Analysis of information sources in references of the Wikipedia article "弗拉德伦·塔塔尔斯基" in Chinese language version.
The corruption and commercialization of the intelligentsia and their New Russian clients became a target for one of Russia's funniest satirists, Viktor Pelevin, whose 1999 breakout novel Generation P – which told the story of an advertising copywriter named Vladlen Tatarsky, who is recruited to work at an ad agency, adapting Western advertising to the 'Russian mentality' – best expressed this bewilderment at the transformation of the country into a consumer paradise. Indeed, in reality, for the average Muscovite the landscape of the capital had changed little in the half-decade since the end of communism – aside from the replacement of the dominating symbols of Soviet power (the statues of Lenin, Marx and Dzerzhinsky) with large billboards and neon-lit signs.
The hero of Viktor Pelevin's novel Generation “P” (first edition 1999), former litterateur Vavilen Tatarskii, studied in the Literary Institute. As distinct from Petrovich in Underground, however, after the fall of Soviet power he becomes—in accordance with the carnivalesque relativism of postmodern poetics—an unbridled cynic. He changes literature into an advertising business and sees the task of the “copywriter” and “creator” as that of “adapting Western advertising concepts to the mentality of the Russian consumer” (p. 33).5 His first name, Vavilen, is a composite of elements from ‘Vasilii (Aksenov)’ and ‘Vladimir Il'ich Lenin.’ However, he retroactively explains it by citing his father's enthusiasm for the myth of ancient Babylon; subsequently, he completely transitions to being called Vova or Vladimir. Thus the changes of the hero's name in this novel obviously reflect the transition from the Soviet era to the post-Soviet one.
The hero of Viktor Pelevin's novel Generation “P” (first edition 1999), former litterateur Vavilen Tatarskii, studied in the Literary Institute. As distinct from Petrovich in Underground, however, after the fall of Soviet power he becomes—in accordance with the carnivalesque relativism of postmodern poetics—an unbridled cynic. He changes literature into an advertising business and sees the task of the “copywriter” and “creator” as that of “adapting Western advertising concepts to the mentality of the Russian consumer” (p. 33).5 His first name, Vavilen, is a composite of elements from ‘Vasilii (Aksenov)’ and ‘Vladimir Il'ich Lenin.’ However, he retroactively explains it by citing his father's enthusiasm for the myth of ancient Babylon; subsequently, he completely transitions to being called Vova or Vladimir. Thus the changes of the hero's name in this novel obviously reflect the transition from the Soviet era to the post-Soviet one.
The corruption and commercialization of the intelligentsia and their New Russian clients became a target for one of Russia's funniest satirists, Viktor Pelevin, whose 1999 breakout novel Generation P – which told the story of an advertising copywriter named Vladlen Tatarsky, who is recruited to work at an ad agency, adapting Western advertising to the 'Russian mentality' – best expressed this bewilderment at the transformation of the country into a consumer paradise. Indeed, in reality, for the average Muscovite the landscape of the capital had changed little in the half-decade since the end of communism – aside from the replacement of the dominating symbols of Soviet power (the statues of Lenin, Marx and Dzerzhinsky) with large billboards and neon-lit signs.
