya, among other Turgenev heroines, is the embodiment of beauty and simplicity. In general, all the female characters in the novel give it artistic completeness and integrity.
Addressing the problem of "squanderers" in "Fathers and Sons", we should focus on such characteristic features the behavior of Kukshina, Sitnikov and the like, as unnaturalness, sham, falsehood... Someone else's, borrowed life of the “squatters” turns into buffoonery.
Turgenev immediately wants to show that this type of people is characterized by a senseless imitation of nihilistic beliefs, convictions, and ideals. As a result, with their claims to profess nihilism, they rather parody the qualities that are inherent in Bazarov’s type of nihilism.
You can find many examples from the text that support this. These include, on the one hand, Sitnikov’s hysteria about his spiritual “rebirth”, the denial of authorities, “babes”, “Macaulay”, but the assertion of his own talent for uncorking bottles - on the other; passionate studies of chemistry by Evdokia Kukshina, who even invented “one mastic” intended for making dolls, or rather, their “heads”, “so that they don’t break.”
Kukshina’s portrait description surprisingly brings the heroine herself closer to the doll: “blond”, “in a silk dress” and “a lace scarf on her head”, with “round eyes” - a real doll. Moreover, Turgenev does not say that she “went.” Kukshina “moved” like some kind of mechanism, in which, on top of everything else, something seemed to have broken, since the heroine “spoke and moved very loosely and at the same time awkwardly.” Probably it was about Kukshina’s doll “head”, which, in her own words, is prone to breakage?
And this heroine’s “head” has something to damage! She masters Liebig, George Sand, Emerson, and Kislyakov’s article on women’s labor. She thinks intensely about physiology and embryology, raves about Bunsen and is indignant at Proudhon. And he manages the estate, and deals with issues of education, and suffers cruelly from provincial life and dreams of Heidelberg. Well, how can you not make your “head” spin and overstrain yourself?!
Matching Kukshina is Victor Sitnikov, the owner of the same expressionless doll-like “sleek” face, with “small, as if sunken eyes.”
The behavior of the character is highly symptomatic, reminiscent of the behavior of the future Brudasty Saltykov-Shchedrin, in whose head there was something like a barrel organ, periodically reproducing 2 shouts: “I’ll ruin you!” and “I won’t tolerate it!” Sitnikov’s “organ organ” produces the only cherished word that comes from the lips of this furious “nihilist”: “Down!”
What do you think is associated with “puppetry”, “mechanism”? And why does Turgenev emphasize precisely these qualities in “squanderers”?
Synonyms for these states are “artificiality,” “sham,” and “lifelessness.” This is what the writer wants to emphasize in the images of Kukshina and Sitnikov. He endows Kukshina’s habitat with similar qualities. The heroine is surrounded by a space in which everything that resembles home, family, and comfort is completely absent: “Papers, letters, thick numbers of Russian magazines...<...>were lying on dusty tables."
The picture of total homelessness and unhousing is completed by a very significant exterior detail in the context of the doll-like marking of Turgenev’s heroine: the women’s space, littered with “scattered cigarette butts.” In other words, within the boundaries of Kukshina’s space, the author removes the problem of gender and thereby once again forces the reader to agree that in front of him is a doll, which, as is known, has no gender.
In the 13th chapter, the atmosphere of buffoonery begins to dominate: puppet buffoonery, buffoonery. At breakfast, when the emancipated Kukshina says: “Gentlemen, let us talk about love...”. And perhaps it was precisely at this peculiar Kukshino-Sitnikov “sabbath” that the true face and true, not borrowed life of the “squatters” in Turgenev’s novel were revealed?!
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