FULL LIST of WINNERS from ABROAD the 9Th International

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FULL LIST of WINNERS FROM ABROAD The 9th International Children's Art Contest "Anton Chekhov and Characters of his Works" GRAND PRIZE Kwok Tsz Long, Ethan (aged 5) Kowloon, Hong Kong, China for “Circus dog”. Age Group: 14-17 year-olds 1st place awards: Nguyen Dinh Nhat Anh (aged 17) Hanoi, Vietnam for “Portrait of Anton Chekhov”; Daria Zaritskaya (aged 16) Kostanay, Kazakhstan for “Chekhov Book Illustration”. 2nd place awards: Zhang Ying (aged 16) Zoucheng, Jining, Shandong, China for “The man with a dog’s face”. Age Group: 11-13 year-olds 1st place awards: Sophia Yakutova (aged 12) Pavlodar, Kazakhstan for “Are You Lost?”; 2nd place awards: Zhao Rongzi (aged 11) Zoucheng, Jining, Shandong, China for “Green Road”; Olga Anosova (aged 12) Khartsyzsk, Donetsk Peoples’ Republic for “Kashtanka”. 3rd place awards: Varadharayan Akshara (aged 11) Chennai, India for “The Three Sisters”; Ayaulym Kasenbekova (aged 12) Pavlodar, Kazakhstan for “An Unusual Trophy”. Age Group: 8-10 year-olds 1st place awards: Ina Nenkova (aged 9) Targovishte, Bulgaria for “The Three Sisters”; Teodora Ruseva (aged 10) Targovishte, Bulgaria for “Portrait of Anton Pavlovich Chekhov”; Galena Naidenova (aged 9) Targovishte, Bulgaria for “Chekhov with his dog”. 2nd place awards: Kavindya Alkegamage (aged 9) Harlow, Essex, Great Britain for “The Great Anton Chekhov”; Kenard Alvaro Hadinata (aged 9) Surabaya, Indonesia for “Kashtanka” 3rd place awards: Keshala Weerarathna (aged 8) Kegalle, Sri Lanka for “Nataly and Lomov argue about dogs”; Aidana Zhanzakhova (aged 8) Rudny, Kazakhstan for “Kashtanka”. Age Group: 4-7 year-olds 1st place awards: Ralitsa Stoicheva (aged 7) Targovishte, Bulgaria for “The Lady with the Dog”; Irina Georgieva (aged 5) Targovishte, Bulgaria for “Portrait of Anton Chekhov”. 2nd place awards: Chanudi Praharsha (aged 5) Ratmalana, Sri Lanka for “Kashtanka and the Military Band”; Veronica Bogaevskaya (aged 6) Ekibastuz, Kazakhstan for “Kashtanka”; Anna Kovaleva (aged 7) Ekibastuz, Kazakhstan for “The Lady with the Dog”; Nethula Kobbekaduwa (aged 5) Polgolla, Kandy, Sri Lanka for “Taganrog — home city of Anton Chekhov”. 3rd place awards: Varvara Walter (aged 7) Ekibastuz, Kazakhstan for “Portrait of Anton Chekhov”. Encouragement prizes Elina Dimitrova (aged 12) Targovishte, Bulgaria for "Portrait of Anton Chekhov"; Alima Eralieva (aged 12) Kostanay, Kazakhstan for “Kashtanka”. .

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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.
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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.
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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.
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Anton Chekhov Analysis
Anton Chekhov Analysis By Ryan Funes If you were to have gone out on the street and asked anyone about Mark Twain, William Shakespear, or even F. Scott Fitzgerald, you may get a positive response from the person, in that they know of the person. But, if you were to have asked about Anton Chekhov, you would probably get a dumbfounded, confused response. I would not be surprised though by those results, since Chekhov did not really have anything iconic about him or any gimmick, but when I was introduced to his short stories, I was immediatley hooked in by his themes and writing style. I really did not know what to say about the guy, but after reading and looking into his life, he was definitely a skilled dramatist, satirist, and writer. For those who are not too familiar with his life, Anton Chekhov was born in 1860, Taganrog, Russia to the son of a serf and a merchants wife. He lived a fairly well childhood and also did well in school, as he did continue on to become a medical student, and at the same time, an author who started out as a columnist for a Moscow newspaper. While his first short stories were not well recieved at first, along with a bloody play of his being under heavy censorship at the time, he continued on with his writing career, even while under the pressure of supporting his family, whose health was deterring. But, as a result of his writings, Chekhov became well known for his wit and subtle satire in his early writings.
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Russian Literature LXXIV (2013) III/IV
This article appeared in a journal published by Elsevier. The attached copy is furnished to the author for internal non-commercial research and education use, including for instruction at the authors institution and sharing with colleagues. Other uses, including reproduction and distribution, or selling or licensing copies, or posting to personal, institutional or third party websites are prohibited. In most cases authors are permitted to post their version of the article (e.g. in Word or Tex form) to their personal website or institutional repository. Authors requiring further information regarding Elsevier’s archiving and manuscript policies are encouraged to visit: http://www.elsevier.com/authorsrights Author's personal copy Available online at www.sciencedirect.com Russian Literature LXXIV (2013) III/IV www.elsevier.com/locate/ruslit THE BRAINLESS VIRTUOSO AS AN EXISTENTIAL THINKER: ČECHOV’S POETICS OF CONTRARIETY IN ‘DREAMS’ NIKITA NANKOV Abstract This study entwines two literary and two philosophical goals. The first literary aim is to dispel the enduring paradigm in Chekhov studies presenting this writer as a brainless virtuoso, who writes artistically brilliant works that lack idea(l)s. The second is to examine Chekhov’s poetics of contrariety, and illustrate it with an analysis of the short story ‘Dreams’ (‘Mechty’). Behind these two literary tasks loom two philosophical issues. First, the oxymoron of the brainless virtuoso is rooted in the fact that a great part of Chekhov criticism has been in the wake of Cartesian rationalism, which postulates that theoretical thinking precedes practical living. Since Chekhov writes in the phenomenological tradition grounded on the premise that practical living precedes theoretical thinking, interpreting him along rationalist lines is questionable.
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Time and Space of Everyday Life in the Feast Texts of A
Inskrypcje. Półrocznik, R. IX 2021, z. 1 (16), ISSN 2300-3243 pp.15 – 22; DOI 10.32017/ip2021.1.2 TIME AND SPACE OF EVERYDAY LIFE IN THE FEAST TEXTS OF A. CHEKHOV: THE CULTURAL ASPECT Irina Anatolyevna Mankevich Russia, Saint-Petersburg [email protected] (Translated by A.Dudina) Abstract. The article studies the feast poetics as a text of daily culture and litera- ture. The visual and verbal images of the feast appear as the feast text at least in three forms. The first form of the feast is the food itself, something that you can eat. The second is the way of behavior, the set of rules, the etiquette norms, the feast ritual and the feast cases. The third is verbal description of the feast from the idea to the aftertaste state in the literature. The experiment of cultural interpretation of feast texts in A.Chekhov’s short stories and plays is presented in the article with reference to the time and space of everyday life (The Grasshop- per, The Lady with the Dog, Uncle Vanya, Three Sisters, The Cherry Orchard). The author analyzes the semantic potential of feast texts as the source of cultural information of Che- khov’s characters spiritual endeavor, their states of mind in different everyday context. Feast texts in Chekhov’s compositions point out the transformation of narration emotional degree and forthcoming dramatic cataclysms in characters’ everyday life. Keywords: Feast aspect of cultural study, time in everyday life, space in everyday life, feast text, Anton Chekhov. ВРЕМЯ И ПРОСТРАНСТВО ПОВСЕДНЕВНОСТИ В ЗАСТОЛЬНЫХ ТЕКСТАХ А.П.
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The Seagull Uncle Vanya Three Sisters the Cherry
UNCLE CHERRY THREEGULL or THE DOCTOR IS LATE © 2012, Joe Zarrow - [email protected] - http://www.joezarrow.com NOTES: This play is an adaptation of Chekhov's four major plays. It is designed to highlight the harmonies between the texts, their musical four-act structure, and Chekov's evolution over his writing career. All four scripts are performed at once; moments and lines that are horizontally aligned are very roughly simultaneous. All text is taken from public domain translations of the plays. The actor playing the DOCTOR is the same across all four plays. Same true for SERVANT. Other actors may or may not double, depending on the director's wishes. [Lights up. The DOCTOR, a handsome man, is alone onstage. He addresses the audience.] DOCTOR: How long have we known each other? Have I changed much since then? [A bell rings.] FIRST MOVEMENT: ARRIVING THE SEAGULL UNCLE VANYA THREE SISTERS THE CHERRY ORCHARD [outside, in front of a [in the yard of a [the sisters are in the [in the nursery] theater] country estate.] dining room] TREPLEV: The play [VANYA enters, will soon begin. yawning] [He sets up the OLGA: It's just a year [LUBOV enters with curtain,takes a flower since father died. her entourage.] and pulls off petals one LUBOV: The nursery! by one.] [NINA enters. [DOCTOR sits down ANYA: [to SERVANT] Awkward moment to read newspaper and Some coffee, quickly. when TREPLEV tries SERVANT: Light the ignore everyone.] to kiss NINA.] samovar! TREPLEV: Places! [DOCTOR exits to get samovar.] [The audience of DOCTOR: [enters [VARYA and ANYA sit characters comes to with samovar]Will together, have a [Military men come in watch TREPLEV's they be here long? hushed conversations.
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The Seagull/Uncle Vanya/Three Sisters/The Cherry
Online PDF Plays: The Seagull/Uncle Vanya/Three Sisters/The Cherry Orchard (Methuen), PDF Plays: The Seagull/Uncle Vanya/Three Sisters/The Cherry Orchard (Methuen) Read, PDF Plays: The Seagull/Uncle Vanya/Three Sisters/The Cherry Orchard (Methuen) Download, Free Download Plays: The Seagull/Uncle Vanya/Three Sisters/The Cherry Orchard (Methuen), Plays: The Seagull/Uncle Vanya/Three Sisters/The Cherry Orchard (Methuen) Download Free, Book Plays: The Seagull/Uncle Vanya/Three Sisters/The Cherry Orchard (Methuen) Download, ebook Plays: The Seagull/Uncle Vanya/Three Sisters/The Cherry Orchard (Methuen) Download, Full PDF Plays: The Seagull/Uncle Vanya/Three Sisters/The Cherry Orchard (Methuen), All Ebook Plays: The Seagull/Uncle Vanya/Three Sisters/The Cherry Orchard (Methuen), PDF and EPUB Plays: The Seagull/Uncle Vanya/Three Sisters/The Cherry Orchard (Methuen), PDF ePub Mobi Plays: The Seagull/Uncle Vanya/Three Sisters/The Cherry Orchard (Methuen), read PDF Plays: The Seagull/Uncle Vanya/Three Sisters/The Cherry Orchard (Methuen), book PDF Plays: The Seagull/Uncle Vanya/Three Sisters/The Cherry Orchard (Methuen), read online Plays: The Seagull/Uncle Vanya/Three Sisters/The Cherry Orchard (Methuen), Plays: The Seagull/Uncle Vanya/Three Sisters/The Cherry Orchard (Methuen) Anton Chekhov pdf, by Anton Chekhov #T #, Book pdf Plays: The Seagull/Uncle Vanya/Three Sisters/The Cherry Orchard (Methuen), from Anton Chekhov pdf Plays: The Seagull/Uncle Vanya/Three Sisters/The Cherry Orchard (Methuen), Anton Chekhov epub Plays: The Seagull/Uncle Vanya/Three
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The Bulletin of the North American Chekhov Society Vol
The Bulletin of the North American Chekhov Society Vol. XVI, No. 1 FALL, 2008 Conference Announcement Chekhov on Stage and Page Ohio State University, Columbus, Ohio December 2-4, 2010 In honor of the 150th anniversary of Anton Chekhov’s birth, the Slavic Department at Ohio State University, in conjunction with the North American Chekhov Society, announce an international conference devoted to Chekhov’s work. We welcome proposals for panels and individual papers as well as staged scenes and short plays from US, Canadian, and European scholars, writers and actors. Topics suggested so far include Chekhov and American Fiction (Lyudmila Parts, McGill University), Chekhov on the Pages of His Biographers (Galina Rylkova, University of Florida), and “Writing under the Influence of Chekhov” (Michelle Herman, OSU MFA program). Cinematic stagings of Chekhov (Maria Ignatieva, OSU) as well as interpretations in opera and ballet could be explored. Please contact Profs. Angela Brintlinger and Irene Masing-Delic, Ohio State University ([email protected] and [email protected]) or the NACS board, with your ideas and thoughts. The sooner the program begins to take shape, the sooner we will be able to apply for funding. 2 Editor’s Note This issue features two essays: one on “Poprygun’ia” and the other on Ivanov. Carol Apollonio (Duke University) offers a more complex reading of Chekhov’s story, an interpretation that was first explored in a paper that Carol read at the Chekhov Centennial Conference at Melikhovo in 2004. Then, John McKellor Reid, who is Principal Lecturer in Drama in the School of English and Drama of the University of the West of England, provides a perspective on Chekhov’s play that differs from the angle taken by Bradley Lewis in The Bulletin two issues ago.
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Book 34.2 April 24.Indb
Gabrielle Roy and Chekhov’s “Strange Alchemy” Darlene Kelly St. Th omas More College, University of Saskatchewan Gabrielle Roy, French Canada’s grande dame of letters, won France’s prestigious Prix 189 Fémina for her novel Bonheur d’occasion (1945) and numerous awards at home, par- ticularly Quebec. By a strange twist of literary genealogy, however, she proved to be less inspired by the great French authors of Canada and France than she was by a Russian playwright and short-story writer who had died before she was born. Th e cosmopolitan Roy was open about her mentor: asked which literary work had most infl uenced her, she promptly identifi ed it as Anton Chekhov’s novella Th e Steppe, a story whose “charme secret” from childhood on had changed the way she perceived the world: “Longtemps, longtemps, cette lointaine lecture a pénétré mes pensées, m’a façonné, si je puis dire, une manière de voir, de regarder et de saisir le réel” (Roman canadien-français 303) (“For a long, long time this reading from my distant past had occupied my thoughts, had fashioned, if I may so put it, a way of seeing, of looking at and grasping what was real”).1 She later expressed confusion about just when this fashioning of her perceptions began. A Chekhovian motif that a critic had noted in her fi ction, for example, had its origins not in literature, she argued, but in certain expe- riences that predated her reading of the great Russian author. Her earlier statement that she had read Chekhov in childhood was now declared wrong.
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Week I. Chekhov on His Play
Unfortunately, Chekhov’s innovations were well received by neither directors nor theatergoers. Nor did they receive proper treatment from critics. Chekhov always insisted that he created cheerful, funny short stories and dramas, while critics labeled him a creator of dismal works: “Chekhov’s play makes a hard, if not to say, oppressive impression on the audience” (Sochineniia 13: 449; trans. John Holman); “Three Sisters appears to be a heavy stone on one’s soul” (13: 449; trans. John Holman); “I do not know another work that could ‘infect’ one with such a heavy, obsessive feeling” (13: 449; trans. John Holman). That Chekhov intended his work to be seen as a farce has not yet received a comprehensive evaluation. His first comedy, The Seagull, failed. And no wonder! Spectators who anticipated vaudevillian scenes became extremely angry with the dramatist for misleading them with the subtitle and for representing, instead, a depressing story that ends with the suicide of a main protagonist. The same fate had befallen The Cherry Orchard, a play that was planned to be a farce (as reflected in Chekhov’s letters to his wife, Olga Knipper). In 1901, he wrote to her: “The next play that I am going to write will definitely be funny, at least by its concept” (Sochineniia 13: 478). Critics accused Chekhov of lacking skill; they naturally did not see anything funny about the distressing plays that Chekhov called comedies. But what happened to Three Sisters was even worse. A struggle for the CNT: conservators and innovators. Just as any other innovator, Chekhov suffered for his pioneering changes of the comedic genre, which he unfortunately never discussed in a more logistical way.
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Anton Chekhov: “The Lady with the Dog”
33171 07 0071-0085.ps 4/26/06 12:42 PM Page 71 ANTON CHEKHOV [1860–1904] The Lady with the Dog TRANSLATED BY IVY LITVINOV, N.D. Born the son of a grocer and the grandson of a serf in Taganrog, a sea- coast town in southern Russia, Anton Chekhov (1860–1904) began writing humorous tales to support himself while studying medicine at Moscow University. In 1884 he received his medical degree and pub- lished his ﬁrst collection of short stories, Tales of Melpomene. Other early collections are Motley Tales (1886), At Twilight (1887), and Stones (1888). Besides being a masterful writer of short stories, Chekhov is probably Russia’s most esteemed playwright. In 1898 the Moscow Art Theatre produced his play The Seagull, followed by Uncle Vanya in 1899, The Three Sisters in 1901, and The Cherry Orchard in 1904. Chekhov, known for his sad and subtle exploration of people’s inability to communicate as well as for his humanitarian activities, died at age 44 of tuberculosis, which he had contracted in his student days. I People were telling one another that a newcomer had been seen on the promenade — a lady with a dog. Dmitri Dmitrich Gurov had been a fort- night in Yalta, and was accustomed to its ways, and he, too, had begun to take an interest in fresh arrivals. From his seat in Vernet’s outdoor café, he caught sight of a young woman in a toque, passing along the prome- nade; she was fair and not very tall; after her trotted a white pomeranian.
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