ANI KOKOBOBO Assistant Professor, Dept. of Slavic Languages
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
Animals Liberation Philosophy and Policy Journal Volume 5, Issue 2
AAnniimmaallss LLiibbeerraattiioonn PPhhiilloossoopphhyy aanndd PPoolliiccyy JJoouurrnnaall VVoolluummee 55,, IIssssuuee 22 -- 22000077 Animal Liberation Philosophy and Policy Journal Volume 5, Issue 2 2007 Edited By: Steven Best, Chief Editor ____________________________________________________________ TABLE OF CONTENTS Lev Tolstoy and the Freedom to Choose One’s Own Path Andrea Rossing McDowell Pg. 2-28 Jewish Ethics and Nonhuman Animals Lisa Kemmerer Pg. 29-47 Deliberative Democracy, Direct Action, and Animal Advocacy Stephen D’Arcy Pg. 48-63 Should Anti-Vivisectionists Boycott Animal-Tested Medicines? Katherine Perlo Pg. 64-78 A Note on Pedagogy: Humane Education Making a Difference Piers Bierne and Meena Alagappan Pg. 79-94 BOOK REVIEWS _________________ Fast Food Nation: The Dark Side of the All-American Meal, by Eric Schlosser (2005) Reviewed by Lisa Kemmerer Pg. 95-101 Eternal Treblinka: Our Treatment of Animals and the Holocaust, by Charles Patterson (2002) Reviewed by Steven Best Pg. 102-118 The Longest Struggle: Animal Advocacy from Pythagoras to PETA, by Norm Phelps (2007) Reviewed by Steven Best Pg. 119-130 Journal for Critical Animal Studies, Volume V, Issue 2, 2007 Lev Tolstoy and the Freedom to Choose One’s Own Path Andrea Rossing McDowell, PhD It is difficult to be sat on all day, every day, by some other creature, without forming an opinion about them. On the other hand, it is perfectly possible to sit all day every day, on top of another creature and not have the slightest thought about them whatsoever. -- Douglas Adams, Dirk Gently’s Holistic Detective Agency (1988) Committed to the idea that the lives of humans and animals are inextricably linked, Lev Nikolayevich Tolstoy (1828–1910) promoted—through literature, essays, and letters—the animal world as another venue in which to practice concern and kindness, consequently leading to more peaceful, consonant human relations. -
Tolstoy and Cosmopolitanism
CHAPTER 8 Tolstoy and Cosmopolitanism Christian Bartolf Leo Tolstoy (1828–1910) is known as the famous Russian writer, author of the novels Anna Karenina, War and Peace, The Kreutzer Sonata, and Resurrection, author of short prose like “The Death of Ivan Ilyich”, “How Much Land Does a Man Need”, and “Strider” (Kholstomer). His literary work, including his diaries, letters and plays, has become an integral part of world literature. Meanwhile, more and more readers have come to understand that Leo Tolstoy was a unique social thinker of universal importance, a nineteenth- and twentieth-century giant whose impact on world history remains to be reassessed. His critics, descendants, and followers became almost innu- merable, among them Mohandas Karamchand Gandhi in South Africa, later called “Mahatma Gandhi”, and his German-Jewish architect friend Hermann Kallenbach, who visited the publishers and translators of Tolstoy in England and Scotland (Aylmer Maude, Charles William Daniel, Isabella Fyvie Mayo) during the Satyagraha struggle of emancipation in South Africa. The friendship of Gandhi, Kallenbach, and Tolstoy resulted in an English-language correspondence which we find in the Collected Works C. Bartolf (*) Gandhi Information Center - Research and Education for Nonviolence (Society for Peace Education), Berlin, Germany © The Author(s) 2018 121 A.K. Giri (ed.), Beyond Cosmopolitanism, DOI 10.1007/978-981-10-5376-4_8 122 C. BARTOLF of both, Gandhi and Tolstoy, and in the Tolstoy Farm as the name of the second settlement project of Gandhi -
Kreutzer Sonata: Expressions of Human Anguish in Music, Literature and Beyond
1 Presentation for the GLS West Coast Symposium at St. John’s College in Santa Fe, NM Marja Karelia Simon Fraser University [email protected] Kreutzer Sonata: Expressions of Human Anguish in Music, Literature and Beyond The Kreutzer Sonata exemplifies expressions of human anguish through a perfect blend of music, literature and other arts. I will argue, as does Martha Nussbaum, that “music is intimately linked with our deepest strivings and most powerful emotions”, and that The Kreutzer Sonata provides the ideal vehicle for such sentiments having profoundly provoked artistic genres for over three hundred years. Our chain of events begins with the Kreutzer Sonata that was composed by Beethoven three years after his deafness crisis. In 1802, Beethoven had written the Heiligenstadt Testament where he expressed his anguish about his deteriorating hearing and writes that “how could I possibly admit an infirmity in the one sense which ought to be more perfect in me than in others. What humiliation it is for me when someone standing next to me heard a flute in the distance or a shepherd singing and I heard nothing. Such incidents drove me almost to despair, a little more of that and I would have ended my life – it was only my art that held me back. It seemed to me impossible to leave the world until I had brought forth all that I felt within me” The Heiligenstadt Testament was both an outpouring of grief in the face of his growing deafness and a determination to persevere in his art despite this impediment, and the result was his monumental violin sonata No.9 in A Major, Opus 47 for piano and violin. -
Traditional Social Organisation of the Chechens
Traditional social organisation of the Chechens Patrilineages with domination and social control of elder men. The Chechens have a kernel family called dëzel1 (дёзел), consisting of a couple and their children. But this kernel family is not isolated from other relatives. Usually married brethren settled in the neighbourhood and cooperated. This extended family is called “ts'a” (цIа - “men of one house”); the word is etymologically connected with the word for “hearth”. The members of a tsa cooperated in agriculture and animal husbandry. Affiliated tsa make up a “neqe” or nek´´e (некъий - “people of one lineage”). Every neqe has a real ancestor. Members of a neqe can settle in one hamlet or in one end of a village. They can economically cooperate. The next group of relatives is the “gar“ (гар - “people of one branch“). The members of a gar consider themselves as affiliated, but this can be a mythological affiliation. The gars of some Chechen groups function like taips (s. below). Taip The main and most famous Chechen social unit is the “taip” (tajp, tayp, тайп) A taip is a group of persons or families cooperating economically and connected by patrilinear consanguineous affiliation. The members of a taip have equal rights2. In the Russian and foreign literature taips are usually designated as “clans”. For the Chechens the taip is a patrilinear exogam group of descendants of one ancestor. There were common taip rules and/ore features3 including: • The right of communal land tenure; • Common revenge for murder of a taip member or insulting -
The Circassian Thistle: Lev Nikolaevich Tolstoy's Khadzhi
ABSTRACT THE CIRCASSIAN THISTLE: TOLSTOY’S KHADZHI MURAT AND THE EVOLVING RUSSIAN EMPIRE by Eric M. Souder The following thesis examines the creation, publication, and reception of Lev Nikolaevich Tolstoy’s posthumous novel, Khadzhi Murat in both the Imperial and Soviet Russian Empire. The anti-imperial content of the novel made Khadzhi Murat an incredibly vulnerable novel, subjecting it to substantial early censorship. Tolstoy’s status as a literary and cultural figure in Russia – both preceding and following his death – allowed for the novel to become virtually forgotten despite its controversial content. This thesis investigates the absorption of Khadzhi Murat into the broader canon of Tolstoy’s writings within the Russian Empire as well as its prevailing significance as a piece of anti-imperial literature in a Russian context. THE CIRCASSIAN THISTLE: TOLSTOY’S KHADZHI MURAT AND THE EVOLVING RUSSIAN EMPIRE A Thesis Submitted to the Faculty of Miami University in partial fulfillment of the requirements for the degree of Master of Arts Department of History by Eric Matthew Souder Miami University Oxford, Ohio 2014 Dr. Stephen Norris Dr. Daniel Prior Dr. Margaret Ziolkowski TABLE OF CONTENTS Introduction………………………………………………………………………………………1 Chapter I - The Tolstoy Canon: The Missing Avar……………………………………………….2 Chapter II – Inevitable Editing: The Publication and Censorship of Khadzhi Murat………………5 Chapter III – Historiography and Appropriation: The Critical Response to Khadzhi Murat……17 Chapter IV – Conclusion………………………………………………………………………...22 Afterword………………………………………………………………………………………..24 Bibliography……………………………………………………………………………………..27 ii Introduction1 In late-October 1910, Lev Nikolaevich Tolstoy died at Astopovo Station, approximately 120 miles from his family estate at Yasnaya Polyana in the Tula region of the Russian Empire. -
Dolly's Heroism in Anna Karenina
Butler University Digital Commons @ Butler University Undergraduate Honors Thesis Collection Undergraduate Scholarship 2016 "Living for the Soul": Dolly's Heroism in Anna Karenina Mara Minion Butler University, [email protected] Follow this and additional works at: https://digitalcommons.butler.edu/ugtheses Part of the Russian Literature Commons Recommended Citation Minion, Mara, ""Living for the Soul": Dolly's Heroism in Anna Karenina" (2016). Undergraduate Honors Thesis Collection. 344. https://digitalcommons.butler.edu/ugtheses/344 This Thesis is brought to you for free and open access by the Undergraduate Scholarship at Digital Commons @ Butler University. It has been accepted for inclusion in Undergraduate Honors Thesis Collection by an authorized administrator of Digital Commons @ Butler University. For more information, please contact [email protected]. Living for the Soul: Dolly’s Heroism in Anna Karenina A Thesis Presented to the Department of English College of Liberal Arts and Sciences and The Honors Program of Butler University In Partial Fulfillment of the Requirements for Graduation Honors Mara Madonna Minion 22 March 2016 Minion 1 Acknowledgments I would like to thank my thesis advisor, Dr. Paul Valliere, for his incredible and unwavering dedication to this project. I would like to thank my second reader, Dr. Angela Hofstetter, for her kind help. I would like to thank Professor Jonathan Sutton of the University of Leeds and Professor Joe Andrew of Keele University for their contributions to my thesis. Finally I would like to thank the Butler English Department, the Butler Honors Department, and my family and friends for their support. Minion 2 Abstract By employing and integrating both feminist and religious-ethical criticism, my thesis will demonstrate that in “living for the soul” and exemplifying religious virtue, Dolly Oblonsky achieves a sense of independence and purpose in spite of her adherence to traditional gender roles and social structures and is therefore a true hero of Tolstoy’s Anna Karenina (1877). -
Passion and Marriage in Anna Karenina Agora Castillo 1
Castillo: Passion and Marriage in Anna Karenina Agora Castillo 1 Passion and Marriage inAnna Karenina Kelly A. Castillo Leo Tolstoy, in his novelAnna Karenina, explores the concepts of passion and marriage and illustrates how unbridled passion, although sensual and revitalizing, tends to cause pain and suffering, whereas marriage, with effective communication and sensible passion, results in a stable relationship that will lead to the growth of both individuals. Tolstoy, in this 1886 narrative, describes a romance fueled by passion in the relationship between Anna and Vronsky. He demonstrates how infatuation gives meaning to these two individuals’ mundane existence and how that same superficial infatuation, riddled with guilt, inevitably destroys both of their lives. He efficiently shows how a lack of communication results in feelings of jealousy, insecurity, and manipulation between the passionate couple, and how consistent communication creates a well balanced and secure marriage for Kitty and Levin. The latter couple’s ability to discuss their emotions and doubts, without the fear of offending and losing each other, allows their relationship to flourish and their maturity to blossom. Levin and Kitty welcome passion into their lives, which is an essential element in any marriage, but they do not allow themselves to become absorbed by this sensation. Unlike the stable couple, Anna and Vronsky completely give in to their lust. Their self-absorbed relationship, which lacks any sense of spirituality, eventually results in their isolation and ultimately leads to their demise. Anna Karenina is a woman who yearns for some semblance of passion in her life. She is the product of an arranged marriage to a man twenty years her elder, with whom she was never truly in love. -
Music and Motion in Tolstoy's the Kreutzer Sonata Author
Title: Music and Motion in Tolstoy’s The Kreutzer Sonata Author: Nina Bond, Columbia University In his Dictionnaire de musique, Rousseau belittles the sonata for lacking words, insisting that without them no meaning or emotions could be communicated to its listeners. Owen Jander, a contemporary musicologist, convincingly argues in the article “The ‘Kreutzer’ Sonata as Dialogue” that Beethoven’s piece for violin and piano intentionally challenges definitions of the sonata as emotionless nonsense. Although named after that piece, Tolstoy’s novella is not, strictly speaking, “dialogic.” What starts off as a conversation about divorce among several train travelers dissolves into a dialogue between the first- person narrator and Pozdnyshev. Their conversation, however, is represented mostly through the words spoken by Pozdnyshev, from whose responses readers infer the narrator’s speech. In light of this, the novella’s title, which seems straightforward at first, becomes perplexing. Why name the entire seemingly “monologic” novella after a “dialogic” work? Perhaps it was because the story’s structure mimics that of a sonata as Dorothy Green suggests in “The Kreutzer Sonata: Tolstoy and Beethoven.” Or maybe it resembles a railway journey, which is strongly suggested by the story’s setting. What is the relationship between narrative and trains? Is there something more to the story of this “late arriver,” a rough translation of Pozdnyshev? What do “monologic” dialogues have to do with getting there? Where are we supposed to go, and how? My paper will answer these questions by examining the story through motion parallax, which Tolstoy describes in Anna Karenina and The Death of Ivan Il'ich. -
The Grotesque Aesthetics of Tolstoy's Resurrection
KU ScholarWorks | http://kuscholarworks.ku.edu Please share your stories about how Open Access to this article benefits you. Estranged and Degraded Worlds: The Grotesque Aesthetics of Tolstoy’s Resurrection. by Ani Kokobobo 2012 This is the published version of the article, made available with the permission of the publisher. The original published version can be found at the link below. Kokobobo, Ani. (2010) Estranged and Degraded Worlds: The Grotesque Aesthetics of Tolstoy’s Resurrection. Tolstoy Studies Journal, 24, 1-14. Published version: http://go.galegroup.com/ps/i.do?id=GALE%7CA32 5496164&v=2.1&u=ksstate_ukans&it=r&p=LitRC&sw=w&asid=c58f0 91cba4f4b6c97d9a8b9e2fb4b48 This work has been made available by the University of Kansas Libraries’ Office of Scholarly Communication and Copyright. -*12-7 23"'#1-30,* -*3+#STRST -*12-7 23"'#1 An annual refereed publication of the Tolstoy Society "'2-0TTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTT'!&#*T #,,#0 !',,!'*," 3 1!0'.2'-,,%#+#,2TTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTT3*'#%'1!&)3 "'2-0'*11'12,!#TTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTT 4'"(-312-, )-.7#"'2',%11'12,!#TTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTT(,,&)&.+, ,' *'-%0.&7"'2-01TTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTT-1#.& !&*#%#*Q0', '8-4 "'2-0'* ,-0"S ,"0#5 -,1)-4 /,'4#01'27 -$ 1225Q )07* +#01-, 30',!#2-, /,'4#01'27Q 4'!&0" 5312$1-, ,0,0" )-**#%# ," )-*3+ -
Power Relations Reflected in Leo Tolstoy's Hadji Murad (1904)
POWER RELATIONS REFLECTED IN LEO TOLSTOY’S HADJI MURAD (1904) : A SOCIOLOGICAL APPROACH Submitted as Partial Fulfillment of Requirement for Getting Bachelor Degree of Education in English Department by: FADHLILLAH MAHADIKA A320120261 DEPARTMENT OF ENGLISH EDUCATION SCHOOL OF TEACHER TRAINING AND EDUCATION UNIVERSITAS MUHAMMADIYAH SURAKARTA 2018 i POWER RELATIONS REFLECTED IN LEO TOLSTOY’S HADJI MURAD (1904) : A SOCIOLOGICAL APPROACH Abstract The objectives of the study are (1) To identify the indicators of power relation in Hadji Murad.(2) To describe how the power relation depicted in the literary work.(3) To reveal why Leo Tolstoy addressed power relation related the novel. The type of this research is descriptive qualitative research, because it does not need statistic data to get the fact. Descriptive qualitative research is a research which is the result of the data is a written data. The researcher uses two data sources, The primary data source of the study is Hadji Murad novel by Leo Tolstoy which is published in 1904. and The sources of secondary data are taken from other resources which are related to the study; website, articles, biography of the author, and some books which dealing with the research. Based on the analysis, the researcher gets some conclusions. (1) Authority, where the cahracter in the novel have their own authority as a power of relation, such as Hadj Murad with his charismatic character he can make great relationship with his fellowship. (2) The Depiction of Power Relation in the Novel can be seen through Character, where Hadji Murad is an assertive, ambitious, imposing, forgiving and permissive character. -
It Was Leo Tolstoy Who Made Collecting Mushrooms Seem
Bob Blaisdell familiar European folk tales like “Little Red Riding Hood” (in his version “Little Cap” has been gathering mushrooms and t was Leo Tolstoy who made collecting mushrooms seem berries to bring to her grandmother), anecdotes (in Russian, normal to me. He was so great a writer he could make a “anekdotes” connote jokes), and a genre called “byli,” which I small cluster of invented people living in another land and like to translate as “realies.” That is, the narrator is saying or Iera seem more vivid than I could imagine my own friends and pretending this really happened. family. When I was in college in the late 1970s reading Russian I edited a collection of Tolstoy’s tales for children in 2002, literature in translation, it stopped seeming quaint to me that and I was intrigued enough by the differences I found in the characters enjoyed going into the woods to pick mushrooms. translations that I decided, despite having reached middle age, In the early 1870s Tolstoy, already acknowledged as Russia’s to learn Russian. With the help of patient tutors, thousands supreme living author for having composed the novel War of hours of practice, and several trips to Russia and Tolstoy’s and Peace, threw himself into writing a textbook and series estate, Yasnaya Polyana, now a state-run museum and of primers for teaching the country’s vast uneducated park (where I overlooked the mushrooms but encountered population of peasant children to learn how to read. In his hedgehogs and other woodland creatures), I learned enough Azbuka (ABC Book) he collected and retold fables, from as Russian to make it all the way through Anna Karenina, the far back as Aesop (he had recently taught himself Greek), pinnacle of my reading ambitions. -
Anna Karenina Illustrated
Anna Karenina Illustrated: Russian and Soviet Illustrated Editions of the Novel, 1878-1982 By Timothy R. Ormond A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Graduate Department of Slavic Languages and Literatures University of Toronto © Copyright of Timothy R. Ormond 2013 ABSTRACT Anna Karenina Illustrated: Russian and Soviet Illustrated Editions of the Novel, 1878-1982 PhD 2013 Timothy Richard Ormond Graduate Department of Slavic Languages and Literatures, University of Toronto This dissertation discusses illustrations of Anna Karenina created in Russia and the USSR in the nineteenth and twentieth centuries. It first considers Mikhail Vrubel’s illustration from 1878 and then examines four illustrated editions published in in 1914, 1933, 1953 and 1982. It accomplishes the following: it attends to the lack of attention illustration receives, generally in literary studies, but especially in Russian; it fills in a part of the history of publication practices in Russia and the USSR, as it pertained to illustration; it describes the intended audience for these works; and it offers close readings of the artists’ illustrations, thereby demonstrating the changing reception of Tolstoy’s novel over time. Vrubel’s illustration confronts the treatment of the heroine and marks the beginning of his life-long dislike for Tolstoy. The illustrations of Shcheglov, Korin and Moravov in the 1914 Sytin & Co. edition aided in reading comprehension, suggesting that the intended audience were readers who were new to Tolstoy. Since most of the illustrations were commissioned during the Soviet period, they reveal a great deal about how that regime intervened in the reception of Anna Karenina and its author.