The Steppe Anton Chekhov
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Volga River Tourism and Russian Landscape Aesthetics Author(S): Christopher Ely Source: Slavic Review, Vol
The Origins of Russian Scenery: Volga River Tourism and Russian Landscape Aesthetics Author(s): Christopher Ely Source: Slavic Review, Vol. 62, No. 4, Tourism and Travel in Russia and the Soviet Union, (Winter, 2003), pp. 666-682 Published by: The American Association for the Advancement of Slavic Studies Stable URL: http://www.jstor.org/stable/3185650 Accessed: 06/06/2008 13:39 Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at http://www.jstor.org/page/info/about/policies/terms.jsp. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at http://www.jstor.org/action/showPublisher?publisherCode=aaass. Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. JSTOR is a not-for-profit organization founded in 1995 to build trusted digital archives for scholarship. We enable the scholarly community to preserve their work and the materials they rely upon, and to build a common research platform that promotes the discovery and use of these resources. For more information about JSTOR, please contact [email protected]. http://www.jstor.org The Origins of Russian Scenery: Volga River Tourism and Russian Landscape Aesthetics Christopher Ely BoJira onrcaHo, nepeonicaHo, 4 Bce-TaKHHe AgoicaHo. -
Folklore Tradition in the Art World of Chekhov: Part One
Dudareva, M., Karpova, Y., Polyantseva, E. /Vol. 8 Núm. 21: 500 - 505/ Julio - agosto 2019 500 Artículo de investigación Folklore tradition in the art world of chekhov: part one Фольклорная традиция в художественном мире А. П. Чехова: часть первая La Tradición del folklore en el mundo del arte de A.P. Chekhov: Primera parte Recibido: 14 de mayo del 2019 Aceptado: 15 de julio del 2019 Written by: Marianna A. Dudareva158 SPIN: 5362-0507 Yulia V. Karpova159 ORCID: 0000-0003-1992-2307 SPIN: 8330-3207 Evgeniya A. Polyantseva160 Abstract Аннотация The article is devoted to the study of A.P. Статья посвящена изучению творчества Chekhov’s works in the context of folklore А. П. Чехова в контексте фольклорной tradition. The topic itself is interesting and традиции. Сама тема интересна и productive from the viewpoint of the folklore продуктивна с точки зрения проявления tradition manifestation in the work of the classic, фольклорной традиции в творчестве since Chekhov is often considered a “non- классика, так как Чехова часто считают «не folkloric” writer. More recently, the theme фольклорным» писателем. Сравнительно “Chekhov and folklore” began being referred by недавно исследователи стали обращаться к researchers. The article raises the question about теме «Чехов и фольклор». Поднимается various folklorism forms in poetics, stylizations вопрос о разных формах фольклоризма в and borrowings, and latent folklorism forms. The поэтике, о стилизациях и заимствованиях, о object of research is a later work, the novella латентных формах фольклоризма. Объектом “Steppe”. The subject of the article is folklorism исследования выступает позднее principles in poetics. произведение, повесть «Степь». Предметом статьи являются принципы фольклоризма в Key words: Chekhov, folklore, myth, tradition. -
The Wisdom of Anton Chekhov
Copyright © 2010 by Walter G. Moss THE WISDOM OF ANTON CHEKHOV Table of Contents (with links) CHEKHOV‟S LIFE AND TIMES ................................................................................. 3 Chekhov‟s Early Years and the Women in His Life................................................... 5 Years of Transition, 1886-1891 .................................................................................. 7 The Melikhovo Years, 1892-1898, and Helping Others ........................................... 14 The Moscow Art Theater, Olga, and Yalta, 1898-1904 ........................................... 21 CHEKHOV AND WISDOM ........................................................................................ 29 Chekhov‟s Beliefs and Values .................................................................................. 32 Faith, Hope, and Despair .......................................................................................... 40 Literature, Realism, Comedy, and Tragedy .............................................................. 45 Isolation, Women, Love, Sex, and Marriage ............................................................ 53 Social and Political Views ........................................................................................ 60 Environmental Views................................................................................................ 67 CONCLUSION AND LEGACY .................................................................................. 71 2 THE WISDOM OF ANTON CHEKHOV In his novel -
The Chekhovian Intertext Dialogue with a Classic
The Chekhovian Intertext Dialogue with a Classic n LYUDM il A P A R T S THE OHIO STATE UNIVERSITY PREss • COLUMBus Copyright © 2008 by The Ohio State University. All rights reserved. Library of Congress Cataloging-in-Publication Data Parts, Lyudmila. The Chekhovian intertext : dialogue with a classic / Lyudmila Parts.—1st ed. p. cm. Includes bibliographical references and index. ISBN 978–0–8142–1083–3 (cloth : alk. paper)—ISBN 978–0–8142–9162–7 (CD- ROM) 1. Chekhov, Anton Pavlovich, 1860–1904—Influence. 2. Chekhov, Anton Pavlovich, 1860–1904—Criticism and interpretation. 3. Russian literature—20th century—History and criticism. 4. Russian literature—21st century—History and criticism. 5. Russia (Federation)—Intellectual life—1991– 6. Russia (Fed- eration)—Civilization—21st century. I. Title. PG3458.Z8P37 2008 891.72’3—dc22 2007045611 This book is available in the following editions: Cloth (ISBN 978–0–8142–1083–3) CD-ROM (ISBN 978–0–8142–9162–7) The author expresses appreciation to the University Seminars at Columbia Uni- versity for their help in publication. Material in this work was presented to the University Seminar: Slavic History and Culture. Studies of the Harriman Institute Columbia University The Harriman Institute, Columbia University, sponsors the Studies of the Harri- man Institute in the belief that their publication contributes to scholarly research and public understanding. In this way the Institute, while not necessarily endors- ing their conclusions, is pleased to make available the results of some of the research conducted under its auspices. Cover design by Jenny Poff Text design by Juliet Williams Type set in Adobe Palatino Printed by Thomson-Shore, Inc. -
Forms of the Peasant: Aesthetics and Social Thought in Russian Realism, 1847-1877
Forms of the Peasant: Aesthetics and Social Thought in Russian Realism, 1847-1877 by Jennifer Jean Flaherty A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Slavic Languages and Literatures in the Graduate Division of the University of California, Berkeley Committee in Charge: Professor Irina Paperno, Chair Professor Luba Golburt Professor Victoria Frede Spring 2019 Forms of the Peasant: Aesthetics and Social Thought in Russian Realism, 1847-1877 © 2019 By Jennifer Jean Flaherty Abstract Forms of the Peasant: Aesthetics and Social Thought in Russian Realism, 1847-1877 by Jennifer Jean Flaherty Doctor of Philosophy in Slavic Languages and Literatures University of California, Berkeley Professor Irina Paperno, Chair At the center of this dissertation’s inquiry is Russian realism’s construction of what I call “the form of the peasant.” Created by writers, this mythic image emerged in tandem with the movement’s signature formal innovations in narrative perspective, poetic voice, and descriptive style. It also gave shape to the very ideas of history, national identity, subjectivity, and language which defined Russian realism as a literary movement. The three chapters approach several major texts – Ivan Turgenev’s Zapiski okhotnika [Notes from a Hunter] (1847-1852), Lev Tolstoy’s “Utro pomeshchika” (1852-1856) and Anna Karenina (1874-1877), and Nikolai Nekrasov’s Komu na Rusi zhit’ khorosho [Who in Russia Can Live well] (1866-1877) – from a historical and formalist perspective, offering a history of realist forms in the social and intellectual context from which they emerge and to which they contribute. Close readings of narrative and poetic teXts are performed alongside analyses of a range of theoretical texts that are central to Russian social thought in the mid-nineteenth century, including works by Vissarion Belinsky, Nikolai Chernyshevsky, Nikolai Dobroliubov, Alexander Potebnia, and G. -
Philadelphia, PA
ASSOCIATION FOR SLAVIC, EAST EUROPEAN, & EURASIAN STUDIES 47th Annual Convention November 19-22, 2015 Philadelphia Marriott Downtown Philadelphia, PA “Fact” “So the crucial issue is: how do we retain a sophisticated sense of the many ramifications of the factual, without sliding into bland generalizing relativism of a kind that plays into the hands of ideological distortions and disinformation?” Catriona Helen Moncrieff Kelly, University of Oxford ASEEES Board President 2 CONVENTION SPONSORS ASEEES thanks all of our sponsors whose generous contributions and support help to promote the continued growth and visibility of the As- sociation during our Annual Convention and throughout the year. GOLD SPONSORS: American Councils for International Education(AC- TR/ACCELS), Natasha Kozmenko Publishers SILVER SPONSOR: Institute of Modern Russia BRONZE SPONSORS: Indiana University Russian and East European In- stitute; University of Michigan Center for Russian, East European & Eur- asian Studies and Weiser Center for Europe & Eurasia; University of Tex- as-Austin Center for Russian, East European and Eurasian Studies ASSOCIATE SPONSORS: Bloomsburg University of Pennsylvania College of Liberal Arts; Bryn Mawr College Department of Russian; New York University Department of Russian and Slavic Studies; Ohio State Univer- sity Center for Slavic and East European Studies; St. Joseph’s University International Relations Program; Swarthmore College ASEEES DONORS We are grateful to our generous donors; their commitment to supporting ASEEES’ work is sincerely appreciated. BENEFACTORS- Lynda Park SUPPORTERS-UP TO $1,000+ Marilyn R. Rueschemeyer $49 Jonathan H. Bolton Christine Ann Rydel Andrew Behrendt Winson Chu Mark D. Steinberg Barbara Ann Chotiner Edith W. Clowes William Mills Todd, III Pey-Yi Chu Stephen F. -
The Prison Worlds of Dostoevskii, Tolstoi, and Chekhov
The Prison Worlds of Dostoevskii, Tolstoi, and Chekhov Dissertation Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Gregory Ormiston, M.A. Graduate Program in Slavic and East European Languages and Cultures The Ohio State University 2017 Dissertation Committee: Alexander Burry, Advisor Angela Brintlinger Helena Goscilo Copyrighted by Gregory Ormiston 2017 Abstract It may be unsurprising that in nineteenth-century Russia, under a politically sensitive tsarist regime notorious for sending some of the country’s most famous writers into exile, prison became a conspicuous topic in literature. In the second half of the century, the works of three of Russia’s best realist authors - Fedor Dostoevskii, Lev Tolstoi, and Anton Chekhov – prominently featured prison, and even prisoners as heroes. Nevertheless, critical treatment of these prison-related works tends to isolate them to the context of each individual writer. This dissertation explores the carceral connections between these authors to see how prison, as a common theme, played a larger role in the development of nineteenth-century Russian literature than has previously been recognized. My study focuses especially on how prison influences the creation of the three authors’ literary worlds. Specifically, through close reading and analysis of selected texts, I show how the realists use the time and space of prison to produce the themes and forms of their fiction. Thus prison becomes foundational in the works of Dostoevskii and Chekhov, and revelatory in Tolstoi’s late period. Theoretical support for this analysis comes mainly from Mikhail Bakhtin, whose notion of the “chronotope” aids in the investigation of prison-like settings, and Michel Foucault, who tracks the changing nature of prison and its increasing effect on society leading into the era of the Russian realists. -
Winners Contest 2012
FULL LIST of WINNERS The 6th International Children's Art Contest "Anton Chekhov and Heroes of his Works" GRAND PRIZE Maxim Bogma, aged 14 «The Steppe» Petrovskaya, Krasnodar Krai, Russia The People's Choice Award Nojus Petkevicius, aged 5 «Kashtanka» Vilnius, Lithuania Age Group: 7-10 years olds 1st place awards: Yegor Furman, aged 9 Illustration for Chekhov's short story “White-Fronted” Moscow, Russia Folk art studio «Uley» Alexandra Timakova, aged 10 «Chekhov in the Garden» Tallinn, Estonia Garg Alankarti, aged 10 «Chekhov's Personality» Noida, India Anya Razgovorova, aged 10 «Three Sisters» Shakhty, Rostov Oblast, Russia Art school named after Serov Semyon Bormotkin, aged 9 «Anton Chekhov visiting Leo Tolstoy” Verkhnyaya Salda, Sverdlovsk Oblast, Russia Christina Zhertovskaya, aged 7 Illustration for Anton Chekhov’s story “Kashtanka” Taganrog, Russia, Art School named after Seraphima Blonskaya Margarita Orekhova, aged 10 Illustration for Anton Chekhov’s story “Kashtanka” Taganrog, Russia, Art School named after Seraphima Blonskaya 2nd place awards Evelyn Baic, aged 7 “The Lady with the Dog” Ajdovscina, Slovenia Alisa Skrund, aged 9 “Chekhvo on return from the visit of Sakhalin Katorga” Tallinn, Estonia Mina Sleika, aged 7 “The Lady with the Dog” Ajdovscina, Slovenia Taidei Brecelli, aged 7 “The Lady with the Dog” Ajdovscina, Slovenia Chetkhana Tharindi Karadana, aged 9 “Anton Chekhov as a child, playing dentist” Kegalle, Sri Lanka Daria Beryozova, aged 10 “The Lady with the Dog” Tallinn, Estonia Sofia Novikova, aged 10 “Time to Go -
The Cherry Orchard 212/TCO
Dramaturgical Production Book The Cherry Orchard 212/TCO Anton Chekhov; Translated by Marina Brodskaya Director: Kelly Galvin Dramaturgy Team: Jack Lavey (314-616-7131; [email protected]) Grace Ralbovsky (347-452-0143; [email protected]) 1 Table of Contents Glossary Production History Sociocultural Information Nomenclature History of Studio 210 Groundplan Selected Documents Program Notes 2 Glossary Page Term Explanation 226 muzhik A peasant; serf; carries negative connotation IPA: mʊˈʐɨk 227 kvass A fermented drink, similar to ale, low in alcohol and made from rye bread 227 abbé French word for abbot; the lower-ranking Catholic clergymen of France 227 Mentone A popular destination on the French-Italian for sufferers of tuberculosis. The town was popular with English and Russian aristocrats who built many of the luxurious hotels, villas, and palaces which still grace Menton today. 229 ruble Currency of Imperial Russia. 1 = $10.62 in 1900. $10.62 in 1900 = $216.63 in 2016 232 billiards Russian billiards: http://www.gamesda.com/russian-pool-rules.html https://en.wikipedia.org/wiki/Russian_pyramid Primary Differences to Western Pool -Table is larger, as are the balls, and thus the whole game is larger. -The pockets are narrower, which makes it harder to get the ball in the pocket. Reference in TCO: -Cut Shot (very difficult): https://goo.gl/images/HycUvV -Bank Shot (less complicated): https://goo.gl/images/Bha79w 232 boor An ill-mannered, unrefined person and is often pronounced with a diphthong, so it sounds almost like it is a two syllable word, but not quite. (buɚ) 234 crocodile Dishes containing crocodile were in vogue in Paris due to their unnecessary extravagance and expensiveness. -
31 Literature in Turkic and Mongolian
ISBN 92-3-103985-7 LITERATURE IN TURKIC 31 LITERATURE IN TURKIC AND MONGOLIAN R. Dor and G. Kara Contents LITERATURE IN TURKIC .............................. 888 Urban literature ..................................... 889 The literature of the steppe and mountains ....................... 893 Conclusion ....................................... 896 LITERATURE IN MONGOLIAN ........................... 897 Inner Mongolia and Dzungaria ............................. 907 Kalmukia ........................................ 909 Buriatia ......................................... 910 Part One LITERATURE IN TURKIC (R. Dor) The Turkish word literatür has bureaucratic connotations. It conjures up an image of great heaps and drifts of paper, instructions, memoranda, working papers and much more 888 ISBN 92-3-103985-7 Urban literature of the like, none of it of any conceivable relevance, none of it of any further use or any lasting interest. The purpose of this preliminary remark is to illustrate the vast conceptual distance separating us from anything that can reasonably be referred to as ‘the Turkic literature of Central Asia’. If, indeed, such a concept is graspable at all, for it seems highly unlikely that literature as such can ever be intuitively understood in its full extension, as it were encapsulated, at any particular moment. In the geographic region that is the subject of our present concern, however, there is a word that summarizes and defines literature in the conventional sense, and that is adabiyat¯ . Adabiyat¯ originally denoted a practical standard of conduct, one that was doubly resonant in that it purported simultaneously to inculcate virtue and to have been handed down from previous generations. The Turkic literature of Central Asia is thus primarily a form of humanitas, i.e. a sum of knowledge that imparts urbanity and courteous behaviour to the individual. -
Chekhov in English 1998 • • • 2008
Chekhov in English 1998 • • • 2008 logo Northgate Books Oxford, 2008 i Anton Chekhov in English 1998 • 2004 • 2008 Compiled and edited by Peter Henry This bibliography was prepared for publication in association with Robert Reid and Joe Andrew, joint editors of Essays in Poetics, which was published at the University of Keele, Keele, UK, from 1976 to 2006. Northgate Books. Oxford 2008 i Also published by Northgate Books: Vsevolod Garshin at the Turn of the Century. An International Symposium in Three Volumes. Edited by Peter Henry, Vladimir Porudominsky and Mikhail Girshman (2000). This bibliography is accessible on the Neo-Formalist Circle page of the BASEES (British Association for Slavonic and East European Studies at http://www.basees.org.uk/sgnfc.html This is a private publication. Free copies are available from Northgate Books, 50 Collinwood Road, Risinghurst, Oxford OX3 8HL UK, or from Professor Peter Henry at the same address. Free copies are also obtainable by telephone: 44 (0) 1865 744 602 or by e-mail: [email protected] ii This modest publication is dedicated to the memory of Georgette Lewinson-Donchin, a renowned authority on Russian literature, an inspiring and supportive teacher and generous friend, who sadly passed away in February 2008. Georgette will always be remembered with much affection, admiration and deep gratitude. iii Acknowledgements It is my pleasant task to record my gratitude to the many people who have helped me with this bibliography: in the first place to Gordon McVay, Senior Research Fellow at Bristol University and a Chekhov specialist; likewise to Harvey Pitcher, Chekhov scholar and translator. -
Chekov's "The Cherry Orchard" Author(S): Peter P
South Atlantic Modern Language Association Chekov's "The Cherry Orchard" Author(s): Peter P. Remaley Source: South Atlantic Bulletin, Vol. 38, No. 4 (Nov., 1973), pp. 16-20 Published by: South Atlantic Modern Language Association Stable URL: http://www.jstor.org/stable/3197077 Accessed: 28-11-2016 01:41 UTC JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://about.jstor.org/terms South Atlantic Modern Language Association is collaborating with JSTOR to digitize, preserve and extend access to South Atlantic Bulletin This content downloaded from 37.8.23.143 on Mon, 28 Nov 2016 01:41:11 UTC All use subject to http://about.jstor.org/terms CHEKOV'S "THE CHERRY ORCHARD" PETER P. REMALEY Eastern Kentucky University In a letter to Madame Stanislavsky on September 15, 1903, Chekhov wrote of The Cherry Orchard that "the play has turned out not a drama, but a comedy, in parts even a farce."' This asser- tion has proved to be the central concern of numerous critics who have joined in the continuing debate about the essential nature of Chekhov's The Cherry Orchard. Is it indeed a comedy as Chekhov claimed, or a tragedy as so many producers and critics have chosen to interpret it? At best, the critical problems are complex.