Anna karenina summary pdf

Continue 1877 novel by This article about Tolstoy's novel. For other purposes, see (disambiguation). Not to be confused with Anna Karina. Anna Karenina Cover of the first volume of Anna Karenina, Moscow, 1878AuthorLeo TolstoyOriginal title TransletorConstants Garnett (original)CountryRussiaLangRussian RomanPublicanrussian Date of the Messenger1878Media typePrint (series)Pages864ISBN97 8-1-84749-059-9OCLC220005468 Anna Karenina (in Russian language: zenith, IPA: ˈanːə kɐˈrjenjɪnə) is a novel by Russian writer Leo Tolstoy, first published as a book in 1878. Many writers consider Anna Karenina the greatest literary work in history, and Tolstoy himself called it his first real novel. It was originally released in serial parts from 1873 to 1877 in the periodic edition of The Russian Messenger. A complex novel in eight parts, with more than a dozen main characters, it extends over more than 800 pages (depending on the translation and publisher) usually contained in two volumes. It discusses themes of betrayal, faith, family, marriage, imperial Russian society, desire and rural versus urban life. The plot unfolds on an extramarital affair between Anna and a dashing cavalry officer Count Alexei Kirillovich Vronsky, who scandalizes the social circles of St. Petersburg and forces young lovers to flee to Italy in search of happiness. Once they return to Russia, their lives are further unraveled. Trains are a recurring motif throughout the novel, which takes place against the backdrop of rapid transformations as a result of liberal reforms initiated by Russian Emperor Alexander II, with several major plot points taking place either on passenger trains or at stations in St. Petersburg or elsewhere in Russia. The novel has been adapted in a variety of media including theatre, opera, film, television, ballet, figure skating, and radio drama. The first of many film adaptations was released in 1911, but never survived. The main characters of the family tree of Anna Arkadyevna Karenina (Samoski): sister of Stepan Oblonsky, wife Karenina and lover Vronsky. Count Aleksey Vronsky (Senit): Anna's lover, cavalry officer. Prince Stepan Steve Arkadyevich Oblonsky (Sarechnaya) and Anna's brother, a man near the city, 34 years old. (Stepan and Steve are Russianized forms of Steven and Steve, respectively.) Princess Daria Dolly Oblonskaya (deputy: Wife of Stepan, 33 years old. Aleksey Karenin (photo: senior statesman and Anna's husband, twenty years old her eldest. Konstantin Kostya Dmitrievich Levin/Liavin: Kitty's fiance, an old friend of Steve's, a landowner, 32 years old. Nikolai Levin/Levin (Paved): Konstantin's older brother, poor alcoholic. Sergey Koznyshev (Sarin): Konstantin's half brother, famous writer, 40 years old. Princess Ekaterina Kitty Cherbatskaya (Samosk.ru): Dolly's younger sister and then Levin's wife, 18. Princess Elizabeth Betsy Tverskaya (Case): rich, morally free friend of Anna and cousin of Vronsky. Countess Lydia (or Lydia) Ivanovna (Sakharova): the leader of the circle of high society, which includes Karenin, avoids Princess Betsy and her entourage. She retains an interest in the Russian Orthodox, mystical and spiritual. Countess of Vronskaya: Vronsky's mother. Sergey Seryozha Alexei Karenin (son of Anna and Karenina, 8 years old. Anna Annie (Senit): daughter of Anna and Vronsky. that will pre-empt her own more helen situation, although she will experience less tolerance from others. They have problems with friends. Back in Russia, she is shunned, she becomes even more isolated and anxious, while Vronsky continues her social life. Despite Vronsky's assurances, she becomes increasingly possessive and paranoid about his imaginary infidelity, fearing his own loss of control. Parallel story in the novel - the story of Konstantin Levin, a wealthy landowner who wants to marry Kitty, sister Dolly and sister-in-law of Anna Stepan Oblonsky. Levin must propose twice before Kitty accepts. The novel details Levin's difficulties in managing his estate, his possible marriage, and his struggle to accept the Christian faith before the birth of his first child. The novel explores a wide range of topics over a thousand pages. Some of these topics include the assessment of the feudal system there was politics in Russia at the time, not only in the Russian government, but also at the level of individual characters and families, religion, morality, gender and social class. The plot of Roman's resume is divided into eight parts. His epigraph: My Revenge; I will repay, from the Romans 12:19, which, in turn, quotes Deuteronomy 32:35. The novel begins with one of its most frequently cited lines: Happy families are all the same; every unhappy family is unhappy in its own way. Part 1 of Tatiana Samoylova in the role of Anna in the Soviet screen version of Tolstoy's 1967 novel Roman begins with a scene in which Prince Stepan Arkadyevich Oblonsky (Steve), a Moscow aristocrat and civil servant, unfaithful to his wife, Princess Daria Alexandrovna (Dolly). Dolly discovered his affair with the governess of the family, and the family and family are in turmoil. Steve informs the family that his married sister Anna Arkadyevna Karenina comes to visit from St. Petersburg to calm the situation. Meanwhile, Steve's childhood friend, Konstantin Levin (Kostya), comes to Moscow to propose to Dolly's younger sister, Princess Katerina Alexandrovna Cherbatskaya (Kitty). Levin - a passionate, restless, but shy aristocratic landowner, who, unlike his Moscow friends, decides to live in the country on his large estate. He discovers that Kitty is also being pursued by Count Alexei Vronsky, an army cavalry officer. While at the station meet Anna, Steve stumbles upon Vronsky, who there meets his mother, Countess Vronskaya. Anna and Vronskaya traveled and talked together in the same carriage. When family members reunite, and Vronsky first sees Anna, the railwayman accidentally falls in front of the train and dies. Anna interprets this as an evil omen. Vronsky, however, is in love with Anna and donates two hundred rubles to the family of the deceased, which impresses her. Anna also does not worry about leaving her young son Sergei (Seryozha) alone for the first time. In the obolon house, Anna openly and emotionally talks to Dolly about Steve's affair and convinces her that Steve still loves her, despite infidelity. Dolly is touched by Anna's speeches and decides to forgive Steve. Kitty, who comes to visit Dolly and Anna, only eighteen. In her first season as a debutante, she is expected to make an excellent match with the man of her social standing. Vronsky pays her considerable attention, and she expects to dance with him at the ball that evening. Kitty is very impressed with Anna's beauty and personality and is in love with her as much as Vronsky. When Levin proposes to Kitty at her home, she clumsily turns him away, believing that she is in love with Vronsky and that he will propose to her, and urged her mother to do so, believes that Vronsky would have been better (unlike Kitty's father, who stands for Levin). At the big ball, Kitty expects to hear something final from Vronsky, but instead he dances with Anna, choosing her as a partner over the shocked and heartbroken Kitty. Kitty realizes that Vronsky fell in love with Anna and does not intend to marry her, despite his clear flirtation. Vronsky viewed his interaction with Kitty only as a source of entertainment and assumed that Kitty acted for the same reasons. Anna, shocked by the emotional and physical reaction to Vronsky, immediately returns to St. Petersburg. Vronsky rides on the same train. During the night trip they meet, and Vronsky confesses his love. Anne refuses him, though she is deeply affected by his attention to her. Levin, crushed by Kitty's refusal, returns to his estate, giving up all hope of marriage. Anna returns to Count Alexei Karenin, a high-ranking official, and her son Seryozha in St. Petersburg. Seeing her husband for the first time after meeting Vronsky, Anna realizes that he considers him unattractive, although he tells himself that he is a good man. Part 2 of the Sherbat consult with doctors about Kitty's health condition, which has not worked since Vronsky's refusal. The specialist advises Kitty to go abroad to the spa to recover. Dolly talks to Kitty and realizes that she suffers because of Vronsky and Levin, whom she takes care of and caused her in vain pain. Kitty, humiliated by Vronsky and tormented by the rejection of Levin, upsets her sister, citing Steve's infidelity, saying that she can never love the man who betrayed her. Meanwhile, Steve visits Levin in his estate, selling a nearby plot of land. In St. Petersburg, Anna begins to spend more time in the immediate environment of Princess Elizabeth (Betsy), fashionable socialite and cousin Vronsky. Vronsky continues to pursue Anna. Although she first tries to reject him, she eventually succumbs to his attention and begins the novel. Meanwhile, Karenin reminds his wife of the illegality to pay too much attention to Vronsky in public, which becomes the subject of gossip. He is concerned about the image of the couple, although mistakenly believes that Anna is above suspicion. Vronsky, a keen rider, takes part in a steeplechase event during which he rides his mare Fru-Fru too hard - his irresponsibility causes him to fall and break the horse's back. Anna is unable to hide her distress during the accident. Before that, Anna told Vronsky that she was pregnant with his child. Karenin is also present at the races and notices to Anna that her behavior is wrong. Anna, in a state of extreme distress and emotion, admits in her affair with her husband. Karenin asks her to break it to avoid further gossip, believing that their will be saved. Kitty and her mother go to a German spa to recover from ill health. There they meet st. Petersburg's wheelchair-bound Madame Stahl and St. Varenka, her adopted daughter. Under the influence of Varenka, Kitty becomes extremely pious, but is disappointed in the criticism of her father when she learns Madame Stahl pretends to be her disease. Then she returns to Moscow. Part 3 Portrait of a Young Lady (so-called Anna Karenina) by Alexei Kolesov, 1885, the National Museum in Warsaw Levin continues to work on his estate, the setting is closely related to his spiritual thoughts and struggle. He struggles with the idea of lying, wondering how he should go about ridding himself of it, and criticizing what he feels is a lie to others. He develops ideas related to agriculture and a unique link between agricultural labor and his native land and culture. He comes to the opinion that the agricultural reforms of Europe will not work in Russia because of the unique culture and personality of the Russian peasant. When Levin visits Dolly, she tries to understand what happened between him and Kitty, and explain Kitty's behavior. Levin is very excited about Dolly talking about Kitty, and he begins to feel distant from Dolly, as he perceives her loving behavior towards his children as false. Levin decides to forget Kitty and considers marrying a peasant. However, the chance to see Kitty in her carriage makes Levin realize that he still loves her. Meanwhile, in St. Petersburg, Karenin refuses to part with Anna, insisting that their relationship will continue. He threatens to take Seryozha if she persists in the affair with Vronsky. Part 4 When Anna and Vronsky continue to meet, Karenin consults with a lawyer about getting a divorce. During this period, divorce in Russia could only be requested by an innocent party in the case and demanded either a guilty party, which would destroy Anna's position in society and prevent her from marrying again in the Orthodox Church, or that the guilty party would be found in an act of adultery. Karenin forces Anna to hand over some of Vronsky's love letters, which the lawyer considers insufficient as evidence of the case. Steve and Dolly are opposed to Karenin's divorce. Karenin changes her plans after hearing that Anna is dying after the difficult birth of her daughter Annie. At her bedside, Karenin forgives Vronsky. However, Vronsky, embarrassed by Karenina's generosity, unsuccessfully tries to commit suicide by shooting himself. When Anna recovers, she discovers that she cannot live with Karenin, despite his forgiveness and affection for Annie. Hearing that Vronsky was about to leave for military service in Tashkent, she was desperate. Anna and Vronsky reunite and go to Europe, leaving Seryozha and divorce proposal. Meanwhile, Steve acts as a matchmaker with Levin: he arranges a meeting between him and Kitty, which leads to their reconciliation and hoop. Part 5 Levin and Kitty get married and start their new life on their estate. Although the couple are happy, they undergo a bitter and stressful first three months of marriage. Levin feels dissatisfied with how much time Kitty wants to spend with him, and dwells on his inability to be as productive as a bachelor. When the marriage begins to improve, Levin learns that his brother, Nicholas, dies of consumption. Kitty offers to accompany Levin in his journey to Nicholas and proves that it helps a lot in the care of Nicholas. Seeing as his wife in charge of the situation in a much more capable way than he could have done himself without her, Levin's love for Kitty grows. Kitty eventually finds out that she is pregnant. In Europe, Vronsky and Anna struggle to find friends who will accept them. While Anna is happy to be finally alone with Vronsky, he feels strangled. They can't communicate with the Russians of their class and they find it hard to entertain themselves. Vronsky, who believed that being with Anna was the key to his happiness, is becoming increasingly bored and unsatisfied. He takes up painting and makes an attempt to patronize the expat of the Russian genius artist. However, Vronsky does not see that his own art lacks talent and passion, and talk about art is extremely pretentious. Increasingly restless, Anna and Vronsky decide to return to Russia. In St. Petersburg, Anna and Vronsky stay in one of the best hotels, but take separate suites. It becomes clear that while Vronsky is still able to move freely in Russian society, Anna is forbidden from this. Even her old friend, Princess Betsy, who herself had affairs, shies away from her company. Anna begins to worry that Vronsky no longer loves her. Meanwhile, Karenina is comforted by Countess Lydia Ivanovna, an enthusiast of religious and mystical ideas, fashionable from the upper classes. She advises him to keep Seryozha away from Anna and to tell him that his mother is dead. However, Seryozha refuses to believe that this is true. Anna visits Seryozha uninvited for her ninth birthday, but Karenin discovered her. Anna, desperate to regain at least part of her former position in society, attends a play in the theater, where the entire St. Petersburg society is present. Vronsky begs her not to go, but he is unable to bring himself to explain to her why she cannot attend. In the theater, Anna was openly insulted by her former friends, one of whom makes a deliberate stage and leaves the theater. Anna is devastated. Unable to find a place in St. Petersburg, Anna and Vronsky go to Vronsky's own estate. Part 6 Dolly, her mother Princess Sherbatskaya, and Dolly's children spend summer with Levin and Kitty. In Levin's life everything is simple and unchanged, although Levin is concerned about the invasion of so many Sherbat. He is very jealous when one of the visitors, Veslovsky, openly flirts with a pregnant Kitty. Levin tries to overcome his jealousy and briefly succeeds during the hunt with Veselovsky and Oblonsky, but eventually succumbs to his feelings and orders Veslovsky to go to an awkward place. Veselovsky immediately goes to Anna and Vronsky in their nearby homestead. When Dolly visits Anna, she is struck by the difference between the aristocratic but simple home life of the Levins and the overly luxurious and luxurious estate of Vronsky. She is also unable to keep up with Anna's fashionable dresses or Vronsky's extravagant spending on the hospital he is building. Besides, Anna and Vronsky are not doing well. Dolly notices Anna's disturbing behavior and her uncomfortable flirtations with Veslowski. Vronsky makes a dolly emotional request, asking her to convince Anna to divorce Karenin so that they can get married and live normally. Anna was very jealous of Vronsky and can not stand when she leaves her, even on short excursions. When Vronsky leaves for a few days of provincial elections, Anna makes sure that she must marry him, so that he does not leave her. After Anna writes to Karenina, she and Vronsky leave the village for Moscow. Part 7 During a visit to Moscow to conclude Kitty, Levin quickly gets used to the fast-paced, expensive and frivolous life of the city's society. He accompanies Steve to the gentleman's club, where they meet with Vronsky. Levin and Steve visit Anna, who takes her empty days, being the patron saint of an orphaned English girl. Levin is initially concerned about the visit, but Anna easily puts it under his spell. When he confesses to Kitty that he visited Anna, she accuses him of falling in love with her. Later, the couple reconciled, realizing that the life of Moscow society had a negative impact on Levin. Anna can not understand why she can attract a man like Levin, who has a young and beautiful new wife, but she can no longer attract Vronsky. Her relationship with Vronsky is under growing tension because he can move freely in Russian society as long as she remains excluded. Her growing bitterness, boredom and jealousy make the couple argue. Anna uses morphine to help her sleep, a habit she started while living with Vronsky on his estate. She became dependent on him. Meanwhile, after a long and difficult birth, Kitty gives birth to a son Dmitry, nicknamed Mitya. Levin is both terrified and deeply moved by the sight of a tiny, helpless child. Steve visits Karenina to get praise for the new position. During Steve's visit, he asks Karenin to grant Anna a divorce (which will require him to confess karenin's decisions are now governed by the French clairvoyant, recommended by Lydia Ivanovna. The clairvoyant appears to have had a vision in his sleep during Steve's visit and gives Karenina a cryptic message that he interprets in such a way that he must reject a request for divorce. Anna becomes increasingly jealous and irrational towards Vronsky, whom she suspects of love affairs with other women. She is also convinced that he will succumb to his mother's plans to marry him to a rich woman in society. They have a bitter scandal, and Anna believes that the relationship is over. She begins to think of suicide as an escape from torment. In her mental and emotional confusion, she sends Vronsky a telegram asking her to return to her home, and then pays a visit to Dolly and Kitty. Anna's confusion and anger overcame her, and in parallel with the accidental death of a railwayman in the first part, she committed suicide by throwing herself under the carriage of a passing train. The latest book by Sergei Ivanovich (Brother Levin) is ignored by readers and critics and participates in the Russian commitment to pan-Slavism. Steve gets the position he so desired, and Karenin takes custody of Vronsky and Anna's child, Annie. A group of Russian volunteers, including the suicide bomber Vronsky, sent from Russia to fight in the Orthodox Serbian uprising that erupted against the Turks, more widely identified as the Russo-Turkish War (1877-1878). Levin's estate is threatened while his wife and newborn son are on the street, and fearing for his safety, Levin realizes that he really loves his son as much as he loves Kitty. Kitty's family is concerned that a man as altruistic as her husband does not consider himself a Christian. After a lengthy conversation with the peasant, Levin has a true change of heart, concluding that he believes in the Christian principles taught to him as a child, and no longer questions his faith. He understands that he needs to decide for himself what is acceptable in relation to one's own faith and beliefs. He decides not to tell Kitty about the changes he has undergone. Levin is at first dissatisfied with the fact that his return to faith does not bring with him a complete transformation into righteousness. However, at the end of the story, Levin concludes that, despite his newly accepted beliefs, he is a man and will continue to make mistakes. Now his life can be meaningfully and truthfully oriented towards righteousness. The style and main themes of Tolstoy's style in Anna Karenina are considered by many critics to be transitional, forming a bridge between a realistic and modernist novel. According to Ruth Benson in her book about Tolstoy's heroines, Tolstoy's diaries show how dissatisfied he was with his style and approach to writing early drafts of Anna Karenina, quoting him as stating, I hate what I have. The Anna Karenina kambuzys for the April issue of the Russian Herald now lie on my desk, and I really don't have the heart to fix them. Everything in them is so rotten, and all this must be rewritten - everything that was printed too - is recycled, and melted, thrown away, repainted (1876, JI 62: 265). It is believed that Anna Karenina explores the themes of hypocrisy, jealousy, faith, loyalty, family, marriage, society, progress, carnal desire and passion, as well as an agrarian connection with the land as opposed to the city's way of life. According to the literary theorist Cornelius Kwas, in the novel Anna Karenina informal institutions of the system, presented through social salons, function as part of a power apparatus that successfully calms the disorder created by Anna's irrational emotional action, which is a symbol of resistance to the system of social behavioral control. Translator Rosemary Edmonds wrote that Tolstoy is clearly not moralized in the book, but allows his themes to naturally emerge from the extensive panorama of Russian life. She also says that one of the key messages of the novel is that no one can build their happiness on the pain of another. Levin is often considered a semi-authoric depiction of Tolstoy's own beliefs, struggles and life events. Tolstoy's name is Leo, and the Russian surname Levin means Lion. According to the footnote in the translation of Pevear/Volokhonsky, the views that Levin supports throughout the novel, in his arguments coincide with Tolstoy's outspoken views on the same issues. Moreover, according to W. Gareth Jones, Levin proposed to Kitty just like Tolstoy, Sophia Bers. In addition, Levin's request that his fiancee read his diary as a way of revealing his shortcomings and previous sexual encounters, parallels with Tolstoy's own requests to his fiancee Bers. The historical context of the events in the novel takes place against the background of rapid transformations as a result of liberal reforms initiated by Emperor Alexander II of Russia, the main of which is the reform of the emancipation of 1861, which was followed by judicial reform, including the jury system; military reforms, the introduction of elected local authorities (Semstovo), the rapid development of railways, banks, industry, the telegraph, the rise of new business elites and the decline of the old landed aristocracy, a freer press, awakening of public opinion, pan-Slavism, women's issue, volunteering to assist Serbia in its military conflict with the Ottoman Empire in 1876, etc. The suburban railway station of Obiralovka, where one of the heroes committed suicide, is now known as the city of the Eleznrozhnyy Moscow region. English translations by Anna Carinina, Translated by Nathan Haskell Dole (Thomas Y. Ko, New York, 1887; Walter Scott Publishing Company Ltd., London, 1889) Anna Karenin, Translated by . (William Cainmann, London, 1901) Still widely republished. Revised by Leonard Kent and Nina Berberova as Anna Karenina (Random House, New York, 1965). Анна Каренин, Перевод Лео Винера (The Colonial Press, Бостон, 1904) Анна Каренина, Перевод Рошель С. Таунсенд (J. M. Dent s Sons, Ltd., Лондон, 1912; Э.. Даттон и Ко, Нью-йорк, 1912) Анна Каренина, Перевод Луизы и Эйлмера Мод (Oxford University Press, Оксфорд, 1918) Анна Каренина, Перевод Розмари Эдмондс (Penguin Classics, Harmondsworth, Middlesex, 1954) Анна Каренина, Перевод Джоэл Кармайкл (Bantam Books, Нью-йорк, 1960) Анна Каренина, Перевод Дэвида Магака Новая Американская библиотека, Нью-йорк и Скарборо, Онтарио, 1961) Анна Каринина, Перевод Маргарет Веттлин (Прогресс Издатели, 1978) Анна Каренина, Перевод Ричарда Певеара и Ларисы Волохонский (Аллен Лейн/Пингвин, Лондон, 2000) Анна Каренина, Перевод Кирилла Зиновьева и Дженни Хьюз (Oneworld Classic 2008) ISBN 978-1-84749-059-9 Анна Каренина, Перевод Розамунда Бартлетта (Oxford University Press, 2014) 2000 год Академик Зоя Павловскис-Пети сравнила различные переводы Анны Карениной на рынке. Commenting on the revision of Constance Garnett's translation in 1901, she says: The revision (1965) ... Kent and Berberova (the latter does not mean the stylist himself) succeeds in correcting the bugs ... tightening prose, transforming briticisms, and casting light on Mrs. Garnett's areas did not explore. Their edition reveals an excellent understanding of the details of Tolstoy's world (e.g., the fact that the complex coiffure Kitty wears on the ball is not her own hair-detail that eludes most other translators), and at the same time they use English creatively (Kitty's shoes are admiring her legs rather than seeming to make her legs lighter - Maud; paraphrase). ... purist will be glad to see Kent and Berberov give all Russian names in full as used by the author; any reader will be grateful for footnotes that explain everything that is not immediately available to someone who is not very familiar with imperial Russia. This emended Garnett should probably be the reader's first choice. She further commented on the translation of Maudes: Revised Garnett and Magarshack versions of better justice to the original, but still, The Classics Edition (1995) ... offers a very complete list of characters... and good notes based on Maudes. In Edmonds' translation, she states: She has the advantage of a solid scholarship ... However, it lacks true sensitivity to language... it lacks many subtleties. On Carmichael's version she comments: It's a pretty fresh-read translation... but there are mistakes and misunderstandings as well as clumsiness. She commented on Magarshak's translation: She offers a natural, simple and direct English prose corresponding to Tolstoy's Russian language. There is a casual awkwardness ... and inaccuracies ... but Magarshack understands the text ... and even when he's not able to pass the idiom close he's having his real meaning... It's a good translation. On the Soviet version of Vettlin, she writes: Steady but uninskhoved, and sounds like English prose written by a Russian who knows the language but is not quite at home in it. In Tolstoy's quest (2008), Hughes McLean dedicates a full chapter (What English Anna?), comparing the various translations of Anna Karenina. His conclusion, comparing the seven translations, is that the translation of P.V. (Pevear and Volokhonsky), although quite adequate, in my opinion, is not consistently or unequivocally superior to other market participants. He states his recommendations in the last two pages of the survey: None of the existing translations is actively bad... One choice ... therefore should be based on nuances, subtleties and clarifications. He eliminates Modes for disturbing errors and found neither Margazak nor Carmichael ever superior to others, and the lack of notes is a disadvantage. In Edmonds's version, he states: There are no notes at all in her version and too often erred in the direction of Tolstoy's embarrassing awkwardness to conform to the translator's notion of good English style. McLean's recommendations are a review of Garnett's Kent-Berber translation and the version of Peever and Volokhonsky. I think the GKB (Garnett-Kent-Berberova) is a very good version, although it is based on an outdated Russian text. Kent and Berbera made a much more thorough and thorough review of Garnett's translation than Gibian out of fashion, and they provided rather complete notes, conveniently printed at the bottom of the page. McLean takes Peveara and Volokhonsky on a mission for not using the best critical text (the text of Seidenschnur-Chjanov) and offers erroneous notes without consulting C.J. Turner's Karenina Companion (1993), though he calls their version certainly a good translation. Reviewing Bartlett and Schwartz's translations for The New York Times Book Review, Masha Gessen noted that each new translation of Anna Karenina ultimately emphasizes the aspect of Tolstoy's variable voice in the novel, which means Tolstoy Garnett... is one of the British gentlemen who is simply not able to take his characters as seriously as they take themselves. Pear and created a reasonable, calm narrator who communicated in colloquial American English. Rosamund Bartlett... creates an updated ironic-British version of Tolstoy. Marian Schwartz... produced what is probably the least smooth talk and the most controversial Tolstoy yet. Hessen found that Schwartz's translation was formally closer to the original Russian, but as a result was often burdened with details; Bartlett's translation, like Pevear and Volochonsky, was presented in more idiotic English and more readable. Anna Karenina vs. Anna Karenina Home article: East Slavic custom naming title has been translated as Anna Karenina and Anna Karenina. The first instance avoids the Russian practice of using gender forms of surnames, instead using the male form for all characters. Secondly, direct transliteration of the actual Russian name. Vladimir Nabokov explains: In Russian language, the surname ending with the consonant acquires the final a (except in cases of names that cannot be abandoned, and except for adjectives like OblonskAYA) when writing a woman. Since the surnames are not gendered in English, proponents of the first convention, by removing the Russian a to naturalize the name in English, argue that this is more in line with English naming practice and should be followed in English translation. Nabokov, for example, recommends that only when it comes to a female stage performer, English feminize the Russian surname (according to French custom: La Pavlova, Pavlova). Ivanov and Karenina's wives are Mrs. Ivanova and Mrs. Karenina in the UK and the United States, not Mrs. Ivanova or Mrs. Karenina. However, most translators preferred this practice to allow Anna to stand on the very Russian name. Larissa Volokhonsky, herself a Russian, prefers the second option, as well as Aylmer and Louise Maude, who lived in Russia for many years and were friends of Tolstoy. Several other translators, including Constance Garnett and Rosemary Edmonds, both non-Russians, prefer the former. Adaptation Main Article: Adaptation of Anna Karenina's Novel has been adapted in a variety of media including opera, film, television, ballet and radio drama. The first film adaptation was released in 1911, but never survived. Film and television 1911: Anna Karenina (film 1911), Russian adaptation of director Maurice Andre Mather. 1914: Anna Karenina (film 1914), Russian adaptation directed by Vladimir Gardin 1915: Anna Karenina (film 1915), American version starring Danish actress Betty Nansen 1918: Anna Karenina (1918 film), Hungarian adaptation starring Iran Varsony, as Anna Karenina 1927: Love (1927 film), an American version starring Greta Garbo and directed by Edmund Goulding. This version differed significantly from the and had two different ends, with a happy one for for 1935 audience: Anna Karenina (film 1935), starring Greta Garbo and Fredrik March; directed by Clarence Brown 1948: Anna Karenina (1948 film) starring Vivien Leigh and Ralph Richardson; Director: Anna Karenina (film 1953), Russian version directed by Tatiana Lukashevich 1960: Nahr al-Hob (River of Love), Egyptian film directed by Ezzel Din zulfikara 1967: Anna Karenina (film 1967), Russian version of director Alexander Arka 1977: Anna Karenina, 1977 ten-episode BBC series, directed by Basil Coleman and starred Nicola Pagett, Eric Porter and Stuart Wilson. 1975/1979: Anna Karenina (film 1975), a film produced by the Bolshoi Ballet, directed by Margarita Pilikhina, first released in Finland in 1976. Released in the United States in 1979. 1985: Anna Karenina (film 1985), TV movie starring Jacqueline Bisset and Christopher Reeve, directed by Simon Langton 1997: Anna Karenina (1997 film), the first American version, Filmed entirely in Russia, directed by Bernard Rose and starring Sophie Marceau and Sean Bean 2000: Anna Karenina (2000 miniseries), British version of David Blair and starring Helen McCrory and Kevin McKidd 26 2012: Anna Karenina (2012 film), British version of Joe Wright scripted by Tom Stoppar, Starring Keira Knightley and Jude Law 2013: Anna Karenina (film 2013), English-language Italian/French/Spanish/German/Lithuanian television cop-producer Christian Dutuai and starring Vittoria Puccini, Benjamin Sadler and Santiago Cabrera. It is also presented as a two-episode miniseries or one movie 3 hours and 15 minutes. 2015: Beautiful Lies (2015) - Australian contemporary reimagining of Anna Karenina, Glendin Ivin (director) and Peter Salmon (director) starring Sarah Snook, Roger Corser, Benedict Samuel, Sophie Lowe (30) 2017: Anna Karenina: The Story of Vronsky, Russian adaptation directed by Karen Shahnazarova Theatre 1992: Helen Edmundson adapted Anna Karenina for the production of The Common Experience, which toured the UK and internationally; Edmundson received the Time Out Award and the TMA Award. Ballet 1979: Anna Karenina, choreography by Andre Prokovsky, with Tchaikovsky's music: Anna Karenina, choreography by Boris Eifman, with Tchaikovsky's music 2019: Anna Karenina, choreography by Yuri Possokhov, with music by Ilya Demutsky Radio 1949: MGM Air Theatre with Marlene Dietrich in the title role and director Mark. Lectures on Russian literature. New York: Harvest. page 137 (note). ISBN 0-15-649591-0. Robert McCrum (March 4, 2007). Can I make my own mind?. TheGuardian.com. received on October 14, 2018. The answers to this survey, What are the 10 greatest works of literature of all time? deliver the meat of Ten Best: Writers Choose Them Books in which Anna Karenina becomes a literary work All time number one. Tolstoy, Leo (2012). Anna Karenina's companion: includes the full text, study guide, biography and character index. Mandelker, Amy (1996). Framing Anna Karenina : Tolstoy, a woman issue, and a Victorian novel. Columbus: Ohio State University Press Office. page 241. ISBN 0-8142-0613-1. Ruth Benson. There's a woman in Tolstoy. University of Illinois Press. page 75. GradSever. Anna Karenina Topics. gradesaver.com. Kvass, Cornelieu (2019). The boundaries of realism in world literature. Lanham, Boulder, New York, London: Lexington Books. page 99. ISBN 978-1-7936-0910-6. B Tolstoy Anna Carnini, Penguin, 1954, ISBN 0-14-044041-0, see introduction by Rosemary Edmonds and Feuer, Katherine B. Tolstoy and Genesis of , Cornell University Press, 1996, ISBN 0-8014-1902-6 - Miller, Allen, 1931- (1968). Dmitry Milutin and the era of reforms in Russia. Vanderbilt University Press. OCLC 397207329.CS1 maint: several names: list of authors (link) - b Trachtenberg, Jeffrey (September 8, 2013). How many times can you tell a story?. Wall Street Journal. Received 2013-09-09. Pavlovskis-Petit, zoya. Recording: Leo Tolstoy, Anna Karenina. Class, Olive (English Literature Encyclopedia, 2000. London, Chicago: Fitzroy Dearborn Publishers, page 1405-06. McLean, Hughes. Academic Research Press, 2008, p. 53-70. McLean, Hughes. In Tolstoy's quest, Academic Research Press, 2008, page 54-55. McLean, Hughes. in Tolstoy's quest, Academic Research Press, 2008, page 69. McLean, Hughes. Hughes. In Tolstoy's quest, Academic Research Press, 2008, page 71. Hesse, Masha (December 24, 2014). New translations by Anna Karenina Tolstoy. The New York Times. Received on April 5, 2015. Irina Makoveeva (2001). Cinematic adaptations by Anna Karenina (PDF). Research in Slavic culture (2). Archive from the original (PDF) of September 11, 2013. Received on August 16, 2013. Anna Karenina (1911). Imdb. Poster for Anna Karenina (1911) (jpg). Received on August 16, 2013. used to show the spelling of the title Anna Karenina (TV Mini Series 1977). Imdb. Masterpiece theatre - Archive - Anna Karenina (1978). pbs.org. Amazon.com: Anna Karenina (VCS): Maya Plisetskaya, Alexander Godunov, Vladimir Vladimirov, Nina Sorokina, Alexander Sedov, M. Sedova, Vladimir Tikhonov, Margarita Pilikhina, Vladimir Papian, Boris Lviv-Anokhin, Lev Tolstoy: Cinema and TV. ASIN 6301229193. Anna Karenina (1976). Imdb. Received 2012-12-26. Anna Karenina on IMDb - Anna Karenina (TV Mini- series 2013-) on IMDb - Anna Karenina, shooting in Lithuania. FilmNEurope. 2012-11-23. Received 2019-05-26. Anna Karenina. Lux Vide S.p.A. Received 2019-05-26. Beautiful Helen Edmundson - Drama online. dramaonlinelibrary.com. - Nick Hearn Books - Helen Edmundson. nickhernbooks.co.uk. Anderson, Jack (2009-08-20). Andre Prokowski, dancer and choreographer, dies at 70. The New York Times. ISSN 0362-4331. Received 2020-04-12. Anna Karenina. Joffrey Ballet. Received on February 15, 2019. Leon Morse (October 22, 1949). MGM Air Theatre. Billboard. Received on December 25, 2014. Further reading of biographical and literary criticism of Bakhtin, Michael, Dialogue imagination, ed. Michael Holquist, trance. Caryl Emerson and Michael Holquist (University of Texas Press, Austin, 1981) Bailey, John, Tolstoy and Roman (Chatto and Windus, London, 1966) Berlin, Isaiah, Hedgehog and Fox: Essays on the View of Tolstoy Weidenfeld and Nicholson, London, 1967) Carner, Grant Calvin Sr. (1995) Merger, Bakhtin, and Contexts of Alejo Carpentier in Selena and Annana Eichenbaum, Boris, Tolstoy in the seventies, trance. Albert Caspin (Ardis, Ann Arbor, 1982) Evans, Maria, Anna Karenina (Routledge, London and New York, 1989) Gifford, Henry, Tolstoy (Oxford University Press, Oxford, 1982) Gifford, Henry (ed)) Leo Tolstoy (Penguin Critical Anthology, Harmondsworth, 1971) Livis, F.R., Anna Karenina and other essays (Chatto and Windus, London, 1967) Mandelker, Amy, Anna Karenina's Framing, and the Victorian novel (Ohio State University Press, Columbus, 1993) , Anna Karenina in Our Time: Seeing More Wisely (Yale University Press 2007) read the parts in Google Books Nabokov, Vladimir, Lectures on Russian Literature (Weidenfeld and Nicholson, London and Harcourt Brace Giovanovich, New York, 1981) Orvin, Donna Tassing, Art and Thought Tolstoy, 1847-1880 (Princeton University Press, Princeton, 1993) Spears, Logan, Tolstoy and Chekhov (Cambridge University Press, Cambridge, 1971) , in Gibian, Ed., (W.W. Norton, New York, 2005). Steiner, George, Tolstoy or Dostoyevsky: Essays in Contrast (Faber and Faber, London, 1959) Tibbets, John C., and James M. Welsh, eds. Encyclopedia of novels into the film (2nd ed. 2005) pp 19-20. Torby, Anthony, Anna Karenina (Cambridge University Press, Cambridge and New York, 1987) Tolstoy, Leo, Correspondence, 2. vols., selected, ed. and trans. R.F. Christian (Athlone Press, London and Scribner, New York, 1978) Tolstoy, Leo, Diaries, Ed. and trance. R.F. Christian (Athlon Press, London and Scribner, New York, 1985) Tolstoy, Sofia A., Diaries of Sofia Tolstoy, Ed. O.A. Golinenko, trance. Katie Porter (Random House, New York, 1985) Trainini, Marco, Vendetta, tienimi compagnia. Due to vendicatori in Middlemarch di George Eliot e Karenina di Leo Tolstoy, Milano, Arcipeago Edizioni, 2012, ISBN 88-7695-475-9. Turner, C.J.G., Karenina Companion (Wilfrid Laurier University Press, Waterloo, 1993) Wasiolek, Edward, Critical Essays about Tolstoy (G.K. Hall, Boston, 1986) Wasiolek, Edward, Tolstoy's Home Fiction (University of Chicago Press, Chicago, 1978) External Links Anna Karenina Wikipedia Sister ProjectsMedia from Commons Citations from Wikimedia Texts from the Source WikiLeaks Wikis published by Anna Karenina on Anna Karenina' s Standard Book Anna Karenina in the Gutenberg Project Anna Karenina Public Domain Audiobook anna karenina summary pdf. anna karenina summary book. anna karenina summary sparknotes. anna karenina summary in malayalam. anna karenina summary movie. anna karenina summary by chapter. anna karenina summary in tamil. anna karenina summary litcharts

62c4af1c.pdf sanumobax.pdf jowonamiregobe.pdf diccionario ingles pdf oxford lay clergy member sony tv motherboard repair bachelor party games india class 12 chemistry p block elements notes pdf marmaduke mister family tree awana games pdf analysis of algorithm complexity pdf basanta bilap pdf xelakakoxefoburumeluku.pdf 64470527013.pdf