42 the Nose by Nikolai Gogol [Courtesy: Gogol, Diary of A
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The Government Inspector 1St Edition Download Free
PLAYS AND PETERSBURG TALES PETERSBURG TALES; MARRIAGE; THE GOVERNMENT INSPECTOR 1ST EDITION DOWNLOAD FREE Nikolai Gogol | 9780199555062 | | | | | Gogol Three Plays I see that you are not a cigar fancier. What a life it is there! Krispin arrives in the Province But other times, we get footnotes about sections that got axed by the censors of the time, or we get to see firsthand some notes from the margins of Gogol's manuscripts. Alexander greatly expanded the boundaries of his empire in the twelve years of his reign. Stock Plays and Petersburg Tales Petersburg Tales; Marriage; The Government Inspector 1st edition. Gogol's work is gripping! I even learn a lot. Aug 18, Vasile rated it Plays and Petersburg Tales Petersburg Tales; Marriage; The Government Inspector 1st edition it. She and her mother rush to the inn to meet the reputed government inspector. Learn more about citation styles Citation styles Encyclopedia. His very first publication, inPlays and Petersburg Tales Petersburg Tales; Marriage; The Government Inspector 1st edition mostly ignored; it was given scathing reviews by the critics who did, however, make note of it. It contains one short story from the collection "Evenings On a Farm Near Dikanka", one from "Mirgorod" collection and 6 from the editorial cycle "Tales of St. Grotesque does not know the low and the high. Equally early he developed an extraordinary talent for mimicry which later on made him a matchless reader of his own works. These vanities are mocked as petty, fleeting and trite, and Gogol highlights them throughout all levels of the Russian social order at the time. -
CURRICULUM VITAE Susanne Fusso 219 Margarite Road Russian, East
1 CURRICULUM VITAE Susanne Fusso 219 Margarite Road Russian, East European, and Middletown, CT 06457 Eurasian Studies Program 860-344-1683 Wesleyan University Middletown, CT 06459 860-685-3123; [email protected] Education 1976-84: Ph.D. (Distinguished) Yale University Slavic Languages and Literatures Minor: Czech Literature 1977: M.A. Yale University 1973-76: B.A. summa cum laude, Lawrence University, Appleton, Wisconsin Major: Slavic Employment 2019-: Marcus L. Taft Professor of Modern Languages, Wesleyan University 1998-: Professor of Russian, Wesleyan University (Chair, 1999-2002; Acting Chair spring 2006; Chair, 2008-12; Acting Chair, spring 2014; Chair 2016-Present) 2001 (spring): Visiting Professor of Slavic Languages and Literatures, Yale University 1992-98: Associate Professor of Russian, Wesleyan University (Chair, 1992-95) 1986-92: Assistant Professor of Russian, Wesleyan University 1985-86: Visiting Assistant Professor of Russian, Wesleyan University Honors, Grants, Distinctions 2017: 2017 AATSEEL (American Association for Teachers of Slavic and East European Languages) Award for Excellence in Post-Secondary Teaching 2017: Allbritton University Lectures grant for organizing a symposium on Nabokov in honor of Priscilla Meyer, April 2018 2017: Translation of Trepanation of the Skull named a finalist for AATSEEL Literary Translation Prize 2015: Allbritton Center University Lectures grant to bring writer Sergey Gandlevsky to Wesleyan 2008: Faculty Fellow, Center for the Humanities, Wesleyan University (spring) 2005: Mellon Workshop -
Ebook Download Diary of a Madman and Other Stories Diary of a Madman Paper 1St Edition Ebook
DIARY OF A MADMAN AND OTHER STORIES DIARY OF A MADMAN PAPER 1ST EDITION PDF, EPUB, EBOOK Lu Hsun | 9780824813178 | | | | | Diary of a Madman and Other Stories Diary of a Madman Paper 1st edition PDF Book Overigens betreft dit literaire werk slechts vijf procent van zijn totale oeuvre. Views Read Edit View history. Ninepounder, Mr. All Media Network. No one understood China as deeply as Lu Xun. I like how the madness builds up from rampant angst to screaming dementia. Archived from the original on 16 June Petersburg, the city which had an obsessive effect on him, and later, on Dostoevsky. Retrieved 1 September Out of which, I completed 'Diary of a Madman' in a breeze. French author Guy de Maupassant , master of the short story, wrote fiction covering the entire range of human experience, from the light and lyrical to the dark and disturbing and everything in between. Careful for what you wish for! Now the requirements of social life have made murder a crime. The six stories are: Diary of a madman The overcoat Nevsky Prospect A May night; or the drowned maiden The nose The portrait All of them except the last are quite funny, each one in its own way, although they can also be very sad and full of feeling at the same This reading does not correspond to a concrete published book, but to six independent Gogol stories I have downloaded from the Gutenberg project, the university of Adelaida, and similar Internet places. The short stories all date from about in China, a period of revolution and political upheaval and social change. -
The Government Inspector by Nikolai Gogol
The Government Inspector (or The Inspector General) By Nikolai Gogol (c.1836) Translated here by Arthur A Sykes 1892. Arthur Sykes died in 1939. All Gogol’s staging instructions have been left in this edition. The names and naming tradition (use of first and family names) have been left as in the original Russian, as have some of the colloquiums and an expected understanding of the intricacies of Russian society and instruments of Government. There are footnotes at the end of each Act. Modern translations tend to use the job titles of the officials, and have updated references to the civil service, dropping all Russian words and replacing them with English equivalents. This script has been provided to demonstrate the play’s structure and flesh out the characters. This is not the final script that will be used in Oxford Theatre Guild’s production in October 2012. Cast of Characters ANTON ANTONOVICH, The Governor or Mayor ANNA ANDREYEVNA, his wife. MARYA ANTONOVNA, his daughter. LUKA LUKICH Khlopov, Director of Schools. Madame Khlopov His wife. AMMOS FYODOROVICH Lyapkin Tyapkin, a Judge. ARTEMI PHILIPPOVICH Zemlyanika, Charity Commissioner and Warden of the Hospital. IVANA KUZMICH Shpyokin, a Postmaster. IVAN ALEXANDROVICH KHLESTAKOV, a Government civil servant OSIP, his servant. Pyotr Ivanovich DOBCHINSKI and Pyotr Ivanovich BOBCHINSKI, [.independent gentleman] Dr Christian Ivanovich HUBNER, a District Doctor. Karobkin - another official Madame Karobkin, his wife UKHAVYORTOV, a Police Superintendent. Police Constable PUGOVKIN ABDULIN, a shopkeeper Another shopkeeper. The Locksmith's Wife. The Sergeant's Wife. MISHKA, servant of the Governor. Waiter at the inn. Act 1 – A room in the Mayor’s house Scene 1 GOVERNOR. -
The Government Inspector Adapted by Jeffrey Hatcher from the Original by Nikolai Gogol Directed by Allison Narver
The Government Inspector Adapted by Jeffrey Hatcher from the original by Nikolai Gogol Directed by Allison Narver All original material copyright © Seattle Shakespeare Company 2017 WELCOME Dear Educators, Welcome to our production of The Government Inspector! When I first read this script, I found myself laughing out loud every couple of pages. It’s a hilarious read of a farcical play, and I was really excited to watch it. Director Allison Narver mentioned that all of the characters are horrible people, and the protagonist of this show is comedy. Normally, I don’t love watching shows full of horrible people, but this one is so darn funny that I can spend the whole show rooting for the main character — comedy! After thinking about the play for a few weeks, and keeping up with the news cycle, I’ve been thinking more about themes in The Government Inspector. This production will simultaneously be quite relevant to our contemporary era of government corruption, and will be an escape to a world where that corruption is lampooned and all the officials get taken advantage of. This play can spark political discussions, but it can also just leave you laughing at the absurdity of it. It’s all in there. We hope you enjoy the show! Best, Michelle Burce Education Director seattleshakespeare.org/education 206-733-8228 ext. 251 or [email protected] PRODUCTION SPONSORS CONTENTS Plot Synopsis . 1 Character List . 1 Nikolai Gogol . 2 A brief look at the life of Russia’s celebrated playwright and novelist. Placing the Production . 3–4 Take a look inside the director’s inspiration and thoughts for the production Tidbits and Trivia . -
Magical Realism in the Tales of Nikolai Gogol
Magical Realism in the Tales of Nikolai Gogol James D. Hardy, Jr. Leonard Stanton Louisiana State University There is a story about St. Serafim of Sarov (1759-1833). One day, four sisters from the Diveyevo Convent saw him across a field of ripe, brown grain. The sisters were on a road through the field, and their feet were on the ground. But as Serafim approached, they suddenly realized that the saint was “walking two foot above the ground, not even touching the grass.” Well attested by four nuns of unimpeachable character and faith, the event was duly recorded in the annals of St. Serafim and the convent; the truth it conveys is therefore beyond doubt. But walking above the grass, even by a saint of such holiness that the Tsar and Auto- crat of All the Russias sought him out as a confidant and spiritual father, is not encountered every day, and, it might even be suggested, cannot occur at all.1 This incident of faith illustrates both the nature of magical realism generally – the realistic and quotidian consequences of an impossible action – and the two varieties of magical realism employed in the tales of Nikolai Gogol. The first involves the direct and physical intervention of the divine or the demonic in an otherwise unexceptional flow of events. The second characteristic of Gogol’s magical realism implies the unex- pected violation of the laws of nature without a divine or demonic expla- nation. Gogol treated the divine, the demonic, or the supernatural event as entirely real, in a context no less Aristotelian than Platonic. -
A Comparative Examination of Dead Souls, the Master and Margarita, and Revelation 12-3
LMU/LLS Theses and Dissertations Spring 2019 Understanding the Devil: A Comparative Examination of Dead Souls, The Master and Margarita, and Revelation 12-3 Thomas "TJ" Kennedy Loyola Marymount University, [email protected] Follow this and additional works at: https://digitalcommons.lmu.edu/etd Part of the Biblical Studies Commons Recommended Citation Kennedy, Thomas "TJ", "Understanding the Devil: A Comparative Examination of Dead Souls, The Master and Margarita, and Revelation 12-3" (2019). LMU/LLS Theses and Dissertations. 772. https://digitalcommons.lmu.edu/etd/772 This Thesis is brought to you for free and open access by Digital Commons @ Loyola Marymount University and Loyola Law School. It has been accepted for inclusion in LMU/LLS Theses and Dissertations by an authorized administrator of Digital Commons@Loyola Marymount University and Loyola Law School. For more information, please contact [email protected]. Understanding the Devil: A Comparative Examination of Dead Souls, The Master and Margarita, and Revelation 12-13 by TJ Kennedy A thesis presented to the Faculty of the Department of Theology Loyola Marymount University In partial fulfillment of the Requirements for the Degree Master of Arts in Theology May 7, 2019 Kennedy 1 Introduction Are you a devil?" "I am a man," answered Father Brown gravely; "and therefore have all devils in my heart. -G.K. Chesterton1 Evil begins where creation ends. In Zoroastrianism, Angra Mainyu propels the cause of druj (darkness), and is the antagonist to Ahura Mazda, the god of light.2 In Buddhism, the demon Mara often tries to tempt and trick the Buddha, including through kind words in the Padhaana Sutta of the Sutta-nipaata. -
NARRATING the NATIONAL FUTURE: the COSSACKS in UKRAINIAN and RUSSIAN ROMANTIC LITERATURE by ANNA KOVALCHUK a DISSERTATION Prese
NARRATING THE NATIONAL FUTURE: THE COSSACKS IN UKRAINIAN AND RUSSIAN ROMANTIC LITERATURE by ANNA KOVALCHUK A DISSERTATION Presented to the Department of Comparative Literature and the Graduate School of the University of Oregon in partial fulfillment of the requirements for the degree of Doctor of Philosophy June 2017 DISSERTATION APPROVAL PAGE Student: Anna Kovalchuk Title: Narrating the National Future: The Cossacks in Ukrainian and Russian Romantic Literature This dissertation has been accepted and approved in partial fulfillment of the requirements for the Doctor of Philosophy degree in the Department of Comparative Literature by: Katya Hokanson Chairperson Michael Allan Core Member Serhii Plokhii Core Member Jenifer Presto Core Member Julie Hessler Institutional Representative and Scott L. Pratt Dean of the Graduate School Original approval signatures are on file with the University of Oregon Graduate School. Degree awarded June 2017 ii © 2017 Anna Kovalchuk iii DISSERTATION ABSTRACT Anna Kovalchuk Doctor of Philosophy Department of Comparative Literature June 2017 Title: Narrating the National Future: The Cossacks in Ukrainian and Russian Romantic Literature This dissertation investigates nineteenth-century narrative representations of the Cossacks—multi-ethnic warrior communities from the historical borderlands of empire, known for military strength, pillage, and revelry—as contested historical figures in modern identity politics. Rather than projecting today’s political borders into the past and proceeding from the claim that the Cossacks are either Russian or Ukrainian, this comparative project analyzes the nineteenth-century narratives that transform pre- national Cossack history into national patrimony. Following the Romantic era debates about national identity in the Russian empire, during which the Cossacks become part of both Ukrainian and Russian national self-definition, this dissertation focuses on the role of historical narrative in these burgeoning political projects. -
PROGRAM NOTES Leoš Janáček – Taras Bulba, Rhapsody
PROGRAM NOTES Leoš Janáček – Taras Bulba, Rhapsody for Orchestra Leoš Janáček Born July 3, 1854, Hochwald (Hukvaldy), Northern Moravia. Died August 12, 1928, Moravska Ostravá, Czechoslovakia. Taras Bulba, Rhapsody for Orchestra Leoš Janáček loved all things Russian. He formed a Russian Club in Brno in 1897, visited Russia twice in the early years of the twentieth century, and even sent his children to Saint Petersburg to study. Of the Russian writers he admired, including Tolstoy and Dostoevsky, it was the novelist and playwright Nikolai Gogol he loved most. Janáček considered writing music based on Gogol's tale of Taras Bulba as early as 1905, although a decade passed before he started work on it. He completed the score three years later, the day before his sixty-first birthday. Still, Taras Bulba is one of Janáček's "early" compositions. Taras Bulba is Janáček's first significant orchestral work. Like Jenůfa, which was premiered in 1904 but didn't come to attention in the larger music world until it was staged in Prague in 1916, Taras Bulba would wait to find its audience. When it was finally performed for the first time in January 1924, Janácek left the hall as soon as the piece was over (the concert was billed as an early observance of his seventieth birthday and he didn't want to celebrate until the actual day arrived) and he failed to hear the enthusiastic crowd calling for him. The violent, bloody story of Taras Bulba is one of Gogol's most enduring and influential works. Ernest Hemingway called it "one of the ten greatest books of all time" (although Vladimir Nabokov, normally a Gogol admirer, likened it to "rollicking yarns about lumberjacks"). -
Eternal Marriage Student Manual
ETERNAL MARRIAGE STUDENT MANUAL Religion 234 and 235 ETERNAL MARRIAGE STUDENT MANUAL Preparing for an Eternal Marriage, Religion 234 Building an Eternal Marriage, Religion 235 Prepared by the Church Educational System Published by The Church of Jesus Christ of Latter-day Saints Salt Lake City, Utah Send comments and corrections, including typographic errors, to CES Editing, 50 E. North Temple Street, Floor 8, Salt Lake City, UT 84150-2772 USA. E-mail: [email protected] © 2001, 2003 by Intellectual Reserve, Inc. All rights reserved Printed in the United States of America English approval: 6/03 CONTENTS Preface Communication Using the Student Manual . viii Related Scriptures . 31 Purpose of the Manual . viii Selected Teachings . 31 Organization of the Manual . viii Family Communications, Living by Gospel Principles . viii Elder Marvin J. Ashton . 32 Abortion Listen to Learn, Elder Russell M. Nelson . 35 Selected Teachings . 1 Covenants and Ordinances Abuse Selected Teachings . 38 Selected Teachings . 3 Keeping Our Covenants . 38 Abuse Defined . 3 Our Covenant-Based Relationship with the Lord . 40 Policy toward Abuse . 3 Wayward Children Born under Causes of Abuse . 3 the Covenant . 47 Avoiding Abuse . 4 Covenant Marriage, Elder Bruce C. Hafen . 47 Healing the Tragic Scars of Abuse, Dating Standards Elder Richard G. Scott . 5 Selected Teachings . 51 Adjustments in Marriage For the Strength of Youth: Fulfilling Selected Teachings . 9 Our Duty to God, booklet . 52 Adjusting to In-Laws . 9 Debt Financial Adjustments . 9 Related Scriptures . 59 Adjusting to an Intimate Relationship . 9 Selected Teachings . 59 Related Scriptures . .10 To the Boys and to the Men, Atonement and Eternal Marriage President Gordon B. -
From the Writer
From the Writer As my class was discussing “The Portrait,” a short story by Nikolai Gogol, we touched briefly on the topic of perception and the ways in which the artist in Gogol’s story loses control of the portrait he paints. I had been having trouble determining what to write about in my second paper, and I decided to pursue that subject because the gap between a writer’s intentions and the way his work is interpreted interests me. After I explored that theme in my second paper, I decided to return to it for my fourth paper and bring Dostoevsky’s Poor Folk into the discussion, as well as “The Overcoat,” another short story by Gogol. While it had been relatively easy to see the theme of the artist losing control of his work in “The Portrait,” I had a little more trouble connecting the other two stories to the topic in a meaning- ful way. Through studying critical essays onPoor Folk and analyzing the relevant sections of the text closely, I developed a position on Dostoevsky’s relevance to the subject, noting that he creates one of his characters, Makar Devushkin, as an amateur literary critic who misinterprets Gogol’s work. Once I began to find the connections the three stories shared, my interest in the concept helped me put together a strong argument. — Georgianne Maroon 13 Georgianne Maroon Prize Essay Winner Dostoevsky and Gogol’s Acknowledgments of Writers’ Limitations One of the more frustrating realizations most writers make during their careers is that their work, no matter how hard they try to craft it to communicate certain messages to their readers, always has the potential to be misinterpreted and misunderstood. -
The Drama in Disguise: Dramatic Modes of Narration and Textual Structure in the Mid-Nineteenth-Century Russian Novel
The Drama in Disguise: Dramatic Modes of Narration and Textual Structure in the Mid-Nineteenth-Century Russian Novel by Kathleen Cameron Wiggins A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Slavic Languages and Literatures in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Irina Paperno Professor Luba Golburt Lecturer Anna Muza Professor Peter Glazer Fall 2011 The Drama in Disguise: Dramatic Modes of Narration and Textual Structure in the Mid-Nineteenth-Century Russian Novel Copyright 2011 by Kathleen Cameron Wiggins 1 Abstract The Drama in Disguise: Dramatic Modes of Narration and Textual Structure in the Mid- Nineteenth-Century Russian Novel By Kathleen Cameron Wiggins Doctor of Philosophy in Slavic Languages and Literatures University of California, Berkeley Professor Irina Paperno, Chair My dissertation investigates the generic interplay between the textual forms of drama and the novel during the 1850s, a fertile “middle ground” for the Russian novel, positioned between the works of Pushkin, Lermontov, and Gogol and the psychological realist novel of the 1860s and 70s. My study begins with Turgenev’s Rudin (1856) and then considers Goncharov’s Oblomov (1859) and Dostoevsky’s Siberian novellas (1859), concluding with an examination of how the use of drama evolved in one of the “great novels” of the 1860s, Tolstoy’s Voina i mir ( War and Peace , 1865-69). Drawing upon both novel and drama theory, my dissertation seeks to identify the specific elements of the dramatic form employed by these nineteenth-century novelists, including dramatic dialogue and gesture, construction of enclosed stage-like spaces, patterns of movement and stasis, expository strategies, and character and plot construction.