DOCSLIB.ORG

Krzysztof Martowicz Phd Thesis

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Krzysztof Martowicz Phd Thesis THE WORK OF ALEKSANDR GRIN (1880-1932): A STUDY OF GRIN’S PHILOSOPHICAL OUTLOOK Krzysztof Martowicz A Thesis Submitted for the Degree of PhD at the University of St. Andrews 2011 Full metadata for this item is available in Research@StAndrews:FullText at: http://research-repository.st-andrews.ac.uk/ Please use this identifier to cite or link to this item: http://hdl.handle.net/10023/2467 This item is protected by original copyright This item is licensed under a Creative Commons License R ! "# $ R ! "# $ %& & ' #& () 1 Declarations (i) I, Christopher Martowicz, hereby certify that this thesis, which is approximately 80000 words in length, has been written by me, that it is the record of work carried out by me and that it has not been submitted in any previous application for a higher degree. Date …… Signature of candidate ……… (ii) I was admitted as a research student in September 2005 and as a candidate for the degree of PhD in September 2009; the higher study for which this is a record was carried out in the University of St Andrews between 2005 and 2009. Date …… Signature of candidate ……… (iii) I hereby certify that the candidate has fulfilled the conditions of the Resolution and Regulations appropriate for the degree of PhD in the University of St Andrews and that the candidate is qualified to submit this thesis in application for that degree. Date …… Signature of Head of School ……… In submitting this thesis to the University of St Andrews we understand that we are giving permission for it to be made available for use in accordance with the regulations of the University Library for the time being in force, subject to any copyright vested in the work not being affected thereby. We also understand that the title and the abstract will be published, and that a copy of the work may be made and supplied to any bona fide library or research worker, that my thesis will be electronically accessible for personal or research use unless exempt by award of an embargo as requested below, and that the library has the right to migrate my thesis into new electronic forms as required to ensure continued access to the thesis. We have obtained any third-party copyright permissions that may be required in order to allow such access and migration, or have requested the appropriate embargo below. Date …… Signature of candidate ……… Access to printed copy and electronic publication of thesis through the University of St Andrews. Date …… Signature of candidate ……… I Mojej wspaniałej i kochanej bonie Ani oraz naszej cudownej córeczce Zosi prac B t B dedykuj B… II Abstract There has been to date no attempt at a detailed examination of Aleksandr Grin’s philosophical views interpreted on the basis of his literary work. Whilst some critics have noted interesting links between the writer’s oeuvre and a few popular philosophers, this has usually been done in passing and on an ad hoc basis. This thesis aims to fill this gap by reconstructing Grin’s views in relation to the European philosophical tradition. The main body of the thesis consists of three parts built on and named after three essential themes in philosophy: External World, Happiness and Morality. Part One delineates Grin’s views on nature and civilisation: I argue first that his cult of nature makes it possible to conceive of Grin as a pantheistic thinker close to Rousseau and Bergson, and then I reconstruct the author’s criticism of urbanisation and industrialisation. In the second part I assess the place of happiness in Grin’s world-view, indicating its similarities to the philosophy of various thinkers from the Ancients to Schopenhauer and Nietzsche. After sketching a general picture of the concept of happiness in Grin’s works, I discuss the place of material and immaterial factors in the writer’s outlook. I also gather maxims expressed by the protagonists in his fiction that can be taken as recommendations concerning ways of achieving and defending happiness. Finally, I link happiness with the problem of morality in Grin’s oeuvre. In the final part I examine modes of moral behaviour as displayed by the author’s protagonists. Firstly, I argue that in Grin’s works we find numerous examples and themes that allow us to perceive him as an existentialist. Secondly, I indicate Grin’s adherence to rules of conduct commonly associated with chivalric literature. Thirdly, I emphasise the importance of Promethean-like characters in the moral hierarchy of Grin’s protagonists. III Acknowledgements I am greatly indebted to a number of people but first of all I should express my sincere gratitude to my supervisors Dr Roger Keys and Dr Claire Whitehead, as well as Dr Aleksandra Smith from The Division of European Languages and Cultures at the University of Edinburgh, who provided me with helpful suggestions and important advice during my Grinian journey. I wish to thank also the School of Modern Languages of the University of St Andrews for the financial contribution towards my research. I wish to express my cordial appreciation to my wife Anna for her invaluable encouragement and spiritual support at all stages of this work. My special thanks go also to my parents Ewa and Elio, and my brother Jan simply for being there. Finally, I wish to thank my dear friends Ron Looker for his linguistic support and Gleb Garazha for his interesting philosophical remarks. IV The novel is not the author’s confession; it is an investigation of human life in the trap the world has become. Milan Kundera A fictional technique always relates back to the novelist’s metaphysics. The critic’s task is to define the latter before evaluating the former. Jean-Paul Sartre V CONTENTS Introduction 1 Current state of research 16 Part One - External world 20 1.1 Nature 21 1.2 Civilisation 32 Part Two - Happiness 49 2.1 Eudaimonology 51 2.2 The concept of happiness in Grin’s work 54 2.3 Wealth 61 2.4 Immaterial goods 62 2.4.1. Intrapersonal values 63 2.4.1.1 Love 63 2.4.1.2 Family life 66 2.4.1.3 Friendship 67 2.4.2 Intrapersonal values 69 2.4.2.1 Fame and respect of others 69 2.4.2.2 Self-satisfaction and self-realisation 70 2.4.2.3 Contact with nature 72 2.4.2.4 Life in itself 73 2.4.2.5 Freedom 74 2.4.2.6 Imagination 76 2.4.2.7 Art 78 2.4.2.8 Adventure 79 2.5 Sets of rules 82 2.6 Altruism and the problem of virtue 89 2.7 The place of happiness in Grin’s Weltanschauung 92 Part Three - Morality 95 3.1 Existentialism 98 3.1.1 Grin and questions of human existence 100 3.1.2 Grin’s personal existential journey 101 3.1.3 The experience of happiness 106 3.1.4 The meaning of existence 109 3.1.5 The problem of suicide 111 VI 3.1.6 Naked existence 118 3.1.6.1 Spiritual loneliness 118 3.1.6.2 Paradoxes of freedom 122 3.1.6.3 Infinite responsibility and authenticity 126 3.1.7 Existential sketches 132 3.1.7.1 The painter and his sketches 132 3.1.7.2 Rejected options 134 3.1.8 Grin as an intuitive existentialist 143 3.2 Romantic chivalric ethos 145 3.2.1 The genesis of the Grinian Knight 145 3.2.2 Characteristics of the Knight 148 3.2.3 The evaluation of Grin’s romantic chivalric ethos 164 3.3. Promethean Humanism 165 3.3.1 Being good requires sacrifices (‘Sozdanie Aspera‘) 168 3.3.2 Readiness to create good (‘Gatt, Vitt i Redott‘) 170 3.3.3 Let peace fall over the world (‘Poedinok predvoditelei‘) 171 3.3.4 Let the time of love come for ever (‘Uchenik charodeia‘) 173 3.3.5 The tragic fate of Prometheus (‘Blistaiushchii mir’) 175 3.3.6 Grin’s ideal hero 192 Final conclusions 194 Bibliography 197 VII Introduction The pathways of philosophy and literature interweave in three main forms which may be summarised as ‘philosophy of literature’, ‘philosophy and literature’ and ‘philosophy in literature’. The first type refers to the philosophical reflection on literature as an art form and addresses questions concerning the nature of literature (What makes something literature?), its forms (What is literature and what is not?), meanings (How do literary works convey meanings?), values and purposes. ‘Philosophy and literature’, in turn, is the attempt to apply philosophy to a literary work to enhance one's understanding of this work an example of which is, for instance, interpreting literary works using concepts from aesthetics, ethics, religion studies or particular philosophical currents (e.g. existentialism) as interpretative tools. The last form of coexistence – ‘philosophy in literature’ – is focused on the issues of presence of philosophical thought in a literary work which surfaces either explicitly in characters’ dialogues or implicitly, in which case only attending to incidents in the lives of the characters allows for reconstruction of that thought. This places ‘philosophy in literature’ as a predominantly author-oriented phenomenon accepting that behind every literary work there is a human being who experiences the world in his own peculiar way. The world requires him to interpret facts, events, acts, behaviour – from the level of simple reactions to the most complex and mysterious questions concerning the essence of human existence (life, hate, faith, melancholy, love, honour, and death). A literary work is an image of this interpretation – a picture of the author’s beliefs, visions of the world and perception of reality (claiming the contrary would imply that the author is unfaithful to himself).
Load more

Recommended publications
  • The Blue Review Literature Drama Art Music
    Volume I Number III JULY 1913 One Shilling Net THE BLUE REVIEW LITERATURE DRAMA ART MUSIC CONTENTS Poetry Rupert Brooke, W.H.Davies, Iolo Aneurin Williams Sister Barbara Gilbert Cannan Daibutsu Yone Noguchi Mr. Bennett, Stendhal and the ModeRN Novel John Middleton Murry Ariadne in Naxos Edward J. Dent Epilogue III : Bains Turcs Katherine Mansfield CHRONICLES OF THE MONTH The Theatre (Masefield and Marie Lloyd), Gilbert Cannan ; The Novels (Security and Adventure), Hugh Walpole : General Literature (Irish Plays and Playwrights), Frank Swinnerton; German Books (Thomas Mann), D. H. Lawrence; Italian Books, Sydney Waterlow; Music (Elgar, Beethoven, Debussy), W, Denis Browne; The Galleries (Gino Severini), O. Raymond Drey. MARTIN SECKER PUBLISHER NUMBER FIVE JOHN STREET ADELPHI The Imprint June 17th, 1913 REPRODUCTIONS IN PHOTOGRAVURE PIONEERS OF PHOTOGRAVURE : By DONALD CAMERON-SWAN, F.R.P.S. PLEA FOR REFORM OF PRINTING: By TYPOCLASTES OLD BOOKS & THEIR PRINTERS: By I. ARTHUR HILL EDWARD ARBER, F.S.A. : By T. EDWARDS JONES THE PLAIN DEALER: VI. By EVERARD MEYNELL DECORATION & ITS USES: VI. By EDWARD JOHNSTON THE BOOK PRETENTIOUS AND OTHER REVIEWS: By J. H. MASON THE HODGMAN PRESS: By DANIEL T. POWELL PRINTING & PATENTS : By GEO. H. RAYNER, R.P.A. PRINTERS' DEVICES: By the Rev.T. F. DIBDIN. PART VI. REVIEWS, NOTES AND CORRESPONDENCE. Price One Shilling net Offices: 11 Henrietta Street, Covent Garden, W.G. JULY CONTENTS Page Post Georgian By X. Marcel Boulestin Frontispiece Love By Rupert Brooke 149 The Busy Heart By Rupert Brooke 150 Love's Youth By W. H. Davies 151 When We are Old, are Old By Iolo Aneurin Williams 152 Sister Barbara By Gilbert Cannan 153 Daibutsu By Yone Noguchi 160 Mr.
    [Show full text]
  • Narrative Representations of Gender and Genre Through Lyric, Music, Image, and Staging in Carrie Underwood’S Blown Away Tour
    COUNTRY CULTURE AND CROSSOVER: Narrative Representations of Gender and Genre Through Lyric, Music, Image, and Staging in Carrie Underwood’s Blown Away Tour Krisandra Ivings A Thesis Presented In Partial Fulfillment of the Requirement for the Degree Master of Arts in Music with Specialization in Women’s Studies University of Ottawa © Krisandra Ivings, Ottawa, Canada, 2016 Abstract This thesis examines the complex and multi-dimensional narratives presented in the work of mainstream female country artist Carrie Underwood, and how her blending of musical genres (pop, rock, and country) affects the narratives pertaining to gender and sexuality that are told through her musical texts. I interrogate the relationships between and among the domains of music, lyrics, images, and staging in Underwood’s live performances (Blown Away Tour: Live DVD) and related music videos in order to identify how these gendered narratives relate to genre, and more specifically, where these performances and videos adhere to, expand on, or break from country music tropes and traditions. Adopting an interlocking theoretical approach grounded in genre theory, gender theory, narrative theory in the context of popular music, and happiness theory, I examine how, as a female artist in the country music industry, Underwood uses genre-blending to construct complex gendered narratives in her musical texts. Ultimately, I find that in her Blown Away Tour: Live DVD, Underwood uses diverse narrative strategies, sometimes drawing on country tropes, to engage techniques and stylistic influences of several pop and rock styles, and in doing so explores the gender norms of those genres. ii Acknowledgements A great number of people have supported this thesis behind the scenes, whether financially, academically, or emotionally.
    [Show full text]
  • [2007 Tanny.Pdf] 30 Pages, 170 KB
    University of California, Berkeley The Many Ends of Old Odessa: Memories of the Gilded Age in Russia’s City of Sin Jarrod Tanny, Ph.D. candidate, Department of History, University of California, Berkeley Berkeley Program in Soviet and Post-Soviet Studies Working Paper Series This PDF document preserves the page numbering of the printed version for accuracy of citation. When viewed with Acrobat Reader, the printed page numbers will not correspond with the electronic numbering. The Berkeley Program in Soviet and Post-Soviet Studies (BPS) is a leading center for graduate training on the Soviet Union and its successor states in the United States. Founded in 1983 as part of a nationwide effort to reinvigorate the field, BPS’s mission has been to train a new cohort of scholars and professionals in both cross-disciplinary social science methodology and theory as well as the history, languages, and cultures of the former Soviet Union; to carry out an innovative program of scholarly research and publication on the Soviet Union and its successor states; and to undertake an active public outreach program for the local community, other national and international academic centers, and the U.S. and other governments. Berkeley Program in Soviet and Post-Soviet Studies University of California, Berkeley Institute of Slavic, East European, and Eurasian Studies 260 Stephens Hall #2304 Berkeley, California 94720-2304 Tel: (510) 643-6737 [email protected] http://socrates.berkeley.edu/~bsp/ The Many Ends of Old Odessa: Memories of the Gilded Age in Russia’s City of Sin Jarrod Tanny Summer 2007 Jarrod Tanny is a Ph.D.
    [Show full text]
  • The Literature of Kita Morio DISSERTATION Presented In
    Insignificance Given Meaning: The Literature of Kita Morio DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Masako Inamoto Graduate Program in East Asian Languages and Literatures The Ohio State University 2010 Dissertation Committee: Professor Richard Edgar Torrance Professor Naomi Fukumori Professor Shelley Fenno Quinn Copyright by Masako Inamoto 2010 Abstract Kita Morio (1927-), also known as his literary persona Dokutoru Manbô, is one of the most popular and prolific postwar writers in Japan. He is also one of the few Japanese writers who have simultaneously and successfully produced humorous, comical fiction and essays as well as serious literary works. He has worked in a variety of genres. For example, The House of Nire (Nireke no hitobito), his most prominent work, is a long family saga informed by history and Dr. Manbô at Sea (Dokutoru Manbô kôkaiki) is a humorous travelogue. He has also produced in other genres such as children‟s stories and science fiction. This study provides an introduction to Kita Morio‟s fiction and essays, in particular, his versatile writing styles. Also, through the examination of Kita‟s representative works in each genre, the study examines some overarching traits in his writing. For this reason, I have approached his large body of works by according a chapter to each genre. Chapter one provides a biographical overview of Kita Morio‟s life up to the present. The chapter also gives a brief biographical sketch of Kita‟s father, Saitô Mokichi (1882-1953), who is one of the most prominent tanka poets in modern times.
    [Show full text]
  • 'The Supreme Principle of Morality'? in the Preface to His Best
    The Supreme Principle of Morality Allen W. Wood 1. What is ‘The Supreme Principle of Morality’? In the Preface to his best known work on moral philosophy, Kant states his purpose very clearly and succinctly: “The present groundwork is, however, nothing more than the search for and establishment of the supreme principle of morality, which already constitutes an enterprise whole in its aim and to be separated from every other moral investigation” (Groundwork 4:392). This paper will deal with the outcome of the first part of this task, namely, Kant’s attempt to formulate the supreme principle of morality, which is the intended outcome of the search. It will consider this formulation in light of Kant’s conception of the historical antecedents of his attempt. Our first task, however, must be to say a little about the meaning of the term ‘supreme principle of morality’. For it is not nearly as evident to many as it was to Kant that there is such a thing at all. And it is extremely common for people, whatever position they may take on this issue, to misunderstand what a ‘supreme principle of morality’ is, what it is for, and what role it is supposed to play in moral theorizing and moral reasoning. Kant never directly presents any argument that there must be such a principle, but he does articulate several considerations that would seem to justify supposing that there is. Kant holds that moral questions are to be decided by reason. Reason, according to Kant, always seeks unity under principles, and ultimately, systematic unity under the fewest possible number of principles (Pure Reason A298-302/B355-359, A645- 650/B673-678).
    [Show full text]
  • Vol. 73, No. 7JULY/AUGUST 1968 Published•By Conway Hall
    Vol. 73, No. 7JULY/AUGUST 1968 CONTENTS Eurnmum..• 3 "ULYSSES": THE BOOK OF THE FILM . 5 by Ronald Mason THE PHENOMENOLOGY OF RELIGION . 8 by Dr. H. W. Turner JEREMY BENTFIAM .... 10 by Maurice Cranston, MA MAXIM GORKY•••• • 11 by Richard Clements, aRE. BOOK REVIEW: Gown. FORMutEncs. 15 by Leslie Johnson WHO SAID THAT? 15 Rum THE SECRETARY 16 TO THE EDITOR . 17 PEOPLEOUT OF 11113NEWS 19 DO SOMETHINGNICE FOR SOMEONE 19 SOUTH PLACENaws. 20 Published•by Conway Hall Humanist Centre Red Um Square, London, Wel SOUTH PLACE ETHICAL SOCIETY Omens: Secretary: Mr. H. G. Knight Hall Manager and Lettings Secretary: Miss E. Palmer Hon. Registrar: Miss E. Palmer Hon. Treasurer: Mr. W. Bynner Editor, "The Ethical Record": Miss Barbara Smoker Address: Conway Hall Humanist Centre, Red Lion Square, London, W.C.I (Tel.: CHAncery 8032) SUNDAY MORNING MEETINGS, II a.rn. (Admission free) July 7—Lord SORENSEN Ivory Towers Soprano solos: Laura Carr. July 14—J. STEWART COOK. BSc. Politics and Reality Cello and piano: Lilly Phillips and Fiona Cameron July 21—Dr. JOHN LEWIS The Students' Revolt Piano: Joyce Langley SUNDAY MORNING MEETINGS are then suspended until October 6 S.P.E.S. ANNUAL REUNION Sunday, September 29, 1968, 3 p.m. in the Large Hall at CONWAY HUMANIST CENTRE Programme of Music (3 p.m.) Speeches by leaders of Humanist organisations (3.30 P.m.) Guest of Honour: LORD WILLIS Buffet Tea (5 p.m.) Tickets free from General Secretary CONWAY DISCUSSIONS will resume on Tuesdays at 6.45 p.m. from October 1 The 78th season of SOUTH PLACE SUNDAY CONCERTS will open on October 6 at 6.30 p.m.
    [Show full text]
  • Stanford Encyclopedia of Philosophy) Stanford Encyclopedia of Philosophy Arthur Schopenhauer
    03/05/2017 Arthur Schopenhauer (Stanford Encyclopedia of Philosophy) Stanford Encyclopedia of Philosophy Arthur Schopenhauer First published Mon May 12, 2003; substantive revision Sat Nov 19, 2011 Among 19th century philosophers, Arthur Schopenhauer was among the first to contend that at its core, the universe is not a rational place. Inspired by Plato and Kant, both of whom regarded the world as being more amenable to reason, Schopenhauer developed their philosophies into an instinct­recognizing and ultimately ascetic outlook, emphasizing that in the face of a world filled with endless strife, we ought to minimize our natural desires for the sake of achieving a more tranquil frame of mind and a disposition towards universal beneficence. Often considered to be a thoroughgoing pessimist, Schopenhauer in fact advocated ways — via artistic, moral and ascetic forms of awareness — to overcome a frustration­filled and fundamentally painful human condition. Since his death in 1860, his philosophy has had a special attraction for those who wonder about life's meaning, along with those engaged in music, literature, and the visual arts. 1. Life: 1788–1860 2. The Fourfold Root of the Principle of Sufficient Reason 3. Schopenhauer's Critique of Kant 4. The World as Will 5. Transcending the Human Conditions of Conflict 5.1 Aesthetic Perception as a Mode of Transcendence 5.2 Moral Awareness as a Mode of Transcendence 5.3 Asceticism and the Denial of the Will­to­Live 6. Schopenhauer's Later Works 7. Critical Reflections 8. Schopenhauer's Influence Bibliography Academic Tools Other Internet Resources Related Entries 1. Life: 1788–1860 Exactly a month younger than the English Romantic poet, Lord Byron (1788–1824), who was born on January 22, 1788, Arthur Schopenhauer came into the world on February 22, 1788 in Danzig [Gdansk, Poland] — a city that had a long history in international trade as a member of the Hanseatic League.
    [Show full text]
  • (On) Anton Chekhov Ben Dhooge Nabokov and 'Other Re
    On an Unhappy Marriage, Henry James, and Atoms: Vladimir Nabokov Reading (on) Anton Chekhov Ben Dhooge Nabokov’s lecture on Anton Chekhov stands out for its numerous citations from Korney Chukovsky’s 1947 article ‘Friend Chekhov.’ At the same time, however, the lecture contains many more references to other critics, as well – some of them explicit, though not necessarily clear, others more concealed. In an attempt to trace the sources Nabokov used when drafting his Chekhov lecture, the article offers a concrete view of Nabokov’s critical laboratory. Additionally, the article sheds light on his relation to other critics and critical movements, more specifically with respect to the competing ‘tendencies’ at work in the canonization of Chekhov’s oeuvre during the interwar period: Russian émigré, Soviet, and Anglo-American. Nabokov and ‘other readers’ In his Lectures on Russian Literature, Vladimir Nabokov emerges not only as a reader of literature as such – and, by extension, as a teacher of literature – but also as a reader of critical writings on literature. Nabokov frequently refers to other ‘readers’ in the broadest sense of the word, i.e. to critics (writers, literary critics, and scholars) as well as to the common reader who, unlike the former, does not take pen in hand. Sometimes Nabokov names, cites, or refers to specific ‘readers’ who commented on the writer whose work is central to the lecture in question. More often, however, Nabokov refers to reactions and opinions of ‘readers’ without specifying whom they exactly belong to. He lumps individual ‘readers’ together, giving them collective names such as ‘Russian readers and critics,’ ‘socially-minded Russian critics,’ or ‘Freudian-minded explorers.’ More importantly, the different opinions of other ‘readers’ which Nabokov includes in his lectures are meaningful elements in the structure of his argumentation.
    [Show full text]
  • Human Beings and the Moral Law: Moral Precariousness in Kant's Ethical Philosophy
    University of Pennsylvania ScholarlyCommons Publicly Accessible Penn Dissertations 2014 Human Beings and the Moral Law: Moral Precariousness in Kant's Ethical Philosophy Bradley Taylor University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/edissertations Part of the Philosophy Commons Recommended Citation Taylor, Bradley, "Human Beings and the Moral Law: Moral Precariousness in Kant's Ethical Philosophy" (2014). Publicly Accessible Penn Dissertations. 1468. https://repository.upenn.edu/edissertations/1468 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/edissertations/1468 For more information, please contact [email protected]. Human Beings and the Moral Law: Moral Precariousness in Kant's Ethical Philosophy Abstract ABSTRACT HUMAN BEINGS AND THE MORAL LAW: MORAL PRECARIOUSNESS IN KANT'S ETHICAL PHILOSOPHY Bradley M. Taylor Dr. Paul Guyer This dissertation is an examination of human moral precariousness in Kant's ethics. Human beings are in a state of moral precariousness insofar as they are ever-capable of transgressing the moral law and are often uncertain of the moral worth of their actions. Put another way, in this dissertation I argue that the basic relationship between human beings and the moral law, in Kant's moral philosophy, is, most fundamentally, one of tenuousness and vacillation. This relation is the fundamental characteristic of the human moral condition because such a relation is built into Kant's account of human moral agency. We have a tenuous relation to the moral law because we always have at least the possibility of conflict between our desire for happiness (i.e. the satisfaction of our inclinations) and the requirements of the moral law.
    [Show full text]
  • University of Pittsburgh Department of Slavic Languages and Literatures
    University of Pittsburgh Department of Slavic Languages and Literatures Russian 0590: Formative Masterpieces of 19th Century Russian Literature Vladimir Padunov Fall Semester 2010 427 CL Tuesdays and Thursdays 2:30—3:45 624-5713 CL 139 e-mail: [email protected] Office Hours: Mondays and Wednesdays 10:00—11:00; Tuesdays and Thursdays 11:00—12:00; and by appointment I. REQUIRED TEXTS: Chekhov, Anton. Anton Chekhov’s Short Stories. Ed. Ralph E. Matlaw. NY: Norton, 1979. Dostoevsky, Fyodor. Crime and Punishment. Ed. George Gibian. Tr. Jessie Coulson. 3rd ed. NY: Norton, 1989. Gogol, Nikolai. The Overcoat and Other Tales of Good and Evil. Tr. David Magarshack. NY: Norton, 1965. Lermontov, Mikhail. A Hero of Our Time. Tr. Vladimir Nabokov. Woodstock, NY: Ardis, 1986. Proffer, Carl, ed. From Karamzin to Bunin: An Anthology of Russian Short Stories. Bloomington: Indiana UP, 1969. Pushkin, Alexandr. The Complete Prose Tales of Alexandr Sergeyevitch Pushkin. Tr. Gillon R. Aitken. NY: Norton, 1996. Turgenev, Ivan. Fathers and Children. Tr. and ed. Michael Katz. 2nd ed. NY: Norton, 2008. II. RECOMMENDED SECONDARY SOURCES: Andrew, Joe. Writers and Society during the Rise of Russian Realism. Atlantic Heights, NJ: Humanities P, 1980. —. Russian Writers and Society in the Second Half of the Nineteenth Century. Atlantic Heights, NJ: Humanities P, 1982. Bloom, Harold, ed. Fyodor Dostoevsky’s Crime and Punishment. NY: Chelsea House, 1988. Fanger, Donald. Dostoevsky and Romantic Realism: A Study of Dostoevsky in Relation to Balzac, Dickens, and Gogol. Chicago: U of Chicago P, 1965. Frank, Joseph. Dostoevsky: The Miraculous Years, 1865-1871. Princeton: Princeton UP, 1995.
    [Show full text]
  • Wehrli-Introsandtexts FINAL.Docx
    Catalog of Everything and Other Stories Peter K. Wehrli Edited by Jeroen Dewulf, in cooperation with Anna Carlsson, Ann Huang, Adam Nunes and Kevin Russell eScholarship – University of California, Berkeley Department of German Published by eScholarship and Lulu.com University of California, Berkeley, Department of German 5319 Dwinelle Hall, Berkeley, CA 94720 Berkeley, USA © Peter K. Wehrli (text) © Arrigo Wittler (front cover painting Porträt Peter K. Wehrli, Forio d’Ischia 1963) © Rara Coray (back cover image) All Rights Reserved. Published 2014 Printed in the United States of America ISBN: 978-1-304-96040-5 Table of Contents Introduction 1 I. Everything is a Reaction to Dada 9 II. Robby and Alfred 26 III. Burlesque 32 IV. Hearty Home Cooking 73 V. Travelling to the Contrary of Everything 85 VI. The Conquest of Sigriswil 103 VII. Catalog of Everything I: Catalog of the 134 Most Important Observations During a Long Railway Journey 122 VIII. Catalog of Everything II: 65 Selected Numbers 164 IX. Catalog of Everything III: The Californian Catalog 189 Contributors 218 Introduction Peter K. Wehrli was born in 1939 in Zurich, Switzerland. His father, Paul Wehrli, was secretary for the Zurich Theatre and also a writer. Encouraged by his father to respect and appreciate the arts, the young Peter Wehrli enthusiastically rushed through homework assignments in order to attend as many theater performances as possible. Wehrli later studied Art History and German Studies at the universities of Zurich and Paris. As a student, he used to frequent the Café Odeon in downtown Zurich, where many famous intellectuals and artists used to meet.
    [Show full text]
  • Heep-Iear€Ver Yqr4c Th€Y W..€ Not Soa€Body to Thc Foulrdc
    THEOFFICIAL U I H APPRECIATIONSOCIETY trssue3 EDITORIAL Lat€EtnEw5, TDIIB OFTEs lorh Hrrle rrsJ S'ho're rrrh LhennlrzxJUs Def Einherr r rrh Dresde sa.hs llusic halr llrh H!nno!crCaPitor E ldrk l5rh Erlansei'Ihear.e r6ih uichel la'rrL lTrh St!Lrsarr r,nenorn 13rh Urmcon i PJrr r rfh frtnf I I M!\i' [dr 2o.h llerro.d Ro.h h'aven 22nd fanbura Crosse Fr€ibe1r zrrd Obshau'enHsi' hrG 24Lh Du\scld.fr or ) riir. e.a- 0,".-. t"'r" 'l 23Lh Fesa'sh!r! Lri-'o - lgir Esce i.ld.n PrLLelr1'ai1 lsi chremr! 5i' I o'c'ino lifr rerp t#olt'onot L"riiij$.$3c E- -*,- lRtTlllEN d, '*"...." auDttllc,,,,...."'"' Craz, Austria. Live in 6]i€L&slobesl'D3Fdsl3t oDheumrcdosbeg€3b6' b€!ud! wb sich oedreleie, ztnn - &r jinqEbnzeiudsEhodei dLe &misshawso€JciaBidMck UdahH6!r'*alnchlb6mdhi' l5ndgue|en'e.leqlsWsdaui 6€fusoli'Koleda'Phitan. sbhi6insmxbngldppicnzb* dgl0glansichhamonsdns Me Baxlnd sdtsd B@b Stuv k h.stet spdbw A16'Hd6nw.h$ll6nimXon ohrcnbeliuband'alii]dlerdd. ir;hen sen muB."E6y Lvd", "sroari-, mri'l ch "cy!s/, ,bdy inBacrundwarsmJuyMoF e- Fo.i.Hsz am idod lft sin. siiharbsunden w 6d€r juns *ur warg4ngM.gd| Uriah Heep-iEar€ver yqr4c Th€y w..€ not soa€body to thc foulrdc. m€mb.r was noi c.y rbout out, like win., old just loud, h. put tn somc and v€ry good. I'nr telking wofld€rful solos, Kcybor.d about rh€ U.ieh H€€p show on playc. Phil Lanzon pur o...nts Moodry .vcning tn th€ on th.
    [Show full text]