DOCSLIB.ORG

BEFORE THEY WERE TITANS ESSAYS on the EARLY WORKS of DOSTOEVSKY and TOLSTOY Ars Rossica

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
BEFORE THEY WERE TITANS ESSAYS on the EARLY WORKS of DOSTOEVSKY and TOLSTOY Ars Rossica BEFORE THEY WERE TITANS ESSAYS ON THE EARLY WORKS OF DOSTOEVSKY AND TOLSTOY Ars Rossica Series Editor – David Bethea (University of Wisconsin–Madison) BEFORE THEY WERE TITANS ESSAYS ON THE EARLY WORKS OF DOSTOEVSKY AND TOLSTOY Edited with an Introduction by ELIZABETH CHERESH ALLEN BOSTON 2015 Library of Congress Cataloging-in-Publication Data: A catalog record for this book is available from the Library of Congress. Copyright © 2015 Academic Studies Press All rights reserved ISBN 978-1-61811-430-3 (hardback) ISBN 978-1-61811-431-0 (electronic) Cover design by Ivan Grave Published by Academic Studies Press in 2015 28 Montfern Avenue Brighton, MA 02135, USA [email protected] www. academicstudiespress.com Effective December 12th, 2017, this book will be subject to a CC-BY-NC license. To view a copy of this license, visit https://creativecommons.org/licenses/by-nc/4.0/. Other than as provided by these licenses, no part of this book may be reproduced, transmitted, or displayed by any electronic or mechanical means without permission from the publisher or as permitted by law. The open access publication of this volume is made possible by: This open access publication is part of a project supported by The Andrew W. Mellon Foundation Humanities Open Book initiative, which includes the open access release of several Academic Studies Press volumes. To view more titles available as free ebooks and to learn more about this project, please visit borderlinesfoundation.org/open. Published by Academic Studies Press 28 Montfern Avenue Brighton, MA 02135, USA [email protected] www.academicstudiespress.com To my beloved James Table of Contents Acknowledgements ........................................................................................ ix Note on the Text ............................................................................................. xi List of Contributors ....................................................................................... xiii Introduction: Before They Were Titans Elizabeth Cheresh Allen .......................................................................................... 1 Part I. Dostoevsky: Works of the 1840s I. Agency, Desire, and Fate in Poor Folk Lewis Bagby ................................................................................................................ 15 II. Me and My Double: Selfhood, Consciousness, and Empathy in The Double Gary Saul Morson ..................................................................................................... 43 III. Husbands and Lovers: Vaudeville Conventions in “Another Man’s Wife,” “The Jealous Husband,” and The Eternal Husband Susanne Fusso ............................................................................................................ 61 viii Table of Contents IV. Dostoevsky’s White Nights: Memoir of a Petersburg Pathology Dale E. Peterson ....................................................................................................... 93 V. Dostoevsky’s Orphan Text: Netochka Nezvanova Elizabeth Cheresh Allen ........................................................................................ 115 Part II. Tolstoy: Works of the 1850s VI. The Creative Impulse in Childhood: The Dangerous Beauty of Games, Lies, Betrayal, and Art Robin Feuer Miller .................................................................................................. 153 VII. Fear and Loathing in the Caucasus: Tolstoy’s “The Raid” and Russian Journalism William Mills Todd III and Justin Weir ............................................................ 193 VIII. Tolstoy ’s Sevastopol Tales: Pathos, Sermon, Protest, and Stowe Liza Knapp ............................................................................................................... 211 IX. On Cultivating One’s Own Garden with Other People’s Labor: Serfdom in “A Landowner’s Morning” Anne Lounsbery ....................................................................................................... 267 X. Tolstoy’s Lessons: Pedagogy as Salvation Ilya Vinitsky .............................................................................................................. 299 An Afterword on the Wondrous Thickness of First Things Caryl Emerson ........................................................................................................... 317 Index ............................................................................................................................ 329 Acknowledgements I have amassed great debts to many people in the course of completing this project. Above all, I want to thank the contributors to this volume for their exemplary professionalism, unflagging support, and limitless patience during the period of its assembly. It was truly a privilege, as well as a personal pleasure, to collaborate with each of them. I would single out Robin Feuer Miller for her sage advice, enduring faith, and unfailing encouragement at each step—I could not have compiled this collection without her—and Gary Saul Morson, who wisely gave me key advice at critical junctures, as he has done so often. William Mills Todd III, a steadfast supporter throughout my career, kept helpfully reminding me to “maintain a strict patience,” and Caryl Emerson endorsed this volume at its inception and graced it with her elegant Afterword, for which I cannot thank her enough. I am also grateful for the indulgence of my Bryn Mawr colleagues, Dan E. Davidson, Tim Harte, and Sharon Bain, as I worked on this volume—and over the years. Haverford College’s inimitable Russian historian, Linda Gerstein, has my heartfelt thanks for her invaluable input into the introduction. Mikayla C. Holland, an exceptional reader and future scholar in her own right, surpassed all my expectations as a research and editorial assistant. Billie Jo Ember shared x Acknowledgements her technological expertise whenever it was needed. In addition, I thank the Myra T. Cooley Lectureship Fund and the Faculty Awards and Grants Committee, both of Bryn Mawr College, for their generous support of this project. I want to acknowledge Igor Nemirovsky and Sharona Vedol of Academic Studies Press for their welcoming reception of the manuscript, and Meghan Vicks and Kira Nemirovsky for expertly shepherding it through the publica- tion process. David Bethea was a model series editor, eminently cordial, generous with his time and counsel, sensitive to every concern. I am also indebted to Elizabeth F. Geballe, who copy-edited the manuscript with great skill, care, and collegiality. And finally, I thank my husband, James Sloan Allen, for all his worldly wisdom and for keeping me going, literally and figuratively, these many years. I lovingly dedicate this book to him. Note on the Text Citations of Dostoevsky’s Russian texts come from the Complete Collected Works [Полное собрание сочинений (ПСС)] in 30 volumes (1972-90) by volume and page number. Citations of Tolstoy’s Russian texts come from one of two versions of the Complete Collected Works, either the 90-volume edition (1928-58), often known as the Jubilee edition, edited by V. G. Chertkov, or the 100-volume online edition, both cited by volume and page number—the author of each essay on Tolstoy will indicate which version was used. For the convenience of readers who do not know Russian, where there is a widely avail- able translation in print (even if the essay’s author did not rely on it), that translation is cited by page number after the Russian citation. References to key secondary or additional primary sources are given in English, followed by the original titles in brackets. Endnotes, fashioned according to the University of Chicago style, can be found at the conclusion of each essay, followed by a bibliographic list of all the works cited in that essay. In the endnotes and works cited lists, Russian titles are rendered solely in Cyrillic, whereas authors’ names are transliterated. In the body of the essays, except for the most commonly-used phrases, every term is translated into English, and xii Note on the Text then, if the author deems it important, the original term follows in the original language. Transliteration of most Russian words adheres to the modified Library of Congress system, except for the names of individuals that have an established alternative spelling, including Dostoevsky and Tolstoy, in English. Unless otherwise noted, ellipses and emphases are the responsibility of each author. List of Contributors Elizabeth Cheresh Allen Professor of Russian and Comparative Literature Bryn Mawr College Lewis Bagby Professor (Emeritus) of Modern and Classical Languages University of Wyoming Caryl Emerson A. Watson Armour III University Professor of Slavic Languages and Literatures Princeton University Susanne Fusso Professor of Russian, East European, and Eurasian Studies Wesleyan University xiv List of Contributors Liza Knapp Associate Professor of Slavic Languages Columbia University Anne Lounsbery Associate Professor of Russian Literature New York University Robin Feuer Miller Edytha Macy Gross Professor of Humanities Professor of Russian and Comparative Literature Brandeis University Gary Saul Morson Frances Hooper Professor of the Arts and Humanities Professor of Slavic Languages and Literatures Northwestern University Dale E. Peterson Eliza J. Clark Folger Professor of English and Russian Amherst College William Mills Todd III Harvard College Professor Harry Tuchman Levin Professor of Literature Harvard University Ilya Vinitsky
Load more

Recommended publications
  • The Transformation of Pushkin's Eugene Onegin Into Tchaikovsky's Opera
    THE TRANSFORMATION OF PUSHKIN'S EUGENE ONEGIN INTO TCHAIKOVSKY'S OPERA Molly C. Doran A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF MUSIC August 2012 Committee: Eftychia Papanikolaou, Advisor Megan Rancier © 2012 Molly Doran All Rights Reserved iii ABSTRACT Eftychia Papanikolaou, Advisor Since receiving its first performance in 1879, Pyotr Il’yich Tchaikovsky’s fifth opera, Eugene Onegin (1877-1878), has garnered much attention from both music scholars and prominent figures in Russian literature. Despite its largely enthusiastic reception in musical circles, it almost immediately became the target of negative criticism by Russian authors who viewed the opera as a trivial and overly romanticized embarrassment to Pushkin’s novel. Criticism of the opera often revolves around the fact that the novel’s most significant feature—its self-conscious narrator—does not exist in the opera, thus completely changing one of the story’s defining attributes. Scholarship in defense of the opera began to appear in abundance during the 1990s with the work of Alexander Poznansky, Caryl Emerson, Byron Nelson, and Richard Taruskin. These authors have all sought to demonstrate that the opera stands as more than a work of overly personalized emotionalism. In my thesis I review the relationship between the novel and the opera in greater depth by explaining what distinguishes the two works from each other, but also by looking further into the argument that Tchaikovsky’s music represents the novel well by cleverly incorporating ironic elements as a means of capturing the literary narrator’s sardonic voice.
    [Show full text]
  • In the Twilight Anton Chekhov
    In the Twilight Anton Chekhov Translated by Hugh Aplin ALMA CLASSICS AlmA ClAssiCs ltd London House 243-253 Lower Mortlake Road Richmond Surrey TW9 2LL United Kingdom www.almaclassics.com In the Twilight first published in Russian in 1887 This translation first published by Alma Classics Ltd in 2014 Translation and Notes © Hugh Aplin, 1887 Extra Material © Alma Classics Ltd Cover image © Marina Rodrigues Printed and bound by CPI Group (UK) Ltd, Croydon, CR0 4YY isbn: 978-1-84749-383-5 All the pictures in this volume are reprinted with permission or pre sumed to be in the public domain. Every effort has been made to ascertain and acknowledge their copyright status, but should there have been any unwitting oversight on our part, we would be happy to rectify the error in subsequent printings. All rights reserved. No part of this publication may be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form or by any means (electronic, mechanical, photocopying, recording or other- wise), without the prior written permission of the publisher. This book is sold subject to the condition that it shall not be resold, lent, hired out or otherwise circulated without the express prior consent of the publisher. Contents Introduction v In the Twilight 1 Dreams 3 A Trivial Occurrence 12 A Bad Business 23 At Home 29 The Witch 39 Verochka 53 In Court 67 A Restless Guest 75 The Requiem 82 On the Road 88 Misfortune 105 An Event 119 Agafya 125 Enemies 136 A Nightmare 150 On Easter Eve 165 Note on the Text 177 Notes 179 Extra Material 185 Anton Chekhov’s Life 187 Anton Chekhov’s Works 198 Select Bibliography 206 Introduction The early part of Anton Chekhov’s literary career was a period of frenzied writing.
    [Show full text]
  • The University of Chicago Old Elites Under Communism: Soviet Rule in Leninobod a Dissertation Submitted to the Faculty of the Di
    THE UNIVERSITY OF CHICAGO OLD ELITES UNDER COMMUNISM: SOVIET RULE IN LENINOBOD A DISSERTATION SUBMITTED TO THE FACULTY OF THE DIVISION OF THE SOCIAL SCIENCES IN CANDIDACY FOR THE DEGREE OF DOCTOR OF PHILOSOPHY DEPARTMENT OF HISTORY BY FLORA J. ROBERTS CHICAGO, ILLINOIS JUNE 2016 TABLE OF CONTENTS List of Figures .................................................................................................................... iii List of Tables ...................................................................................................................... v Acknowledgements ............................................................................................................ vi A Note on Transliteration .................................................................................................. ix Introduction ......................................................................................................................... 1 Chapter One. Noble Allies of the Revolution: Classroom to Battleground (1916-1922) . 43 Chapter Two. Class Warfare: the Old Boi Network Challenged (1925-1930) ............... 105 Chapter Three. The Culture of Cotton Farms (1930s-1960s) ......................................... 170 Chapter Four. Purging the Elite: Politics and Lineage (1933-38) .................................. 224 Chapter Five. City on Paper: Writing Tajik in Stalinobod (1930-38) ............................ 282 Chapter Six. Islam and the Asilzodagon: Wartime and Postwar Leninobod .................. 352 Chapter Seven. The
    [Show full text]
  • Afanasy Afanasyevich Fet - Poems
    Classic Poetry Series Afanasy Afanasyevich Fet - poems - Publication Date: 2012 Publisher: Poemhunter.com - The World's Poetry Archive Afanasy Afanasyevich Fet(5 December 1820 - 3 December 1892) Afanasy Afanasyevich Fet, later changed his name to Shenshin was a Russian poet regarded as one of the finest lyricists in Russian literature. <b>Biography</b> <b>Origins</b> The circumstances of Afanasy Fet's birth have been the subject of controversy, and some uncertainties still remain. Even the exact date is unknown and has been cited as either October 29 (old style), or November 23 or 29, 1820. Brief biographies usually maintain that Fet was the son of the Russian landlord Shenshin and a German woman named Charlotta Becker, an that at the age of 14 he had to change his surname from his father's to that of Fet, because the marriage of Shenshin and Becker, registered in Germany, was deemed legally void in Russia. Detailed studies reveal a complicated and controversial story. It began in September 1820 when a respectable 44-year old landlord from Mtsensk, Afanasy Neofitovich Shenshin, (described as a follower of Jean-Jacques Rousseau's ideas) returned to his Novosyolky estate from the German spa resorts where he had spent a year on a recreational trip. There he had rented rooms in the house of Karl Becker and fell for his daughter Charlotta Elizabeth, a married woman with a one-year-old daughter named Carolina, and pregnant with another child. As to what happened next, opinions vary. According to some sources. Charlotta hastily divorced her husband Johann Foeth, a Darmstadt court official, others maintain that Shenshin approached Karl Becker with the idea that the latter should help his daughter divorce Johann, and when the old man refused to cooperate, kidnapped his beloved (with her total consent).
    [Show full text]
  • Animals Liberation Philosophy and Policy Journal Volume 5, Issue 2
    AAnniimmaallss LLiibbeerraattiioonn PPhhiilloossoopphhyy aanndd PPoolliiccyy JJoouurrnnaall VVoolluummee 55,, IIssssuuee 22 -- 22000077 Animal Liberation Philosophy and Policy Journal Volume 5, Issue 2 2007 Edited By: Steven Best, Chief Editor ____________________________________________________________ TABLE OF CONTENTS Lev Tolstoy and the Freedom to Choose One’s Own Path Andrea Rossing McDowell Pg. 2-28 Jewish Ethics and Nonhuman Animals Lisa Kemmerer Pg. 29-47 Deliberative Democracy, Direct Action, and Animal Advocacy Stephen D’Arcy Pg. 48-63 Should Anti-Vivisectionists Boycott Animal-Tested Medicines? Katherine Perlo Pg. 64-78 A Note on Pedagogy: Humane Education Making a Difference Piers Bierne and Meena Alagappan Pg. 79-94 BOOK REVIEWS _________________ Fast Food Nation: The Dark Side of the All-American Meal, by Eric Schlosser (2005) Reviewed by Lisa Kemmerer Pg. 95-101 Eternal Treblinka: Our Treatment of Animals and the Holocaust, by Charles Patterson (2002) Reviewed by Steven Best Pg. 102-118 The Longest Struggle: Animal Advocacy from Pythagoras to PETA, by Norm Phelps (2007) Reviewed by Steven Best Pg. 119-130 Journal for Critical Animal Studies, Volume V, Issue 2, 2007 Lev Tolstoy and the Freedom to Choose One’s Own Path Andrea Rossing McDowell, PhD It is difficult to be sat on all day, every day, by some other creature, without forming an opinion about them. On the other hand, it is perfectly possible to sit all day every day, on top of another creature and not have the slightest thought about them whatsoever. -- Douglas Adams, Dirk Gently’s Holistic Detective Agency (1988) Committed to the idea that the lives of humans and animals are inextricably linked, Lev Nikolayevich Tolstoy (1828–1910) promoted—through literature, essays, and letters—the animal world as another venue in which to practice concern and kindness, consequently leading to more peaceful, consonant human relations.
    [Show full text]
  • Sample Pages
    About This Volume Brett Cooke We continue to be surprised by how the extremely rewarding world WKDW/HR7ROVWR\FUHDWHGLVDG\QDPLFVWLOOJURZLQJRQH:KHQWKH Russian writer sat down in 1863 to begin what became War and PeaceKHXWLOL]HGSRUWUDLWVRIfamily members, as well as images RIKLPVHOILQZKDWDW¿UVWFRQVWLWXWHGDOLJKWO\¿FWLRQDOL]HGfamily chronicle; he evidently used the exercise to consider how he and the SUHVHQWVWDWHRIKLVFRXQWU\FDPHWREH7KLVLQYROYHGDUHWKLQNLQJRI KRZKLVSDUHQWV¶JHQHUDWLRQZLWKVWRRGWKH)UHQFKLQYDVLRQRI slightly more than a half century prior, both militarily and culturally. Of course, one thinks about many things in the course of six highly FUHDWLYH \HDUV DQG KLV WH[W UHÀHFWV PDQ\ RI WKHVH LQWHUHVWV +LV words are over determined in that a single scene or even image typically serves several themes as he simultaneously pondered the Napoleonic Era, the present day in Russia, his family, and himself, DVZHOODVPXFKHOVH6HOIGHYHORSPHQWEHLQJWKH¿UVWRUGHUIRUDQ\ VHULRXVDUWLVWZHVHHDQWLFLSDWLRQVRIWKHSURWHDQFKDOOHQJHV7ROVWR\ posed to the contemporary world decades after War and Peace in terms of religion, political systems, and, especially, moral behavior. In other words, he grew in stature. As the initial reception of the QRYHO VKRZV 7ROVWR\ UHVSRQGHG WR WKH FRQVWHUQDWLRQ RI LWV ¿UVW readers by increasing the dynamism of its form and considerably DXJPHQWLQJLWVLQWHOOHFWXDODPELWLRQV,QKLVKDQGV¿FWLRQEHFDPH emboldened to question the structure of our universe and expand our sense of our own nature. We are all much the richer spiritually for his achievement. One of the happy accidents of literary history is that War and Peace and Fyodor 'RVWRHYVN\¶VCrime and PunishmentZHUH¿UVW published in the same literary periodical, The Russian Messenger. )XUWKHUPRUHDV-DQHW7XFNHUH[SODLQVERWKQRYHOVH[SUHVVFRQFHUQ whether Russia should continue to conform its culture to West (XURSHDQ PRGHOV VLPXOWDQHRXVO\ VHL]LQJ RQ WKH VDPH ¿JXUH vii Napoleon Bonaparte, in one case leading a literal invasion of the country, in the other inspiring a premeditated murder.
    [Show full text]
  • Dvigubski Full Dissertation
    The Figured Author: Authorial Cameos in Post-Romantic Russian Literature Anna Dvigubski Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2012 © 2012 Anna Dvigubski All rights reserved ABSTRACT The Figured Author: Authorial Cameos in Post-Romantic Russian Literature Anna Dvigubski This dissertation examines representations of authorship in Russian literature from a number of perspectives, including the specific Russian cultural context as well as the broader discourses of romanticism, autobiography, and narrative theory. My main focus is a narrative device I call “the figured author,” that is, a background character in whom the reader may recognize the author of the work. I analyze the significance of the figured author in the works of several Russian nineteenth- and twentieth- century authors in an attempt to understand the influence of culture and literary tradition on the way Russian writers view and portray authorship and the self. The four chapters of my dissertation analyze the significance of the figured author in the following works: 1) Pushkin's Eugene Onegin and Gogol's Dead Souls; 2) Chekhov's “Ariadna”; 3) Bulgakov's “Morphine”; 4) Nabokov's The Gift. In the Conclusion, I offer brief readings of Kharms’s “The Old Woman” and “A Fairy Tale” and Zoshchenko’s Youth Restored. One feature in particular stands out when examining these works in the Russian context: from Pushkin to Nabokov and Kharms, the “I” of the figured author gradually recedes further into the margins of narrative, until this figure becomes a third-person presence, a “he.” Such a deflation of the authorial “I” can be seen as symptomatic of the heightened self-consciousness of Russian culture, and its literature in particular.
    [Show full text]
  • Marriage: an Absolutely Impossible Event in Two Acts
    Marriage: an absolutely impossible event in two acts. By: Nikolai Gogol Translated and adapted by: Nicholas Leno and Yana Meerzon 1 Marriage: An Absolutely Impossible event in two acts, translated and adapted by Yana Meerzon and Nicholas Leno, was first produced by the University of Ottawa on March 28th 2017 with the following cast and crew: Podkolyosin Matt Hertendy Stepan/Dunyashka Montana Adams Kochkaryov Cullen Elijah McGrail Fyokla Katie Macneill Arina Monica Bradford-Lea Agafya Robin Stars Breiche Omelette Sam Randazzo Zhevakin Even Gilchrist Anuchkin Luke Brown Director Nicholas Leno Set Designer Roger Schultz Costume Designer Vanessa Imeson Lighting Designer Chantal Labonté Production Manager Katie Rochford Stage Manager Taylor Stewart Assistant Stage Manager Annie Martin *Starikov was cut from the original production, but has been reinserted into this translation. 2 Characters AGAFYA TIKHONOVNA: The merchant’s daughter. The bride. ARINA PANTELEIMONOVNA: The aunt to AGAFYA. FYOKLA IVANOVNA: The matchmaker. PODKOLYOSIN: The deputy minister. The groom. KOCHKARYOV: The friend of PODKOLYOSIN. OMELETTE: The chief superintendent manager. ANUCHKIN: The retired infantry officer. ZHEVAKIN: The sailor. DUNYASHKA: The servant to ARINA. STARIKOV: a merchant. STEPAN: the servant to PODKOLYOSIN. 3 SCENE I PODKOLYOSIN alone. PODKOLYOSIN, alone with a pipe lying on the sofa. PODKOLYOSIN Marriage! Marriage is the only way. What else is there? You live and you live, you go and you go, and in the end you just can't take it any longer. Now I've gone and missed the marrying season again. The matchmaker has been calling for the last three months. I should be ashamed of myself! Hey, Stepan! SCENE II PODKOLYOSIN, STEPAN.
    [Show full text]
  • The Good Doctor: the Literature and Medicine of Anton Chekhov (And Others)
    Vol. 33, No. 1 11 Literature and the Arts in Medical Education Johanna Shapiro, PhD Feature Editor Editor’s Note: In this column, teachers who are currently using literary and artistic materials as part of their curricula will briefly summarize specific works, delineate their purposes and goals in using these media, describe their audience and teaching strategies, discuss their methods of evaluation, and speculate about the impact of these teaching tools on learners (and teachers). Submissions should be three to five double-spaced pages with a minimum of references. Send your submissions to me at University of California, Irvine, Department of Family Medicine, 101 City Drive South, Building 200, Room 512, Route 81, Orange, CA 92868-3298. 949-824-3748. Fax: 714-456- 7984. E-mail: [email protected]. The Good Doctor: The Literature and Medicine of Anton Chekhov (and Others) Lawrence J. Schneiderman, MD In the spring of 1985, I posted a anything to do with me. “I don’t not possible in this public univer- notice on the medical students’ bul- want a doctor who knows Chekhov, sity; our conference rooms are best letin board announcing a new elec- I want a doctor who knows how to described as Bus Terminal Lite. tive course, “The Good Doctor: The take out my appendix.” Fortunately, The 10 second-year students who Literature and Medicine of Anton I was able to locate two more agree- signed up that first year spent 2 Chekhov.” It was a presumptuous able colleagues from literature and hours each week with me for 10 announcement, since I had never theatre.
    [Show full text]
  • Tolstoy and Cosmopolitanism
    CHAPTER 8 Tolstoy and Cosmopolitanism Christian Bartolf Leo Tolstoy (1828–1910) is known as the famous Russian writer, author of the novels Anna Karenina, War and Peace, The Kreutzer Sonata, and Resurrection, author of short prose like “The Death of Ivan Ilyich”, “How Much Land Does a Man Need”, and “Strider” (Kholstomer). His literary work, including his diaries, letters and plays, has become an integral part of world literature. Meanwhile, more and more readers have come to understand that Leo Tolstoy was a unique social thinker of universal importance, a nineteenth- and twentieth-century giant whose impact on world history remains to be reassessed. His critics, descendants, and followers became almost innu- merable, among them Mohandas Karamchand Gandhi in South Africa, later called “Mahatma Gandhi”, and his German-Jewish architect friend Hermann Kallenbach, who visited the publishers and translators of Tolstoy in England and Scotland (Aylmer Maude, Charles William Daniel, Isabella Fyvie Mayo) during the Satyagraha struggle of emancipation in South Africa. The friendship of Gandhi, Kallenbach, and Tolstoy resulted in an English-language correspondence which we find in the Collected Works C. Bartolf (*) Gandhi Information Center - Research and Education for Nonviolence (Society for Peace Education), Berlin, Germany © The Author(s) 2018 121 A.K. Giri (ed.), Beyond Cosmopolitanism, DOI 10.1007/978-981-10-5376-4_8 122 C. BARTOLF of both, Gandhi and Tolstoy, and in the Tolstoy Farm as the name of the second settlement project of Gandhi
    [Show full text]
  • Could Chekhovian Humanism Help Us Today?*
    Journal of BUON 10: 145-148, 2005 © 2005 Zerbinis Medical Publications. Printed in Greece. MEDICINE AND THE COMMUNITY Could Chekhovian Humanism Help Us Today?* Rajko Igiƒ§ Department of Anesthesiology and Pain Management, John H. Stroger Jr. Hospital of Cook County, Chicago, USA In 1884 Anton Pavlovich Chekhov graduated Doctor-Writer from the Medical School and started working as a physician in a suburban Moscow hospital. Eight years As a young physician, Chekhov started a person- later he set up a general practice in Melikhovo, 70 km al battle with lung tuberculosis, which lasted for 20 south of Moscow, where he spent seven years as a years. On July 15, 1904, Koch’s bacillus ended his cou- country doctor and a writer. There, Chekhov saw rageous battle against the disease. At that time medi- hundreds of patients, made over 1,000 house calls, cine had only modest treatments for this infectious dis- fought against cholera and illiteracy, wrote many sto- ease, such as providing adequate nutrition and rest to ries and two plays: The Seagull and Uncle Vanya. increase the body’s defenses against the tubercle ba- He started his day at five in the morning at his office where he examined patients and performed minor surgical procedures. Chekhov was an idealist and hard- working doctor driven by his dedication to serve pa- tients in rural Russia where corruption and incompe- tence ruled at all levels. He did not charge his pa- tients although he ran a private practice. He frequently even bought for his patients needed medications and gave them useful non-medical advice and financial help.
    [Show full text]
  • Safran CV for Profile November 2019
    GABRIELLA SAFRAN Department of Slavic Languages and Literatures update 11/19 Stanford University Stanford, CA 94305-2006 650-723-4414 [email protected] EMPLOYMENT Assistant Professor, Stanford University, 1998-2003 Associate Professor, Stanford University, 2003-2010 Full Professor, Stanford University, 2010-present Appointed to Eva Chernov Lokey Chair in Jewish Studies, 2011 EDUCATION Princeton University, Ph.D., Slavic Languages and Literatures, 1998. Dissertation: "Narratives of Jewish acculturation in the Russian Empire: Bogrov, Orzeszkowa, Leskov, Chekhov." Adviser: Caryl Emerson Yale University, B.A., magna cum laude, with honors in Soviet and East European Studies, 1990. Senior Essay: "The descent of the raznochinets literator: Osip Mandelstam's 'Shum vremeni' and evolutionary theory." Adviser: Tomas Venclova FELLOWSHIPS AND AWARDS Stanford Humanities Center, Ellen Andrews Wright Fellowship, 2015-2016 Wayne S. Vucinich Book Prize for the most important contribution to Russian, Eurasian, and East European studies in any discipline of the humanities or social sciences (short-listed), 2011 Jordan Schnitzer Book Award in Jewish Literature and Linguistics (Honorable Mention), 2011 Fenia and Yaakov Leviant Memorial Prize in Yiddish Studies (MLA), 2008 Stanford Dean’s Award for Excellence in Teaching, 2007 Center for Advanced Judaic Studies, University of Pennsylvania, yearlong research fellowship, 2002-2003 Best Book in Literary or Cultural Studies, American Association of Teachers of Slavic and East European Languages (shared), 2002
    [Show full text]