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NATURALISM AND IDENTITY IN "SISTER CARRIE"
Mamatova Dilorom A’zam qizi
Department of Foreign Languages
Qarshi State Technical University
Email: dilorombobur567@gmail.com
https://doi.org/10.5281/zenodo.16601573
Abstract:
This article examines the theme of identity in Theodore Dreiser’s
novel Sister Carrie through the lens of literary naturalism. It argues that Dreiser
presents identity not as a fixed or inherent trait but as a product of
environmental forces, social conditions, and unconscious desires. By tracing
Carrie Meeber’s transformation from a naïve country girl to a stage actress, the
article explores how her sense of self is shaped—and fragmented—by the urban
landscape, economic pressures, and emotional disillusionment. The study
reveals how Dreiser’s naturalist vision deconstructs the myth of individual
autonomy, illustrating instead a model of identity that is contingent, unstable,
and deeply intertwined with the forces of modernity.
Keywords:
Sister Carrie, naturalism, identity, Theodore Dreiser, modernity,
urban experience, determinism
Introduction
Theodore Dreiser’s Sister Carrie (1900) is widely regarded as a landmark of
American literary naturalism. The novel not only challenges the moral
conventions of its time but also interrogates the nature of selfhood in the
modern world. Carrie Meeber, the protagonist, undergoes a dramatic
transformation in the course of the narrative, but this transformation is not
portrayed as the result of deliberate will or personal insight. Rather, it emerges
from her exposure to the rapidly changing social and economic environment of
the city. In Dreiser’s naturalist framework, identity is fluid, fragmented, and
often shaped by external circumstances beyond the individual’s control. This
article explores how Dreiser uses naturalistic techniques to depict the evolution
of Carrie’s identity, and how this reflects broader themes of determinism,
alienation, and the search for meaning in an impersonal society.
Naturalism, as developed by writers such as Emile Zola and later adopted
by Dreiser, emphasizes the role of environment, heredity, and social conditions
in shaping human behavior. In Sister Carrie, these forces are ever-present.
Carrie’s decisions—from accepting help from Drouet to leaving Hurstwood—are
influenced more by circumstance than by moral deliberation. Dreiser denies the
notion of a unified, autonomous self; instead, he presents individuals as products
of the forces that act upon them. Carrie’s shifting identity—first as a dependent,
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then a mistress, and finally a performer—demonstrates how selfhood is not
chosen but constructed through adaptation and survival. Furthermore, Dreiser’s
characters act not from moral conviction, but from instinct, desire, and
necessity.
Dreiser’s naturalism resists traditional literary heroism. Carrie is not
punished for her ambition nor celebrated for her independence; rather, she is
portrayed as a living being subject to the unpredictable dynamics of urban life.
This represents a critical departure from 19th-century literature, where
characters often faced clear moral consequences. In Dreiser’s world, characters
exist in a morally neutral space, where survival is dictated by adaptability, not
virtue.
Comparative analysis
Zulfiya Qurolboy qizi’s Oyimtilla and Iqbol Mirzo’s Bonu similarly focus on
women whose identities are constructed and contested within patriarchal social
orders. Like Carrie, the protagonists of these Uzbek novels—Nilufar in Oyimtilla
and the titular Bonu in Bonu—struggle to assert their individuality in
environments shaped by tradition, gender expectations, and social control.
In Oyimtilla, Nilufar’s identity is fractured between familial obligations and
personal aspirations. Though she is not seeking fame or urban glamour like
Carrie, Nilufar faces a similar alienation—her emotional needs are suppressed
by cultural expectations of obedience and silence. The novel’s depiction of
reproductive conflict, societal pressure, and the emotional toll of repression
reflects a kindred naturalist theme: the self as victim of surrounding forces.
Unlike Dreiser, however, Qurolboy qizi infuses her narrative with implicit
feminist resistance. Nilufar’s tragic fate is not just a product of circumstance but
also a critique of the structures that deny women agency.
Iqbol Mirzo’s Bonu presents a more intellectualized, introspective woman.
Bonu navigates social injustice and personal loss while engaging in philosophical
reflection on freedom and sacrifice. Her struggle is less about material survival
and more about spiritual and ideological identity. Unlike Carrie, Bonu is not
seduced by the external symbols of success but rather seeks purpose within
societal constraints. Still, both characters represent a “modern woman”
archetype who is dislocated from tradition and striving toward self-definition in
a society that resists change.
These comparisons show that while Sister Carrie emphasizes psychological
realism and urban materialism, Oyimtilla and Bonu highlight cultural
entrapment and ethical struggle. All three protagonists emdiv the costs of
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modernization for women—whether through commodification, repression, or
moral compromise. Despite geographic and ideological distances, these novels
collectively reveal the fragility of female identity in patriarchal, transitional
societies.
Literature review
The div of scholarship on Theodore Dreiser’s Sister Carrie is extensive,
with critics highlighting its naturalistic framework, critique of the American
Dream, and exploration of female identity. Donald Pizer, a leading Dreiser
scholar, emphasizes the novel's significance in shaping American literary
naturalism by focusing on determinism and the interplay of character and
circumstance. Amy Kaplan interprets the novel’s romantic undertones as ironic,
suggesting Dreiser critiques sentimental traditions through Carrie’s ascent.
Thomas Riggio explores the urban context of the novel, identifying the city as a
formative agent of character development and alienation.
In contrast, critical literature on contemporary Uzbek novels such as
Oyimtilla and Bonu is still emerging. However, scholars have noted Zulfiya
Qurolboy qizi’s work as a reflection of women’s silent suffering under
sociocultural repression. In particular, her use of psychological realism and
reproductive conflict has been interpreted as a feminist critique of traditional
Uzbek society. Iqbol Mirzo’s Bonu has been praised for its lyrical narrative style
and philosophical depth, addressing existential questions within the bounds of
social morality. These works are increasingly being studied within the context of
post-Soviet identity, gender studies, and comparative literature.
Though Dreiser’s Sister Carrie emerges from a Western industrial capitalist
society and the Uzbek novels stem from post-Soviet Central Asian traditions,
literary critics are beginning to explore their intersections—especially around
themes of female agency, modernity, and psychological dislocation. This article
aims to bridge that scholarly gap by situating these culturally distinct works
within a shared framework of naturalism and identity formation.
Methodology
This study adopts a comparative literary analysis method, focusing on
thematic, contextual, and stylistic parallels between Sister Carrie, Oyimtilla, and
Bonu. The primary method is close reading of the texts with attention to
narrative structure, character development, and symbolic motifs related to
identity formation. The research also applies interdisciplinary approaches—
drawing from feminist theory, naturalist criticism, and cultural studies—to
examine how female protagonists in each novel respond to their environments.
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The method includes textual comparison of key scenes and motifs, such as
urban space, emotional alienation, and societal expectations. Contextual analysis
is used to understand how historical and socio-political conditions in both turn-
of-the-century America and post-Soviet Uzbekistan influence literary
representations of women. This comparative approach allows for identifying
both universal and culturally specific aspects of identity construction under
conditions of social constraint and transformation.
Determinism and the Illusion of Choice
Dreiser’s portrayal of identity is deeply tied to naturalist determinism.
Carrie often seems to act freely, but her choices are consistently shaped by
economic necessity, emotional vulnerability, and cultural forces. Even her ascent
to stardom is not portrayed as a triumph of will, but rather as the cumulative
result of chance encounters and situational advantages. Dreiser’s characters are
not heroes or villains—they are organisms responding to their surroundings.
Carrie’s identity evolves not through reflection but through reaction.
Moreover, Dreiser critiques the ideological promise of the American Dream.
Carrie’s rise seems to affirm that dream—yet her inner life contradicts it. Her
discontent exposes the failure of a system that equates material gain with
personal fulfillment. In doing so, Dreiser anticipates later existential and
postmodern concerns with fragmentation, alienation, and the constructed
nature of identity.
Conclusion
The comparative analysis of Sister Carrie, Oyimtilla, and Bonu
demonstrates the enduring relevance of naturalist and realist techniques in
portraying the fragmented identities of women in transitional societies. Each
novel presents a female protagonist who is shaped—often constrained—by
powerful socio-economic and cultural forces. Carrie, Nilufar, and Bonu differ in
their responses to these forces: Carrie adapts and performs to survive in a
capitalist urban world; Nilufar suffers in silence under patriarchal norms; and
Bonu reflects inwardly while challenging moral expectations.
Despite originating in different literary traditions, the three works share
thematic concerns about autonomy, alienation, and self-construction. Through
their protagonists, the novels critique societal structures that limit women’s
freedom and personal growth. Dreiser’s portrayal of Carrie aligns with naturalist
determinism and critiques the illusion of the American Dream. In contrast,
Oyimtilla and Bonu offer introspective, culturally grounded examinations of
women navigating post-Soviet Uzbek society.
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Ultimately, this study affirms that identity is not a static or self-determined
construct but one that evolves through interactions with external conditions.
Whether in industrial America or modernizing Uzbekistan, women’s search for
selfhood remains fraught with contradiction and resistance. The comparative
lens enriches our understanding of how literature from diverse traditions
captures the universal—and uniquely local—dimensions of that search.
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