Since I am writing about Master and Margarita, I can say that idle hands are the devil’s handiwork. Or Woland’s. Or whatever.
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4,074 / 6,000
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I’ve really focused in on my angle today. I’ll be analyzing this work from a feminist perspective, but what I’ll be trying to focus on is whether Margarita’s liberation as a witch while serving Woland is a journey of self-discovery, or whether she’s being placed on a pedestal in a medieval way. Both theories have been advanced about the novel.
I’m going to talk about Margarita from a second-wave feminist perspective–shedding her prosperous but loveless middle class marriage to choose the Master, his art, and poverty. Yet, there are some third-wave comments that can be made. Is she really in love with the master, or his art? What is truly her agenda in serving Woland’s purpose? Why are she and the Master taken away from the reality of Moscow at the end of the novel and “saved” while being denied “salvation?” Is she in control of her own destiny? Is her inherent difference (difference feminism *is* an interesting idea) what is being noticed by the others in the novel?
Lots of good questions now that I’ve done some munging about in the shallows of feminism, to try to think about how to interpret the story. Women in Russia REALLY like this story. It speaks to them. Hrm.
Probably won’t weigh in until later tomorrow, if then. Have to register many students for summer and fall.
Catherine
