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It has been explained that Chekhov's drama Ivanov focus on the theme of the 'Superfluous man' in Russian literary tradition. According to this explanation, Ivanov, a hero of this drama is a typical image who is suffering from social problems and romantic passion in the context of Russian 19-th century. But the meaning of the superfluous man can be approached from a different standpoint, such as cultural semiotics.
This article aims to show that the drama Ivanov is a sort of semiotic space, in which every character has a common view of the world (Weltbild), so-called 'Romantic world'. They are sure that they know the truth of the world, but turned out to be marionettes who only follow the conventional codes (signs). As a result, this world is represented as a role-playing game or totally dramatized fake-reality. In this point, we are interested in the act of Ivanov who realized that nobody could be escaped from the invented reality without decisive action. This is why Ivanov committed suicide in a moment of happiness in his life. In this sense, we consider Chekhov's Ivanov as a symbolic text of the transformation from ideal-romanticism of 19-th centuries to another type of sensitivity.
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