GOGOLIAN SPATIAL MODELS and MANKIND's POTENTIAL for REDEMPTION: a COMPARISON of “THE CARRIAGE” and DEAD SOULS Maxwell O
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Rebellion Brothers Karamazov
Book V, Chapter IV. Rebellion from The Brothers Karamazov (Fyodor Dostoyevsky) Trans: Constance Garnett Project Gutenber Edition “I must make you one confession,” Ivan began. “I could never understand how one can love one's neighbors. It's just one's neighbors, to my mind, that one can't love, though one might love those at a distance. I once read somewhere of John the Merciful, a saint, that when a hungry, frozen beggar came to him, he took him into his bed, held him in his arms, and began breathing into his mouth, which was putrid and loathsome from some awful disease. I am convinced that he did that from ‘self-laceration,’ from the self-laceration of falsity, for the sake of the charity imposed by duty, as a penance laid on him. For any one to love a man, he must be hidden, for as soon as he shows his face, love is gone.” “Father Zossima has talked of that more than once,” observed Alyosha; “he, too, said that the face of a man often hinders many people not practiced in love, from loving him. But yet there's a great deal of love in mankind, and almost Christ-like love. I know that myself, Ivan.” “Well, I know nothing of it so far, and can't understand it, and the innumerable mass of mankind are with me there. The question is, whether that's due to men's bad qualities or whether it's inherent in their nature. To my thinking, Christ-like love for men is a miracle impossible on earth. -
CURRICULUM VITAE Susanne Fusso 219 Margarite Road Russian, East
1 CURRICULUM VITAE Susanne Fusso 219 Margarite Road Russian, East European, and Middletown, CT 06457 Eurasian Studies Program 860-344-1683 Wesleyan University Middletown, CT 06459 860-685-3123; [email protected] Education 1976-84: Ph.D. (Distinguished) Yale University Slavic Languages and Literatures Minor: Czech Literature 1977: M.A. Yale University 1973-76: B.A. summa cum laude, Lawrence University, Appleton, Wisconsin Major: Slavic Employment 2019-: Marcus L. Taft Professor of Modern Languages, Wesleyan University 1998-: Professor of Russian, Wesleyan University (Chair, 1999-2002; Acting Chair spring 2006; Chair, 2008-12; Acting Chair, spring 2014; Chair 2016-Present) 2001 (spring): Visiting Professor of Slavic Languages and Literatures, Yale University 1992-98: Associate Professor of Russian, Wesleyan University (Chair, 1992-95) 1986-92: Assistant Professor of Russian, Wesleyan University 1985-86: Visiting Assistant Professor of Russian, Wesleyan University Honors, Grants, Distinctions 2017: 2017 AATSEEL (American Association for Teachers of Slavic and East European Languages) Award for Excellence in Post-Secondary Teaching 2017: Allbritton University Lectures grant for organizing a symposium on Nabokov in honor of Priscilla Meyer, April 2018 2017: Translation of Trepanation of the Skull named a finalist for AATSEEL Literary Translation Prize 2015: Allbritton Center University Lectures grant to bring writer Sergey Gandlevsky to Wesleyan 2008: Faculty Fellow, Center for the Humanities, Wesleyan University (spring) 2005: Mellon Workshop -
Virginia Woolf's Portraits of Russian Writers
Virginia Woolf’s Portraits of Russian Writers Virginia Woolf’s Portraits of Russian Writers: Creating the Literary Other By Darya Protopopova Virginia Woolf’s Portraits of Russian Writers: Creating the Literary Other By Darya Protopopova This book first published 2019 Cambridge Scholars Publishing Lady Stephenson Library, Newcastle upon Tyne, NE6 2PA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2019 by Darya Protopopova All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-5275-2753-0 ISBN (13): 978-1-5275-2753-9 TABLE OF CONTENTS Note on the Text ........................................................................................ vi Preface ...................................................................................................... vii Introduction ................................................................................................ 1 Russia and the British Search for the Cultural ‘Other’ Chapter One .............................................................................................. 32 Woolf’s Real and Fictional Russians Chapter Two ............................................................................................. 58 Woolf and Dostoevsky: Verbalising the Soul Chapter Three ........................................................................................ -
The Government Inspector by Nikolai Gogol
The Government Inspector (or The Inspector General) By Nikolai Gogol (c.1836) Translated here by Arthur A Sykes 1892. Arthur Sykes died in 1939. All Gogol’s staging instructions have been left in this edition. The names and naming tradition (use of first and family names) have been left as in the original Russian, as have some of the colloquiums and an expected understanding of the intricacies of Russian society and instruments of Government. There are footnotes at the end of each Act. Modern translations tend to use the job titles of the officials, and have updated references to the civil service, dropping all Russian words and replacing them with English equivalents. This script has been provided to demonstrate the play’s structure and flesh out the characters. This is not the final script that will be used in Oxford Theatre Guild’s production in October 2012. Cast of Characters ANTON ANTONOVICH, The Governor or Mayor ANNA ANDREYEVNA, his wife. MARYA ANTONOVNA, his daughter. LUKA LUKICH Khlopov, Director of Schools. Madame Khlopov His wife. AMMOS FYODOROVICH Lyapkin Tyapkin, a Judge. ARTEMI PHILIPPOVICH Zemlyanika, Charity Commissioner and Warden of the Hospital. IVANA KUZMICH Shpyokin, a Postmaster. IVAN ALEXANDROVICH KHLESTAKOV, a Government civil servant OSIP, his servant. Pyotr Ivanovich DOBCHINSKI and Pyotr Ivanovich BOBCHINSKI, [.independent gentleman] Dr Christian Ivanovich HUBNER, a District Doctor. Karobkin - another official Madame Karobkin, his wife UKHAVYORTOV, a Police Superintendent. Police Constable PUGOVKIN ABDULIN, a shopkeeper Another shopkeeper. The Locksmith's Wife. The Sergeant's Wife. MISHKA, servant of the Governor. Waiter at the inn. Act 1 – A room in the Mayor’s house Scene 1 GOVERNOR. -
Department of Russian and Slavonic Studies 2016-17 Module Name Chekhov Module Id (To Be Confirmed) RUS4?? Course Year JS
Department of Russian and Slavonic Studies 2016-17 Module Name Chekhov Module Id (to be confirmed) RUS4?? Course Year JS TSM,SH SS TSM, SH Optional/Mandatory Optional Semester(s) MT Contact hour per week 2 contact hours/week; total 22 hours Private study (hours per week) 100 hours Lecturer(s) Justin Doherty ECTs 10 ECTs Aims This module surveys Chekhov’s writing in both short-story and dramatic forms. While some texts from Chekhov’s early period will be included, the focus will be on works from the later 1880s, 1890s and early 1900s. Attention will be given to the social and historical circumstances which form the background to Chekhov’s writings, as well as to major influences on Chekhov’s writing, notably Tolstoy. In examining Chekhov’s major plays, we will also look closely at Chekhov’s involvement with the Moscow Arts Theatre and theatre director and actor Konstantin Stanislavsky. Set texts will include: 1. Short stories ‘Rural’ narratives: ‘Steppe’, ‘Peasants’, ‘In the Ravine’ Psychological stories: ‘Ward No 6’, ‘The Black Monk’, ‘The Bishop’, ‘A Boring Story’ Stories of gentry life: ‘House with a Mezzanine’, ‘The Duel’, ‘Ariadna’ Provincial stories: ‘My Life’, ‘Ionych’, ‘Anna on the Neck’, ‘The Man in a Case’ Late ‘optimistic’ stories: ‘The Lady with the Dog’, ‘The Bride’ 2. Plays The Seagull Uncle Vanya Three Sisters The Cherry Orchard Note on editions: for the stories, I recommend the Everyman edition, The Chekhov Omnibus: Selected Stories, tr. Constance Garnett, revised by Donald Rayfield, London: J. M. Dent, 1994. There are numerous other translations e.g. -
The Government Inspector Adapted by Jeffrey Hatcher from the Original by Nikolai Gogol Directed by Allison Narver
The Government Inspector Adapted by Jeffrey Hatcher from the original by Nikolai Gogol Directed by Allison Narver All original material copyright © Seattle Shakespeare Company 2017 WELCOME Dear Educators, Welcome to our production of The Government Inspector! When I first read this script, I found myself laughing out loud every couple of pages. It’s a hilarious read of a farcical play, and I was really excited to watch it. Director Allison Narver mentioned that all of the characters are horrible people, and the protagonist of this show is comedy. Normally, I don’t love watching shows full of horrible people, but this one is so darn funny that I can spend the whole show rooting for the main character — comedy! After thinking about the play for a few weeks, and keeping up with the news cycle, I’ve been thinking more about themes in The Government Inspector. This production will simultaneously be quite relevant to our contemporary era of government corruption, and will be an escape to a world where that corruption is lampooned and all the officials get taken advantage of. This play can spark political discussions, but it can also just leave you laughing at the absurdity of it. It’s all in there. We hope you enjoy the show! Best, Michelle Burce Education Director seattleshakespeare.org/education 206-733-8228 ext. 251 or [email protected] PRODUCTION SPONSORS CONTENTS Plot Synopsis . 1 Character List . 1 Nikolai Gogol . 2 A brief look at the life of Russia’s celebrated playwright and novelist. Placing the Production . 3–4 Take a look inside the director’s inspiration and thoughts for the production Tidbits and Trivia . -
The Petersburg Text in Russian Literature of the 1990 S
THE PETERSBURG TEXT IN RUSSIAN LITERATURE OF THE 1990 S by DARIA S. SMIRNOVA A THESIS Presented to the Russian, East European, and Eurasian Studies Program and the Graduate School of the University of Oregon in partial fulfillment of the requirements for the degree of Master of Arts September 2012 THESIS APPROVAL PAGE Student: Daria S. Smirnova Title: The Petersburg Text in Russian Literature of the 1990s This thesis has been accepted and approved in partial fulfillment of the requirements for the Master of Arts degree in the Russian, East European, and Eurasian Studies Program by: Dr. Katya Hokanson Chairperson Dr. Jenifer Presto Member and Kimberly Andrews Espy Vice President for Research & Innovation/Dean of the Graduate School Original approval signatures are on file with the University of Oregon Graduate School. Degree awarded September 2012 ii © 2012 Daria S. Smirnova iii THESIS ABSTRACT Daria S. Smirnova Master of Arts Russian, East European, and Eurasian Studies Program September 2012 Title: The Petersburg Text in Russian Literature of the 1990s The image of Saint Petersburg has influenced the imagination of Russian writers since the establishment of this city in 1703. Today, it is common to speak about the Petersburg Text in Russian literature that has its own mythology, imagery, and stylistics. However, the research in this sphere is predominately concentrated on works written before the second half of the 20th century. This thesis addresses the revival of the Petersburg mythology in the 1990s in works by such authors as Mikhail Veller, Andrei Konstantinov, and Marusia Klimova. It illustrates how the reinvention of traditional Petersburg themes contributed to the representation of the “wild 1990s” reality. -
Dead Souls Online
HI6qS (Online library) Dead Souls Online [HI6qS.ebook] Dead Souls Pdf Free Nikolai Gogol ebooks | Download PDF | *ePub | DOC | audiobook Gogol Nikolai 2016-06-21Original language:English 9.00 x .69 x 6.00l, .91 #File Name: 1534806385306 pagesDead Souls | File size: 73.Mb Nikolai Gogol : Dead Souls before purchasing it in order to gage whether or not it would be worth my time, and all praised Dead Souls: 3 of 3 people found the following review helpful. one of the best examples of Russian literatureBy snoozerClassic story, one of the best examples of Russian literature, multilayered, funny, smart.4 of 4 people found the following review helpful. Greatly doneBy N. YablonkoGreat classic book. Actually, finally managed to read it till the end, mostly because of how it's easy to read and navigate. Definitely recommend this Kindle Edition and publisher. Since its publication in 1842, Dead Souls has been celebrated as a supremely realistic portrait of provincial Russian life and as a splendidly exaggerated tale; as a paean to the Russian spirit and as a remorseless satire of imperial Russian venality, vulgarity, and pomp. As Gogol's wily antihero, Chichikov, combs the back country wheeling and dealing for "dead souls"--deceased serfs who still represent money to anyone sharp enough to trade in them--we are introduced to a Dickensian cast of peasants, landowners, and conniving petty officials, few of whom can resist the seductive illogic of Chichikov's proposition. Dead Souls is unanimously considered one of the greatest novels in the Russian language for its characterizations, satiric humor, and style. -
Dead Souls Gogol, Nikolai (Translator: D
Dead Souls Gogol, Nikolai (Translator: D. J. Hogarth) Published: 1842 Categorie(s): Fiction, Literary Source: Project Gutenberg 1 About Gogol: Nikolai Vasilievich Gogol (April 1, 1809 — March 4, 1852) was a Russian-language writer of Ukrainian origin. Although his early works were heavily influenced by his Ukrainian herit- age and upbringing, he wrote in Russian and his works belong to the tradition of Russian literature. The novel Dead Souls (1842), the play Revizor (1836, 1842), and the short story The Overcoat (1842) count among his masterpieces. Source: Wikipedia Also available on Feedbooks for Gogol: • Diary Of A Madman (1835) • The Nose (1836) • A May Evening (1887) • The Cloak (1835) • Taras Bulba (1835) • The Mysterious Portrait (1842) • How the two Ivans quarrelled (1835) • The Calash (1836) • St. John's Eve (1831) Note: This book is brought to you by Feedbooks http://www.feedbooks.com Strictly for personal use, do not use this file for commercial purposes. 2 Part 1 3 Chapter 1 To the door of an inn in the provincial town of N. there drew up a smart britchka—a light spring-carriage of the sort affected by bachelors, retired lieutenant-colonels, staff-captains, land-own- ers possessed of about a hundred souls, and, in short, all per- sons who rank as gentlemen of the intermediate category. In the britchka was seated such a gentleman—a man who, though not handsome, was not ill-favoured, not over-fat, and not over- thin. Also, though not over-elderly, he was not over-young. His arrival produced no stir in the town, and was accompanied by no particular incident, beyond that a couple of peasants who happened to be standing at the door of a dramshop exchanged a few comments with reference to the equipage rather than to the individual who was seated in it. -
Elisaveta Fen's Chekhov Translations Claire Warden Since The
CORE Metadata, citation and similar papers at core.ac.uk Provided by Loughborough University Institutional Repository “A Glimpse of Another Russia”: Elisaveta Fen’s Chekhov translations Claire Warden Since the first British production of Anton Chekhov’s play The Seagull in 1909, audiences have found the Russian’s plays both beguiling and frustrating in seemingly equal measure. After living in Britain some years, Russian translator Elisaveta Fen began to recognize the problem: These plays are tragi-comedies: they are the stuff life is made of. They do not fit into any conventional category. Awkwardly presented, they can disappoint, baffle, irritate, or they can cast their spell over the spectator and make him feel 1 he is watching real people, living real lives—on the stage.0F Despite their ubiquity in twentieth- and twenty-first-century British theatre, Chekhov’s plays continue to bewilder audiences: they are tricky to define in terms of genre, and full of unpronounceable names and obscure references to places and cultures. Fen, the primary focus of this article, took up the unenviable challenge of making these plays more accessible to British audiences. Yet, she remains a marginal figure in British theatre historiographies; her name appears as ‘translator’ on numerous programmes and playbills but is rarely acknowledged further. This article claims Fen as an overlooked figure, recovering her work in order to place her within narratives of British theatre. In so doing it identifies her distinct semi-autobiographical, empathetic approach to the translation process. Her translations attempt to resolve a number of personal tensions—homesickness, her despair over the perceived destruction of her Russian idyll (and her frustration at British misunderstandings of this), and her concerns about fitting into British life. -
Magical Realism in the Tales of Nikolai Gogol
Magical Realism in the Tales of Nikolai Gogol James D. Hardy, Jr. Leonard Stanton Louisiana State University There is a story about St. Serafim of Sarov (1759-1833). One day, four sisters from the Diveyevo Convent saw him across a field of ripe, brown grain. The sisters were on a road through the field, and their feet were on the ground. But as Serafim approached, they suddenly realized that the saint was “walking two foot above the ground, not even touching the grass.” Well attested by four nuns of unimpeachable character and faith, the event was duly recorded in the annals of St. Serafim and the convent; the truth it conveys is therefore beyond doubt. But walking above the grass, even by a saint of such holiness that the Tsar and Auto- crat of All the Russias sought him out as a confidant and spiritual father, is not encountered every day, and, it might even be suggested, cannot occur at all.1 This incident of faith illustrates both the nature of magical realism generally – the realistic and quotidian consequences of an impossible action – and the two varieties of magical realism employed in the tales of Nikolai Gogol. The first involves the direct and physical intervention of the divine or the demonic in an otherwise unexceptional flow of events. The second characteristic of Gogol’s magical realism implies the unex- pected violation of the laws of nature without a divine or demonic expla- nation. Gogol treated the divine, the demonic, or the supernatural event as entirely real, in a context no less Aristotelian than Platonic. -
A Comparative Examination of Dead Souls, the Master and Margarita, and Revelation 12-3
LMU/LLS Theses and Dissertations Spring 2019 Understanding the Devil: A Comparative Examination of Dead Souls, The Master and Margarita, and Revelation 12-3 Thomas "TJ" Kennedy Loyola Marymount University, [email protected] Follow this and additional works at: https://digitalcommons.lmu.edu/etd Part of the Biblical Studies Commons Recommended Citation Kennedy, Thomas "TJ", "Understanding the Devil: A Comparative Examination of Dead Souls, The Master and Margarita, and Revelation 12-3" (2019). LMU/LLS Theses and Dissertations. 772. https://digitalcommons.lmu.edu/etd/772 This Thesis is brought to you for free and open access by Digital Commons @ Loyola Marymount University and Loyola Law School. It has been accepted for inclusion in LMU/LLS Theses and Dissertations by an authorized administrator of Digital Commons@Loyola Marymount University and Loyola Law School. For more information, please contact [email protected]. Understanding the Devil: A Comparative Examination of Dead Souls, The Master and Margarita, and Revelation 12-13 by TJ Kennedy A thesis presented to the Faculty of the Department of Theology Loyola Marymount University In partial fulfillment of the Requirements for the Degree Master of Arts in Theology May 7, 2019 Kennedy 1 Introduction Are you a devil?" "I am a man," answered Father Brown gravely; "and therefore have all devils in my heart. -G.K. Chesterton1 Evil begins where creation ends. In Zoroastrianism, Angra Mainyu propels the cause of druj (darkness), and is the antagonist to Ahura Mazda, the god of light.2 In Buddhism, the demon Mara often tries to tempt and trick the Buddha, including through kind words in the Padhaana Sutta of the Sutta-nipaata.