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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. -
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. -
O MAGIC LAKE Чайкаthe ENVIRONMENT of the SEAGULL the DACHA Дать Dat to Give
“Twilight Moon” by Isaak Levitan, 1898 O MAGIC LAKE чайкаTHE ENVIRONMENT OF THE SEAGULL THE DACHA дать dat to give DEFINITION датьA seasonal or year-round home in “Russian Dacha or Summer House” by Karl Ivanovich Russia. Ranging from shacks to cottages Kollman,1834 to villas, dachas have reflected changes in property ownership throughout Russian history. In 1894, the year Chekhov wrote The Seagull, dachas were more commonly owned by the “new rich” than ever before. The characters in The Seagull more likely represent the class of the intelligencia: artists, authors, and actors. FUN FACTS Dachas have strong connections with nature, bringing farming and gardening to city folk. A higher class Russian vacation home or estate was called a Usad’ba. Dachas were often associated with adultery and debauchery. 1 HISTORYистория & ARCHITECTURE история istoria history дать HISTORY The term “dacha” originally referred to “The Abolition of Serfdom in Russia” by the land given to civil servants and war Alphonse Mucha heroes by the tsar. In 1861, Tsar Alexander II abolished serfdom in Russia, and the middle class was able to purchase dwellings built on dachas. These people were called dachniki. Chekhov ridiculed dashniki. ARCHITECTURE Neoclassicism represented intelligence An example of 19th century and culture, so aristocrats of this time neoclassical architecture attempted to reflect this in their architecture. Features of neoclassical architecture include geometric forms, simplicity in structure, grand scales, dramatic use of Greek columns, Roman details, and French windows. Sorin’s estate includes French windows, and likely other elements of neoclassical style. Chekhov’s White Dacha in Melikhovo, 1893 МéлиховоMELIKHOVO Мéлихово Meleekhovo Chekhov’s estate WHITE Chekhov’s house was called “The White DACHA Dacha” and was on the Melikhovo estate. -
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. -
(On) Anton Chekhov Ben Dhooge Nabokov and 'Other Re
On an Unhappy Marriage, Henry James, and Atoms: Vladimir Nabokov Reading (on) Anton Chekhov Ben Dhooge Nabokov’s lecture on Anton Chekhov stands out for its numerous citations from Korney Chukovsky’s 1947 article ‘Friend Chekhov.’ At the same time, however, the lecture contains many more references to other critics, as well – some of them explicit, though not necessarily clear, others more concealed. In an attempt to trace the sources Nabokov used when drafting his Chekhov lecture, the article offers a concrete view of Nabokov’s critical laboratory. Additionally, the article sheds light on his relation to other critics and critical movements, more specifically with respect to the competing ‘tendencies’ at work in the canonization of Chekhov’s oeuvre during the interwar period: Russian émigré, Soviet, and Anglo-American. Nabokov and ‘other readers’ In his Lectures on Russian Literature, Vladimir Nabokov emerges not only as a reader of literature as such – and, by extension, as a teacher of literature – but also as a reader of critical writings on literature. Nabokov frequently refers to other ‘readers’ in the broadest sense of the word, i.e. to critics (writers, literary critics, and scholars) as well as to the common reader who, unlike the former, does not take pen in hand. Sometimes Nabokov names, cites, or refers to specific ‘readers’ who commented on the writer whose work is central to the lecture in question. More often, however, Nabokov refers to reactions and opinions of ‘readers’ without specifying whom they exactly belong to. He lumps individual ‘readers’ together, giving them collective names such as ‘Russian readers and critics,’ ‘socially-minded Russian critics,’ or ‘Freudian-minded explorers.’ More importantly, the different opinions of other ‘readers’ which Nabokov includes in his lectures are meaningful elements in the structure of his argumentation. -
University of Pittsburgh Department of Slavic Languages and Literatures
University of Pittsburgh Department of Slavic Languages and Literatures Russian 0590: Formative Masterpieces of 19th Century Russian Literature Vladimir Padunov Fall Semester 2010 427 CL Tuesdays and Thursdays 2:30—3:45 624-5713 CL 139 e-mail: [email protected] Office Hours: Mondays and Wednesdays 10:00—11:00; Tuesdays and Thursdays 11:00—12:00; and by appointment I. REQUIRED TEXTS: Chekhov, Anton. Anton Chekhov’s Short Stories. Ed. Ralph E. Matlaw. NY: Norton, 1979. Dostoevsky, Fyodor. Crime and Punishment. Ed. George Gibian. Tr. Jessie Coulson. 3rd ed. NY: Norton, 1989. Gogol, Nikolai. The Overcoat and Other Tales of Good and Evil. Tr. David Magarshack. NY: Norton, 1965. Lermontov, Mikhail. A Hero of Our Time. Tr. Vladimir Nabokov. Woodstock, NY: Ardis, 1986. Proffer, Carl, ed. From Karamzin to Bunin: An Anthology of Russian Short Stories. Bloomington: Indiana UP, 1969. Pushkin, Alexandr. The Complete Prose Tales of Alexandr Sergeyevitch Pushkin. Tr. Gillon R. Aitken. NY: Norton, 1996. Turgenev, Ivan. Fathers and Children. Tr. and ed. Michael Katz. 2nd ed. NY: Norton, 2008. II. RECOMMENDED SECONDARY SOURCES: Andrew, Joe. Writers and Society during the Rise of Russian Realism. Atlantic Heights, NJ: Humanities P, 1980. —. Russian Writers and Society in the Second Half of the Nineteenth Century. Atlantic Heights, NJ: Humanities P, 1982. Bloom, Harold, ed. Fyodor Dostoevsky’s Crime and Punishment. NY: Chelsea House, 1988. Fanger, Donald. Dostoevsky and Romantic Realism: A Study of Dostoevsky in Relation to Balzac, Dickens, and Gogol. Chicago: U of Chicago P, 1965. Frank, Joseph. Dostoevsky: The Miraculous Years, 1865-1871. Princeton: Princeton UP, 1995. -
Women and Work in the Middle Ages
Women and Work in the Middle Ages Pat Knapp / Monika von Zell Modern historians are beginning to discover that medieval women made a significant contribution to the economy of the medieval world. In past histories, women were either ignored by men or taken for granted. Neither religious nor romantic literature gives us an accurate accounting of the activities of the real medieval woman. Today, letters, wills, business and legal documents, convent, manor and census records and manuscript illuminations are used to complete our concept of the world of medieval women. It is hoped that this study will assist the female members of the Society for Creative Anachronism, Inc. with their persona research and their attempts to become real medieval women. For women in the Middle Ages played an active role in medieval society, although their economic efforts were affected by their social class, marital status and by the place and time in which they lived. Within the three estates are five groups of women which shall be examined: First—Women from the class that was landed and free; the husband possessed some land and was relatively free of the control of the manorial lord. here we find the yeoman's wife, the knight's wife, the lady of the manor. Second—Religious women. Women from the upper classes, and women of the noble and knightly families, as well as those from well-to-do merchant families, were the principal sources of vocations. Third—Women whose families provided the free burgesses; the citizens of the towns. Chaucer's Wife of Bath was a free townswoman. -
Radislav Lapushin Personal Education Professional Experience Bibliography
(Updated: January 2017) Radislav Lapushin Personal Department of Germanic and Slavic Languages and Literatures Campus Box # 3160, Dey Hall 422 University of North Carolina at Chapel Hill Chapel Hill, North Carolina 27599-3160 [email protected] Education Ph.D. University of Chicago, Slavic Languages and Literatures (2000-2006). Dissertation (defended with distinction): ‘Dew on the Grass’: The Poetics of Inbetweenness in Chekhov; Director: Anna-Lisa Crone Minor Field: Russian Intellectual History “Kandidat filologicheskikh nauk” (Candidate in Philology). Moscow State University (MGU), Russian Literature (1993). Professional Experience Associate Professor of Russian, University of North Carolina at Chapel Hill (Fall 2012-Present) Assistant Professor of Russian, University of North Carolina at Chapel Hill (Fall 2006-Fall 2012) Bibliography Books Chekhov’s Letters, co-edited with Carol Apollonio (in progress) ‘Dew on the Grass’: The Poetics of Inbetweenness in Chekhov (New York: Peter Lang, 2010 [Middlebury Studies in Russian Language and Literature]), 210 pp. -Reviewed in Russian Review, Slavic Review, Slavic and East European Journal, Slavonic and East European Review, Canadian Slavonic Papers, Chekhovskii Vestnik, Osteuropa Ne postigaemoe bytie: Opyt prochteniia Chekhova [An Incomprehensible Existence: A Reading of Chekhov] (Minsk: Propilei, European Humanitarian University, 1998), 116 pp. Book Chapters “‘Oblaka, oblegavshie nebo…’ (Ideia poeticheskogo v rasskazakh Chekhova)” [“‘The Clouds That Shrouded the Sky…’ (The Concept of the Poetic in Chekhov’s Short Stories)”]. In Tvorchestvo A.P. Chekhova v Svete Sistemnogo Podkhoda. Kollektivnaia Monographiia. Eds. V.K. Zubareva and M. Ch. Larionova. Idyllwild, CA: Charles Schlacks Publisher, 2015, 182-199. “The Poetry of Chekhov's Prose.” Anton Chekhov’s Selected Stories (Norton Critical Edition). -
World Literatures: Exploring the Cosmopolitan-Vernacular Exchange
20. A World Apart and the World at Large: Expressing Siberian Exile Mattias Viktorin Social Anthropology, Stockholm University The publication in 1861–62 of Fyodor Dostoevsky’s semi- biographical Notes From a Dead House inaugurated a new literary genre in Russia: narratives of exile and prison life, where Siberia was imagined as “a world apart” – separate from, yet somehow also mirroring, the domestic realities of Imperial Russia. Among the numerous texts that belong to this genre are Anton Chekhov’s The Island of Sakhalin (1895), Pëtr Iakubovich’s In the World of the Outcasts (1895–98), Leo Tolstoy’s Resurrection (1899) and Vladimir Korolenko’s “Siberian stories” (1880–1904).1 In my ongoing project, I seek to unmoor narratives of Siberian exile and prison life from this national literary tradition. Rather than relating the texts in focus to Russian literature or society, 1 Fyodor Dostoevsky, Notes from a Dead House, trans. Richard Pevear and Larissa Volokhonsky (New York: Alfred A. Knopf, 2015 [1861–2]); Anton Chekhov, The Island of Sakhalin, trans. Luba and Michael Terpak (London: The Folio Society, 1989 [1895]); Pëtr Filippovich Iakubovich, In the World of the Outcasts: Notes of a Former Penal Laborer, 2 Volumes, trans. Andrew A. Gentes (London: Anthem Press, 2014 [1895–8]); Leo Tolstoy, Resurrection, trans. Louise Maude (Oxford: Oxford University Press, 1994 [1899]); Vladimir Korolenko, Makar’s Dream and Other Stories, trans. Marian Fell (New York: Duffield and Company, 1916). On Korolenko’s Siberian stories, see Radha Balasubramanian, “Harmonious Compositions: Korolenko’s Siberian Stories”, Rocky Mountain Review of Language and Literature, 44 (1990): 201–10. -
A Boring Story’ to Stimulate Reflective Practice
Teaching in 21st century higher education: Reading Chekhov’s ‘A Boring Story’ to stimulate reflective practice. John Canning Centre for Learning and Teaching, University of Brighton, Brighton, UK. John Canning, Centre for Learning and Teaching, University of Brighton, Falmer, Brighton, BN1 9PH, UK. [email protected] John Canning is Senior Lecturer in Teaching and Learning in Higher Education in the Centre for Learning and Teaching at the University of Brighton. He is particularly interested in the notion of the student voice and teaches on the University’s Postgraduate Certificate course for early career academics. Accepted for publication in Reflective Practice : International and Multidisciplinary Perspectives 1462-3943 (Print), 1470-1103 (Online) 1 Teaching in 21st century higher education: Reading Chekhov’s ‘A Boring Story’ to stimulate reflective practice. Chekhov’s novella A Boring Story: From an old man’s journal 1, provides a rich stimulus for reflecting upon the practice of teaching in higher education. The narrator’s beliefs about academia, science and medicine alongside his tacit theories of learning and encounters with students and colleagues are reflected upon and speculated upon in light of contemporary teaching practice and pedagogic literature. Keywords: Chekhov, reflection, lecturing, student engagement, autobiography Introduction Fictional narratives and scenarios are widely used in higher to stimulate reflective practice on ‘real world–like’ settings (e.g. Kemp 2001). Autobiographic approaches are widely employed (e.g. Vazir 2006; Song and Taylor 2005; Roy and Eales 2010; see also Brookfield 1995); the experience of the ill academic medical teacher has also been written about (Krmpotić 2003). Tan (2006) uses the fictional medium of the film to promote reflection. -
The Cattle-Dealers Anton Chekhov
The Cattle-dealers Anton Chekhov THE long goods train has been standing for hours in the little station. The engine is as silent as though its fire had gone out; there is not a soul near the train or in the station yard. A pale streak of light comes from one of the vans and glides over the rails of a siding. In that van two men are sitting on an outspread cape: one is an old man with a big gray beard, wearing a sheepskin coat and a high lambskin hat, somewhat like a busby; the other a beardless youth in a threadbare cloth reefer jacket and muddy high boots. They are the owners of the goods. The old man sits, his legs stretched out before him, musing in silence; the young man half reclines and softly strums on a cheap accordion. A lantern with a tallow candle in it is hanging on the wall near them. The van is quite full. If one glances in through the dim light of the lantern, for the first moment the eyes receive an impression of something shapeless, monstrous, and unmistakably alive, something very much like gigantic crabs which move their claws and feelers, crowd together, and noiselessly climb up the walls to the ceiling; but if one looks more closely, horns and their shadows, long lean backs, dirty hides, tails, eyes begin to stand out in the dusk. They are cattle and their shadows. There are eight of them in the van. Some turn round and stare at the men and swing their tails.