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Essay / Research Paper Abstract
A nine page paper on this 1984 novel by Czechoslovakian author Milan Kundera. The paper looks at the meaning behind the title, assesses the complex relationship between love and politics, and finally asserts that a life without responsibility is actually no life at all. Bibliography lists seven sources.
Page Count:
9 pages (~225 words per page)
File: D0_KBbeing2.rtf
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Unformatted sample text from the term paper:
it is difficult -- if not impossible -- to operate as a human being, and therefore to love. The motivations and behavior of his protagonists are governed as much by
the political situation in Czechoslovakia as they are by their own passions and desires. Kundera uses the thematic metaphors of weight and strength to convey this paradox, and it is
this "unbearable lightness" -- the apparent freedom to do anything, which is actually a heavy burden on ones development as a person -- that is reflected in the novels title.
Natasha Twal notes that "The novel traces the history, the pain and the happiness of [a married] couple and their acquaintances through the Russian occupation of Czechoslovakia, in a
world in which lives are shaped by irrevocable choices and fortuitous events, a world in which everything occurs but once, and where existence often seems to lose its substance, its
real weight" (Twal, PG). And as Larry Swindell observes, "Unbearable Lightness is not all things to all readers, but it is many different things -- a political diatribe, certainly;
a philosophical argument whose negativism is underscored by the odd title; an almost tangential discourse on the conflict between body and soul, resolved with spiritual-erotic union; and a sermon on
lightness of being, equating it with lovelessness and primal terror" (Swindell, 05E). Human existence, or "being", is unbearable in Kunderas novel because there is nothing predictable, nothing concrete, to which
it can be fastened. The Unbearable Lightness of Being tells the story of a confirmed womanizer, Tomas, who is a successful surgeon in Prague. Tomas approaches sex the same way
he approaches surgery, as Molly Ringle notes: "Tomas is not the sort of womanizer who moves from rendezvous to rendezvous out of a romantic motivation, a seeking of the one
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