An Approach to Reevaluating and Understanding Chekhov in the Perspective of Theme, Motif, Symbol and Writing Style
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The Aesthetic Terrain of Settler Colonialism: Katherine Mansfield and Anton Chekhov’S Natives
Journal of Postcolonial Writing ISSN: 1744-9855 (Print) 1744-9863 (Online) Journal homepage: http://www.tandfonline.com/loi/rjpw20 The aesthetic terrain of settler colonialism: Katherine Mansfield and Anton Chekhov’s natives Rebecca Ruth Gould To cite this article: Rebecca Ruth Gould (2018): The aesthetic terrain of settler colonialism: Katherine Mansfield and Anton Chekhov’s natives, Journal of Postcolonial Writing, DOI: 10.1080/17449855.2018.1511242 To link to this article: https://doi.org/10.1080/17449855.2018.1511242 Published online: 04 Oct 2018. Submit your article to this journal Article views: 1 View Crossmark data Full Terms & Conditions of access and use can be found at http://www.tandfonline.com/action/journalInformation?journalCode=rjpw20 JOURNAL OF POSTCOLONIAL WRITING https://doi.org/10.1080/17449855.2018.1511242 The aesthetic terrain of settler colonialism: Katherine Mansfield and Anton Chekhov’snatives Rebecca Ruth Gould College of Arts and Law, University of Birmingham, Birmingham, UK ABSTRACT KEYWORDS While Anton Chekhov’sinfluence on Katherine Mansfield is Settler colonialism; Sakhalin; widely acknowledged, the two writers’ settler colonial aesthetics New Zealand; Siberia; Maori; have not been brought into systematic comparison. Yet Gilyak; Russian Empire Chekhov’s chronicle of Sakhalin Island in the Russian Far East parallels in important ways Mansfield’s near-contemporaneous account of colonial life in New Zealand. Both writers are con- cerned with a specific variant of the colonial situation: settler colonialism, which prioritizes appropriation of land over the gov- ernance of peoples. This article considers the aesthetic strategies each writer develops for capturing that milieu within the frame- work of the settler colonial aesthetics that has guided much anthropological engagement with endangered peoples. -
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. -
UC San Diego Electronic Theses and Dissertations
UC San Diego UC San Diego Electronic Theses and Dissertations Title Thin, white, and saved : fat stigma and the fear of the big black body Permalink https://escholarship.org/uc/item/55p6h2xt Author Strings, Sabrina A. Publication Date 2012 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA, SAN DIEGO Thin, White, and Saved: Fat Stigma and the Fear of the Big Black Body A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Sociology by Sabrina A. Strings Committee in charge: Professor Maria Charles, Co-Chair Professor Christena Turner, Co-Chair Professor Camille Forbes Professor Jeffrey Haydu Professor Lisa Park 2012 Copyright Sabrina A. Strings, 2012 All rights reserved The dissertation of Sabrina A. Strings is approved, and it is acceptable in quality and form for publication on microfilm and electronically: Co-Chair Co-Chair University of California, San Diego 2012 i i i DEDICATION This dissertation is dedicated to my grandmother, Alma Green, so that she might have an answer to her question. i v TABLE OF CONTENTS SIGNATURE PAGE …………………………………..…………………………….…. iii DEDICATION …...…....................................................................................................... iv TABLE OF CONTENTS ……………………………………………………....................v ACKNOWLEDGEMENTS …………………...…………………………………….…...vi VITA…………………………..…………………….……………………………….…..vii ABSTRACT OF THE DISSERTATION………………….……....................................viii -
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. -
Discussing Chekhov's Stories. OLLI Berkeley, Fall 2018. Syllabus Course Description: While Being Famous Worldwide Mostly As a Pl
Discussing Chekhov's stories. OLLI Berkeley, Fall 2018. Syllabus Course description: While being famous worldwide mostly as a playwright, in Russia A.Chekhov is better known and more loved for his short stories, many of which are considered to be masterpieces of the genre. This discussion course offers an insight into some of his best stories and novellas, covering a wide spectrum of themes. Discussing the ideas, plots and characters, we will pay close attention to Chekhovian style and look at the language resources employed to render his ideas and attitudes. Recommended book (available on Amazon): Selected stories of Anton Chekhov, translated by Richard Pevear and Larissa Volokonsky. Modern Library, NY, 2000. WEEK 1. Part I. Introductory talk. Before the class please watch a 20 min. documentary «Anton Chekhov» on Youtube: https://www.youtube.com/watch?v=fAAAIWeCi-Y In class we will discuss how Chekhov’s life and personality are reflected in his stories. I will make a brief introduction to his style and creative method, as well as an overview of the major themes and characters in his stories. Part II. Discussing the stories: 1) “The Death of a Clerk”. 2) “A Chameleon” (not in the book; the text and assignments will be posted on the course site) 3) “The Student” (assignment posted) Week 2. Read the following stories (assignments will be posted on the course site): 1) At Christmastime 2) The Bishop Week 3. Read the following stories (assignments will be posted on the course site): 1) Sleepy 2) Rothschild’s Fiddle Week 4. Read the following stories: 1) Peasants (not in the book; the text and questions for discussion will be posted) 2) In the Ravine (assignment posted) Week5. -
Matthew Herrald
Trillium Issue 39, 2018 The Trillium is the literary and visual arts publication of the Glenville State College Department of Language and Literature Jacob Cline, Student Editor Heather Coleman, Art Editor Dr. Jonathan Minton, Faculty Advisor Dr. Marjorie Stewart, Co-Advisor Dustin Crutchfield, Designer Cover Artwork by Cearra Scott The Trillium welcomes submissions and correspondence from Glenville State College students, faculty, staff, and our extended creative community. Trillium Department of Language and Literature Glenville State College 200 High Street | Glenville, WV 26351 [email protected] http://www.glenville.edu/life/trillium.php The Trillium acquires printing rights for all published materials, which will also be digitally archived. The Trillium may use published artwork for promotional materials, including cover designs, flyers, and posters. All other rights revert to the authors and artists. POETRY Alicia Matheny 01 Return To Expression Jonathan Minton 02 from LETTERS Wayne de Rosset 03 Healing On the Way Brianna Ratliff 04 Untitled Matthew Herrald 05 Cursed Blood Jared Wilson 06 The Beast (Rise and Fall) Brady Tritapoe 09 Book of Knowledge Hannah Seckman 12 I Am Matthew Thiele 13 Stop Making Sense Logan Saho 15 Consequences Megan Stoffel 16 One Day Kerri Swiger 17 The Monsters Inside of Us Johnny O’Hara 18 This Love is Alive Paul Treadway 19 My Mistress Justin Raines 20 Patriotism Kitric Moore 21 The Day in the Life of a College Student Carissa Wood 22 7 Lives of a House Cat Hannah Curfman 23 Earth’s Pure Power Jaylin Johnson 24 Empty Chairs William T. K. Harper 25 Graffiti on the Poet Lauriat’s Grave Kristen Murphy 26 Mama Always Said Teddy Richardson 27 Flesh of Ash Randy Stiers 28 Fussell Said; Caroline Perkins 29 RICHWOOD Sam Edsall 30 “That Day” PROSE Teddy Richardson 33 The Fall of McBride Logan Saho 37 Untitled Skylar Fulton 39 Prayer Weeds David Moss 41 Hot Dogs Grow On Trees Hannah Seckman 42 Of Teeth Berek Clay 45 Lost Beach Sam Edsall 46 Black Magic 8-Ball ART Harold Reed 57 Untitled Maurice R. -
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. -
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. -
Short Story, 1870-1925 Theory of a Genre
The Classic Short Story, 1870-1925 Theory of a Genre Florence Goyet THE CLASSIC SHORT STORY The Classic Short Story, 1870-1925 Theory of a Genre Florence Goyet http://www.openbookpublishers.com © 2014 Florence Goyet This work is licensed under a Creative Commons Attribution 4.0 International license (CC BY 4.0). This license allows you to share, copy, distribute and transmit the work; to adapt the work and to make commercial use of the work providing attribution is made to the author (but not in any way that suggests that she endorses you or your use of the work). Attribution should include the following information: Goyet, Florence. The Classic Short Story, 1870-1925: Theory of a Genre. Cambridge, UK: Open Book Publishers, 2014. https://doi.org/10.11647/OBP.0039 In order to access detailed and updated information on the license, please visit https:// www.openbookpublishers.com/product/199#copyright Further details about CC BY licenses are available at http://creativecommons.org/ licenses/by/4.0/ All external links were active at the time of publication unless otherwise stated and have been archived via the Internet Archive Wayback Machine at https://archive.org/web Digital material and resources associated with this volume are available on our website at http://www.openbookpublishers.com/product/199#resources ISBN Paperback: 978-1-909254-75-6 ISBN Hardback: 978-1-909254-76-3 ISBN Digital (PDF): 978-1-909254-77-0 ISBN Digital ebook (epub): 978-1-909254-78-7 ISBN Digital ebook (mobi): 978-1-909254-79-4 DOI: 10.11647/OBP.0039 Cover portraits (left to right): Henry James, Flickr Commons (http://www.flickr.com/photos/7167652@ N06/2871171944/), Guy de Maupassant, Wikimedia (https://commons.wikimedia.org/wiki/File:Guy_ de_Maupassant_fotograferad_av_Félix_Nadar_1888.jpg), Giovanni Verga, Wikimedia (http:// commons.wikimedia.org/wiki/File:Catania_Giovanni_Verga.jpg), Anton Chekhov, Wikimedia (http://commons.wikimedia.org/wiki/File:Anton_Chekov_1901.jpg) and Akutagawa Ryūnosuke, Wikimedia (https://commons.wikimedia.org/wiki/File:Akutagawa_Ryunosuke_photo.jpg). -
Stories of Russian Life
CORNELL UNIVERSITY LIBRARY UNDERGRADUATE LIBRARY Cornell University Library PG 3456.A15F31 Stories of Russian life, 3 1924 014 393 130 The original of tliis book is in tine Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924014393130 STORIES OF RUSSIAN LIFE STORIES OF RUSSIAN LIFE BY ANTON TCHEKOFF TRANSLATED FROM THE BtTSBIAN BT MARIAN FELL NEW YORK CHARLES SCEIBNER'S SONS 1914 -% r" 70 7 (> COFTBZGHT,A 1914, BT CHABLES SCBIBNER'S SONS Published May, 1914 CONTENTS FAOB 3 |. Qyeese4B^ed The Night befobe Easter 10 At Home 26 ''•^ ' Champagne *1 ^' The Malepactob ^0 Mtjbdeb Will OtTT 56 §3-' A" The Tbottsseau ' \&" ' The Decobation The Man in a Case 76 Little Jack ^' Dbeams ^ * ' The Death of an Official 118 Agatha ^^^ TheBbogab '^^^ Children 148 J^ The Tboublesome Guest 1^''' "^ Not Wanted ^^ "The RoBEEms l77 Fat 2°^ , . Lean and V vi CONTENTS PAPB On THE Wat 208 v/ The Head Gabdenek's Tale *3* -Hush! 240 t- WlTHOITT A TnUE 5-«» ^ In the Eavinb 252 STORIES OF RUSSIAN LIFE STORIES OF RUSSIAN LIFE OVERSEASONED ON arriving at Deadville Station, Gleb Smirnoff, the surveyor, found that the farm to which his business called him still lay some thirty or forty miles farther on. If the driver should be sober and the horses could stand up, the distance would be less than thirty miles; with a fuddled driver and old skates for horses, it might amount to fifty. "Will you tell me, please, where I can get some post-horses.'' " asked the surveyor of the station-master. -
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. -
English Literature
B. A. Fourth Semester – English Literature Que: 1; A) Narrate in your own words the story of ‘A Tiger for Malgudi’. Ans: In ‘A Tiger for Malgudi’, it is shown how the Sanyasi approaches the tiger. A Swamy lived in a remote part of a jungle. He was living in the company of a tiger. The peasants heard of this strange companionship. They believed that there was something divine in their relationship. They thought that the Swamy was a holy man. One day a group of peasants visited the Swamy. They were afraid of the tiger living with the Swamy, so they stood at a distance and called out Swamiji. The Swamy did not like their calling him “Swamiji”. He told them he was no ‘swamiji’, but asked them to come. The Swami asked them why they had come at all. They answered that it was for his ‘darshan’. He told them not to use that word as it was not proper. Then he asked them to come closer to him. They said they had come to sit at his feet. Again Swamy objected to the use of word ‘feet’. The Swamy explained that he was not great. It was true that a swamy was usually bearded and wore scanty clothes. But he did not wear a shirt because he had none. He was not different from them. They were equals and there was no need to pay homage to him. The Swamy told them not to spoil their mind with thoughts of the tiger. They placed the baskets of flowers and fruits before him and requested him to accept them.