![]() ![]() In my opinion, Robert Frost’s “The Road Not Taken” is simply a poem about a person who makes a decision that in affect changed the direction of their life from what it may have otherwise been. Our lives are determined by an accrual of choices and chances, and it is impossible to separate the two. Only the future will make it clear whether the decision or choice was right or wrong. Many times, we regret the choice made by us but once the choice has been made, it cannot be altered. The road’ is the symbol of the choice made by us. Indistinguishable forks symbolize for us the connection of free will and providence we are free to choose, but we do not really know beforehand what we are choosing between. The Road Not Taken, a poem by Robert Frost is about making choices, and choices that shape our life. The fork in the road is an innate metaphor that exists in each of our lives, and it often times includes decisions that must be made. ![]() In this poem, we can recognize the dilemma because each of us encounters it numerous times in our lives. He will wonder what would have happened if he had taken the other road and in the back of his mind the image of yellow woods and two equally grassy roads will remain. What are sighed for “ages and ages hence” are not so much as wrong decisions but compiled moments that mark the passing of life. In the last stanza of this poem, the narrator seems content with his choice yet he tells of it with a sigh: The first significant thing about ‘The Road Not Taken’ is its title, which presumably refers to an unexercised option, something about which the speaker can only speculate. For all that, it is with the male teacher that the theme of innovation in education is connected in feature and documentary films, although this aspect is rarely shown on the big screen.His choice becomes the road taken and the choice he does not make becomes “The Road Not Taken”. In perestroika and in the Russian periods, images of male teachers, who have not found another road in life, began to appear on the screen more often. In Soviet cinema, for many years, the masculine image of a teacher-the creator of a new man worthy to live under Soviet power-was being formed. The traveler comes to a fork in a road through a ‘yellow wood’ and wishes he could somehow manage to ‘travel both’ routes he rejects that aspiration as impractical, however, at least for the day at hand. The image of the male teacher was transformed in the Soviet/Russian cinema in the following way: the ideological organizer of the labor commune a teacher by vocation, an enthusiast an intellectual-humanist a loser who finds himself at school due to unfortunate circumstances an idealist, an ascetic, a self-sacrificing teacher, first and foremost a professional in his field. The first significant thing about ‘The Road Not Taken’ is its title, which presumably refers to an unexercised option, something about which the speaker can only speculate. Often screen teachers are childless women with a failed personal life, single mothers, or mothers who conceal their motherhood. The theme of motherhood for female teachers in Soviet/Russian cinema is either not raised at all, or is sublimated into maternal care as a quality characteristic of a woman in general, revealing the essence of the heroine, but directed not at her own child, but at a pupil. The cinema of the Stalin era is characterized by the image of the teacher as an indisputable perfection, the embodiment of tranquility and justice. The article is written within the framework of a broader study investigating school and university representation in the Soviet/Russian and foreign audiovisual media texts. Teachers become good-looking, attractive ("The Village teacher, First-grader"). ![]() In the Soviet audio-visual texts of the 1930s-1940s, the heroic image of a teacher-fighter for revolutionary ideals ("Alone," 1931), which gradually softens, acquires the aspect of labor heroics ("The Village Teacher," 1947). ![]() The research outlines that in Soviet cinema the image of the female teacher was transformed in the following sequence: a heroine-revolutionary a heroine of hard work an intellectual an educator-innovator a victim a bureaucrat-administrator. The article is written within the framework of a broader study investigating school and university representation in the Soviet/Russian and foreign audiovisual media texts. ![]()
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