The Ukrainian Weekly 1983
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FULL LIST of WINNERS the 8Th International Children's Art Contest
FULL LIST of WINNERS The 8th International Children's Art Contest "Anton Chekhov and Heroes of his Works" GRAND PRIZE Margarita Vitinchuk, aged 15 Novocherkassk, Rostov Oblast, Russia for “The Lucky One” Age Group: 14-17 years olds 1st place awards: Anna Lavrinenko, aged 14 Novocherkassk, Rostov Oblast, Russia for “Ward No. 6” Xenia Grishina, aged 16 Gatchina, Leningrad Oblast, Russia for “Chameleon” Hei Yiu Lo, aged 17 Hongkong for “The Wedding” Anastasia Valchuk, aged 14 Prokhladniy, Kabardino-Balkar Republic, Russia for “Ward Number 6” Yekaterina Kharagezova, aged 15 Novocherkassk, Rostov Oblast, Russia for “Portrait of Anton Chekhov” Yulia Kovalevskaya, aged 14 Prokhladniy, Kabardino-Balkar Republic, Russia for “Oversalted” Valeria Medvedeva, aged 15 Serov, Sverdlovsk Oblast, Russia for “Melancholy” Maria Pelikhova, aged 15 Penza, Russia for “Ward Number 6” 1 2nd place awards: Anna Pratsyuk, aged 15 Omsk, Russia for “Fat and Thin” Maria Markevich, aged 14 Gomel, Byelorussia for “An Important Conversation” Yekaterina Kovaleva, aged 15 Omsk, Russia for “The Man in the Case” Anastasia Dolgova, aged 15 Prokhladniy, Kabardino-Balkar Republic, Russia for “Happiness” Tatiana Stepanova, aged 16 Novocherkassk, Rostov Oblast, Russia for “Kids” Katya Goncharova, aged 14 Gatchina, Leningrad Oblast, Russia for “Chekhov Reading Out His Stories” Yiu Yan Poon, aged 16 Hongkong for “Woman’s World” 3rd place awards: Alexander Ovsienko, aged 14 Taganrog, Russia for “A Hunting Accident” Yelena Kapina, aged 14 Penza, Russia for “About Love” Yelizaveta Serbina, aged 14 Prokhladniy, Kabardino-Balkar Republic, Russia for “Chameleon” Yekaterina Dolgopolova, aged 16 Sovetsk, Kaliningrad Oblast, Russia for “The Black Monk” Yelena Tyutneva, aged 15 Sayansk, Irkutsk Oblast, Russia for “Fedyushka and Kashtanka” Daria Novikova, aged 14 Smolensk, Russia for “The Man in a Case” 2 Masha Chizhova, aged 15 Gatchina, Russia for “Ward No. -
The Aftermath of Nuremberg . . . the Problems of Suspected War
NYLS Journal of Human Rights Volume 6 Article 8 Issue 2 Volume VI, Part Two, Spring 1989 1989 The Aftermath of Nuremberg . The rP oblems of Suspected War Criminals in America Natalie J. Sobchak Follow this and additional works at: https://digitalcommons.nyls.edu/journal_of_human_rights Part of the Law Commons Recommended Citation Sobchak, Natalie J. (1989) "The Aftermath of Nuremberg . The rP oblems of Suspected War Criminals in America," NYLS Journal of Human Rights: Vol. 6 : Iss. 2 , Article 8. Available at: https://digitalcommons.nyls.edu/journal_of_human_rights/vol6/iss2/8 This Notes and Comments is brought to you for free and open access by DigitalCommons@NYLS. It has been accepted for inclusion in NYLS Journal of Human Rights by an authorized editor of DigitalCommons@NYLS. THE AFrERMATH OF NUREMBERG... THE PROBLEMS OF SUSPECTED WAR CRIMINALS IN AMERICA L INTODUCrON Treblinka. Auschwitz. Sobibor. The mere mention of these places and others like them is a devastating reminder of the ultimate experience in human suffering. These were a few of the many concentration camps -- death camps -- designed to carry out Hitler's Final Solution: to exterminate as many Jews, Slavs, Gypsies, and Homosexuals as possible and create a supreme Aryan' society. Millions upon millions of innocent civilians would suffer miserable deaths before the liberation would come.2 Who were these per- secutors? While the Nazis3 devised "the plan," supplied the materials and man-power to build the camps, and supervised these atrocities, only a few of the death camps were actually located in Germany. The camps were situated in various Slavic countries which had capitulated under Nazi onslaught.' To assist them in their crimes, the Nazis obtained the cooperation of some of the local people and prisoners of war.' Whether their participation was voluntary or not, 1. -
Smoke Ivan Turgenev Smoke Ivan Turgenev
Smoke Ivan Turgenev Smoke Ivan Turgenev Translated by Constance Garnett THE NAMES OF THE CHARACTERS IN THE BOOK Grigóry [Grísha] Mihálovitch Litvínov. Tat-yána [Tánya] Petróvna Shestóv. Kapitolína Márkovna. Rostisláv Bambáev. Semyón Yákovlevitch Voroshílov. Stepán Nikoláevitch Gubar-yóv. Matróna Semyónovna Suhántchikov. Tit Bindásov. Pish-Tchálkin. Sozónt Ivánitch Potúgin. Irína Pávlovna Osínin. Valerián Vladímirovitch Ratmírov. I On the 10th of August 1862, at four o’clock in the afternoon, a great number of people were thronging before the well-known Konversation in Baden-Baden. The weather was lovely; everything around—the green trees, the bright houses of the gay city, and the undulating outline of the mountains—everything was in holiday mood, basking in the rays of the kindly sunshine; everything seemed smiling with a sort of blind, 1 Smoke Ivan Turgenev confiding delight; and the same glad, vague smile strayed over the human faces too, old and young, ugly and beautiful alike. Even the blackened and whitened visages of the Parisian demi-monde could not destroy the general impression of bright content and elation, while their many-coloured ribbons and feathers and the sparks of gold and steel on their hats and veils involuntarily recalled the intensified brilliance and light fluttering of birds in spring, with their rainbow-tinted wings. But the dry, guttural snapping of the French jargon, heard on all sides could not equal the song of birds, nor be compared with it. Everything, however, was going on in its accustomed way. The orchestra in the Pavilion played first a medley from the Traviata, then one of Strauss’s waltzes, then ‘Tell her,’ a Russian song, adapted for instruments by an obliging conductor. -
The Ukrainian Weekly 1985
Published by tha Ukrainian National Association inc.. a -fraternal non-profit association! rainian Weekly vol. LIU No. 36 THE UKRAINIAN WEEKLY SUNDAY, SEPTEMBER 8,1985 25 centi Ukrainian students fined, released from East German prison Wasyl Stus dies in labor camp JERSEY C1TY, N J. - As serving the'fifth year of a 10- by Hanya Diuk children, Mr. Leszczyszyn, is in his The Weekly was going to press year labor-camp term for final year of studies at the London it was learned from dissident "anti-Soviet agitation and LONDON - Two Ukrainian stu– School of Economics, majoring in sources that v'asyl Stus, a propaganda1' in Camp No. 36- dents have been released after a three- management sciences. Depressed at his member of the Ukrainian 1. This was to be followed by father's death in April, he took a year week ordeal in an East German jail. Helsinki Monitoring Group, five years of internal exile. Mr. Oleh Leszczyszyn. 21, of Coventry and off and decided to go away with his Stus, a poet, was reported to be friend, Mr. Fedyszyn. it was his first died in a Perm labor camp on George Fedyszyn. 22, of London were suffering from severe heart arrested on their way to a holiday in trip behind the iron Curtain. Wednesday, September 4. Mr. disease and ulcers, among Poland. East Getman authorities claim Mr. Fedyszyn graduated from Essex Stus's wife, valentyna Pope– they were trying to smuggle "anti-state University last year, majoring in classi– !iukh, who resides in Kiev, was other ailments. He was 47. -
Lessons from the Treblinka Archive: Transnational Collections and Their Implications for Historical Research Chad S.A
Journal of Contemporary Archival Studies Volume 5 Article 14 2018 Lessons from the Treblinka Archive: Transnational Collections and their Implications for Historical Research Chad S.A. Gibbs University of Wisconsin-Madison, [email protected] Follow this and additional works at: https://elischolar.library.yale.edu/jcas Part of the Archival Science Commons, European History Commons, and the Jewish Studies Commons Recommended Citation Gibbs, Chad S.A. (2018) "Lessons from the Treblinka Archive: Transnational Collections and their Implications for Historical Research," Journal of Contemporary Archival Studies: Vol. 5 , Article 14. Available at: https://elischolar.library.yale.edu/jcas/vol5/iss1/14 This Case Study is brought to you for free and open access by EliScholar – A Digital Platform for Scholarly Publishing at Yale. It has been accepted for inclusion in Journal of Contemporary Archival Studies by an authorized editor of EliScholar – A Digital Platform for Scholarly Publishing at Yale. For more information, please contact [email protected]. Lessons from the Treblinka Archive: Transnational Collections and their Implications for Historical Research Cover Page Footnote No one works alone. True to this statement, I owe thanks to many for their assistance in the completion of this work. This article began as a seminar paper in Professor Kathryn Ciancia's course "Transnational Histories of Modern Europe." I thank her and my classmates for many enlightening discussions and the opportunity to challenge my ongoing research in new ways. As always, I thank my advisor at the University of Wisconsin- Madison, Professor Amos Bitzan. His guidance and example are always greatly appreciated. In completing this work, I also had the support of my colleague Brian North and Professors Christopher Simer of the University of Wisconsin-River Falls and Connie Harris of Dickinson State University. -
Doak, C. (2016). What's Papa For? Paternal Intimacy and Distance In
Doak, C. (2016). What’s Papa For? Paternal Intimacy and Distance in Chekhov’s Early Stories. Slavic and East European Journal, 59(4), 517-543. Publisher's PDF, also known as Version of record License (if available): Unspecified Link to publication record in Explore Bristol Research PDF-document Publisher allows a PDF copy of final published version to be deposited in institutional repository. University of Bristol - Explore Bristol Research General rights This document is made available in accordance with publisher policies. Please cite only the published version using the reference above. Full terms of use are available: http://www.bristol.ac.uk/red/research-policy/pure/user-guides/ebr-terms/ SEEJ_59_4_9V 1/13/2016 6:56 PM Page 517 WHAT’S PAPA FOR? PATERNAL INTIMACY AND DISTANCE IN CHEKHOV’S EARLY STORIES Connor Doak, University of Bristol, United Kingdom In Anton Chekhov’s 1886 story “Grisha,” the eponymous child protagonist thinks of his father as an “extremely mysterious person.”1 While Grisha un- derstands the role of his mother and nanny—“they feed [him], dress him, and put him to bed”—he remains puzzled as to the existential purpose of his fa- ther.2 “But as for Papa,” the narrative continues, “no-one knows what he’s there for.”3 Grisha’s confusion about his father’s purpose provides one example of a fa- miliar narrative device in Chekhov’s stories: adopting a child’s point of view to provide a defamiliarizing perspective on society and accepted social con- ventions (Loehlin 40–41; Laponina). Specifically, Grisha’s naive comment defamiliarizes the position of the father in the nineteenth-century home, caus- ing the reader to ponder over the father’s responsibilities. -
EDUCATION PACK 1 Bristol Old Vic | the Cherry Orchard | Education Pack “A Poem About Life and Death and Transition and Change” PETER BROOK, 1981
EDUCATION PACK 1 Bristol Old Vic | The Cherry Orchard | Education Pack “A poem about life and death and transition and change” PETER BROOK, 1981 FOREWORD CONTENTS The Cherry Orchard was written over a hundred 2. Introduction years ago and the dominant issue of anxiety and 3. Chekhov, A History change are still with us in a tumultuous twenty-first century. As teachers, we are in a position where we 5. Exploring the Story can challenge ideas and stimulate discussion within 7. Dissecting the Characters our classrooms while exploring a wide range of performance opportunities. This is a play where 9. A Note from the Director seemingly very little happens on stage but events of 11. A Note from the Designer rapid economic and cultural change are happening all around. We know the old way of life is doomed 13. The Moscow Arts Theatre but are not sure whether the new dawn will 14. Under the Microscope ultimately be any better than that which is being cast aside. 15. Key Themes This is a play of many contradictions and is wide 16. How to Write a Review open to a director’s interpretation. Does the future 17. Activities look bleak or alluring? Chekhov wrote The Cherry Orchard while he was dying and knew that this would be his last play. Does this create an air of melancholy? How does this sit with the conjuring tricks and circus skills in this self-declared ‘comedy in four acts’? Is it a naturalistic or symbolic play or a combination of the two? We can decide on any one or all of these interpretations and each are as Introduction valid as any other. -
INFORMATION ISSUED by the Assooaim of XWSH Kfugees in GREAT BRITAIN
Volume XXXIII No. 10 October, 1978 INFORMATION ISSUED BY THE ASSOOAim OF XWSH KfUGEES IN GREAT BRITAIN H" * Grtienetcald to preach the Gospel to the Jews. He added, "If the Church were more Christian, the dis pute with the Jewish people would be even JEWISH-CHRISTIAN "DIALOGUE" OF 1933 more outspoken than it can be today". This was the heart of the matter; it determined Reminiscences in the Buber Centenary Year the relationship of the Christian to the Jew, as was already evident in the New Testament. The beginning of the emancipation of movements. Among the people of those parts "If the Jews had accepted Jesus, there would J^rraan Jews and their exit were both marked of Southem Germany was to be found a not have been Golgatha, no sufTering of the y translations of the Bible. In the intervening curious blending of earthiness and spirituality. Corpus Christi; then the God-ordained end eatury and a half, Jews had made eleven There was in Stuttgart a small but influential [sic] would have been here in all its perfec ^ennan versions of the full text, to say nothing group of Buber's devoted followers, among tion". It was not the Crucifixion, for which r? partial translations. The same period saw them the noble, martyred Otto Hirsch, later all contemporaries were equally responsible, the rise of historical and exegetical schools. the Executive Director of the Reichsvertre but the rejection of the Messiah which had r" seemmg to converge upon the Bible and tung. saddled the Jews with an enormous burden. ^ world. -
A Midsummer Nights Dream 11 'T} S , O(;;)-2 by Wilham Shakespeare
A Midsummer NightS Dream 11 't} s , o(;;)-2 by WilHam Shakespeare ~ BAm~ Tiieater BRooKLYN AcADEMY oF Music Compa11y ~~~~~~~~~ \.. ~ , •' II I II Q ,\.~ I II 1 \ } ( "' '" \ . • • !I II'" r )DO I \ ., : \ I ~\ } .. \ ;; .; 'I' ... .. _:..,... 1t ; rJ ,.I •\ y v \ YOUR MONEY GROWS LIKE MAGIC AT THE THE DIME SAVINGS BANK DF NEW YORK -..1-..ett•O•C MANHATTAN • DOWNTOWN BROOKLYN • BENSONHURST • FLATBUSH CONEY ISLAND • KINGS PLAZA • VALLEY STREAM • MASSAPEQUA HUNTINGTON STATION TABLE OF Old CONTENTS Hungary "An authentic ~ ounpany~~~~~~~ Hungarian restaurant right here in Brooklyn" Beef Goulash, Ch1cken Papnka, St uffed Cabbage, Palacsinta and other traditional dishes " Live Piano Music Nightly" The Actors 5-8 PRE-T HEATRE AND AFTER THEATRE DINNER 142 Montague St., Bklyn . Hghts. Notes on the Play 9-14 625· 1649 Production Team 15 § The Staff 16 'R(!tauranb The Actors 17-19 tel: 855-4830 Contributors 20-21 UL8-2000 Board of Directors 22 open daily for lunch and dinner till 9 P. M. Italian and A m erican Cuisine special orders upon request Flowers, plants and fruit baskets for all occasions (212) 768-6770 25th Street & 768-0800 5th Avenue Deluxe coach service following DIRECTORY BAM Theater Company Directory of Facilities a nd Services Box Office: Monday 10 00 to &.00 Tue.day throu~h ~tur performances day 10 00 to Y 00 Sunday Performance limes only Lost ond ~o und : Telephone &36-4 150 Restroom: Operu We pick you up and take you back llouse Women .ond Men. Mezzanme level. HandKapp<.·d Or c h c~t r a level Ployh ou,e: Women Orchestra l~vcl ,\.1cn .'Ae1 (to Manhattan) 1.anme lt•vel llandocapped Orchestra level Lepercq Spucc: The BAMBus Express will pick-up BAM Theater Company Wom en ,,nd Men Tht•c.H e r level Public T ele phon es. -
The University of Chicago Smuggler States: Poland, Latvia, Estonia, and Contraband Trade Across the Soviet Frontier, 1919-1924
THE UNIVERSITY OF CHICAGO SMUGGLER STATES: POLAND, LATVIA, ESTONIA, AND CONTRABAND TRADE ACROSS THE SOVIET FRONTIER, 1919-1924 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 ANDREY ALEXANDER SHLYAKHTER CHICAGO, ILLINOIS DECEMBER 2020 Илюше Abstract Smuggler States: Poland, Latvia, Estonia, and Contraband Trade Across the Soviet Frontier, 1919-1924 What happens to an imperial economy after empire? How do economics, security, power, and ideology interact at the new state frontiers? Does trade always break down ideological barriers? The eastern borders of Poland, Latvia, and Estonia comprised much of the interwar Soviet state’s western frontier – the focus of Moscow’s revolutionary aspirations and security concerns. These young nations paid for their independence with the loss of the Imperial Russian market. Łódź, the “Polish Manchester,” had fashioned its textiles for Russian and Ukrainian consumers; Riga had been the Empire’s busiest commercial port; Tallinn had been one of the busiest – and Russians drank nine-tenths of the potato vodka distilled on Estonian estates. Eager to reclaim their traditional market, but stymied by the Soviet state monopoly on foreign trade and impatient with the slow grind of trade talks, these countries’ businessmen turned to the porous Soviet frontier. The dissertation reveals how, despite considerable misgivings, their governments actively abetted this traffic. The Polish and Baltic struggles to balance the heady profits of the “border trade” against a host of security concerns shaped everyday lives and government decisions on both sides of the Soviet frontier. -
6 X 10.5 Long Title.P65
Cambridge University Press 978-0-521-88077-0 - The Cambridge Introduction to Chekhov James N. Loehlin Index More information Index Aleksandrinsky Theatre, xi, 12, 31, Bonaparte, Napoleon, 21 109, 124 Brata, Gaetano Alexander II (Tsar of Russia), x, 17, “Angel’s Serenade”, 87 21–2 Brecht, Bertolt Alexander III (Tsar of Russia), x, xi, 18, The Petit-Bourgeouis Wedding, 65 22, 64 Bromide (dog), 11 Allen, David Brustein, Robert, 109, 147 Performing Chekhov, 175 The Theatre of Revolt, 175, 186 Antoine, André, 32, 59 Bulgakov, Mikhail, 173 Avilova, Lydia, xi, 9, 11, 45, 118 Bunin, Ivan, 90 Badenweiler, xii, 16 Calderon, George, 165 Barrault, Jean-Louis Carver, Raymond The Cherry Orchard (1954), 170–71 “Errand”, 174 Bartlett, Rosamund, xiii, 174 Catherine II (Tsarina of Russia), 20, 31 Anton Chekhov: A Life in Cervantes, Miguel de Letters, 185 Don Quixote, 4 Battleship Potemkin uprising, 18 Ceylon, xi, 10 Beale, Simon Russell, 123 Cheever, John, 174 Beckett, Samuel, 131 Chekhonte, Antosha (pseudonym), x, 6 Molloy, 147 Chekhov, Aleksandr, 3, 4, 6, 13 Waiting for Godot, 33, 135 Chekhov, Anton Belinsky, Vissarion, 163 collections Bely, Andrey, 155 Gloomy People, xi Benchley, Robert In the Twilight, xi, 8 The Treasurer’s Report, 61 Motley Stories, xi, 8 Bentley, Eric, 124 Tales of Melpomene, xi, 32 Bergson, Henri novels “Laughter”, 64 The Shooting Party, xi, 92 Bitsilli, Peter plays Chekhov’s Art: A Stylistic Along the Highway, 58 Analysis, 169 The Bear, xi, 8, 62–63, 69 Blakemore, Michael The Cherry Orchard, xii, 5, 16, 18, Country Life (1994), 174 20, 37, 63, 66, 107, 123, 148–61 Boleslavsky, Richard, 167 The Evils of Tobacco, 61 188 © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-88077-0 - The Cambridge Introduction to Chekhov James N. -
THE CHORUS GIRL and OTHER STORIES by Anton Chekhov
THE CHORUS GIRL AND OTHER STORIES By Anton Chekhov Translated by Constance Garnett Ref: Project Gutenberg http://www.gutenberg.org/ CONTENTS: THE CHORUS GIRL..................................................................................................3 VEROTCHKA ............................................................................................................8 MY LIFE...................................................................................................................19 I.............................................................................................................................19 II ...........................................................................................................................25 III ..........................................................................................................................30 IV..........................................................................................................................35 V ...........................................................................................................................38 VI..........................................................................................................................42 VII.........................................................................................................................46 VIII .......................................................................................................................53 IX..........................................................................................................................56