Tales of Two Countries
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A Companion to Andrei Platonov's the Foundation
A Companion to Andrei Platonov’s The Foundation Pit Studies in Russian and Slavic Literatures, Cultures and History Series Editor: Lazar Fleishman A Companion to Andrei Platonov’s The Foundation Pit Thomas Seifrid University of Southern California Boston 2009 Copyright © 2009 Academic Studies Press All rights reserved ISBN 978-1-934843-57-4 Book design by Ivan Grave Published by Academic Studies Press in 2009 28 Montfern Avenue Brighton, MA 02135, USA [email protected] www.academicstudiespress.com iv Effective December 12th, 2017, this book will be subject to a CC-BY-NC license. To view a copy of this license, visit https://creativecommons.org/licenses/by-nc/4.0/. Other than as provided by these licenses, no part of this book may be reproduced, transmitted, or displayed by any electronic or mechanical means without permission from the publisher or as permitted by law. The open access publication of this volume is made possible by: This open access publication is part of a project supported by The Andrew W. Mellon Foundation Humanities Open Book initiative, which includes the open access release of several Academic Studies Press volumes. To view more titles available as free ebooks and to learn more about this project, please visit borderlinesfoundation.org/open. Published by Academic Studies Press 28 Montfern Avenue Brighton, MA 02135, USA [email protected] www.academicstudiespress.com CONTENTS CHAPTER ONE Platonov’s Life . 1 CHAPTER TWO Intellectual Influences on Platonov . 33 CHAPTER THREE The Literary Context of The Foundation Pit . 59 CHAPTER FOUR The Political Context of The Foundation Pit . 81 CHAPTER FIVE The Foundation Pit Itself . -
Summer-Folk : Datchniki, Scenes from Life
oet Hore ipiaps; SUMMER FOLK (DATCHNIKI) MAXIM GORKI Richard G. Badger, Publisher, Bosto n LIBRARY 'INIVERSITY OF CALIFORNIA RIVERSIDE VOLUME XVI AUTUMN 1905 NUMBER III ^SUMMER-FOLK* [DATCHNIKI] Scenes from Life By Maxim Gorki Translated from the Russian by Aline Delano DRAMATIS PERSON/E Serguey Vassilievitch Bassoff, Lawyer, 40. Varvara Michailovna, his wife, 27. Kaleria, his sister, 29. Vlass, brother of Bassoff's wife, 25. Piotr Ivanovitch Sussloff, Civil Engineer, 42. Yulia Fillipovna, his wife, 30. Kyrill Akimovitch Dudakoff, Physician, 40. Olga Alekseyevna, his wife, 35. Iakov Petrovitch Shalimoff, Author, 40. Pavel Sergueyevitch Rumin, 32. Marya Lvovna, Physician, 37. Semion Semionytch Dvoetchie [Colon], Susslofs uncle, 55. Nikalay Petrovitch Zamysloff, Bassofs junior partner, 28. Zimin, a student, 23. Pustobaika [Talker], First Watchman, 50. Kropilkin, Second Watchman. Sasha, Bassoff' s Maid-Servant. * Copyright, 1905, by Aline Delano (0 SUMMER-FOLK A woman with a bandaged cheek. Mr. Seminoff. A lady in a yellow gown A young man in a plaid suit ( Theatrical in blue A young lady ( Amateurs A young lady in pink A Cadet A gentleman in a tall hat Scene : A Country place near St. Petersburg. Time : The Present. Act I. A Summer room in Bassofli's country-house. Act II. A Field in front of the house. Act III. A Glade in the Forest. Act IV. Same as Act II. ACT I Bassofs' Country-house. A large room which is both parlor and dining-room. In the rear, to the left, an open door leading to Bassoff's study, to the right, a door into his THEwife's bed-room. -
CREATURES THAT ONCE WERE MEN by MAXIM GORKY
CREATURES THAT ONCE WERE MEN By MAXIM GORKY INTRODUCTORY. By G. K. CHESTERTON. It is certainly a curious fact that so many of the voices of what is called our modern religion have come from countries which are not only simple, but may even be called barbaric. A nation like Norway has a great realistic drama without having ever had either a great classical drama or a great romantic drama. A nation like Russia makes us feel its modern fiction when we have never felt its ancient fiction. It has produced its Gissing without producing its Scott. Everything that is most sad and scientific, everything that is most grim and analytical, everything that can truly be called most modern, everything that can without unreasonableness be called most morbid, comes from these fresh and untried and unexhausted nationalities. Out of these infant peoples come the oldest voices of the earth. This contradiction, like many other contradictions, is one which ought first of all to be registered as a mere fact; long before we attempt to explain why things contradict themselves, we ought, if we are honest men and good critics, to register the preliminary truth that things do contradict themselves. In this case, as I say, there are many possible and suggestive explanations. It may be, to take an example, that our modern Europe is so exhausted that even the vigorous expression of that exhaustion is difficult for every one except the most robust. It may be that all the nations are tired; and it may be that only the boldest and breeziest are not too tired to say that they are tired. -
The Corrigan Brothers
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by University of Birmingham Research Archive, E-theses Repository THE CORRIGAN BROTHERS BY DANIEL WILLIAMS A THESIS SUBMITTED FOR THE UNIVERSITY OF BIRMINGHAM FOR THE DEGREE OF M PHIL B PLAYWRITING STUDIES School of English, Drama and American and Canadian Studies Arts Building University of Birmingham Edgbaston Birmingham B15 2TT 1 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. Abstract The Corrigan Brothers is a full-length naturalistic drama in nine scenes. The play is a personal exploration of the themes of alcoholism and its effects on a family. The style of the play is that of a dark comedy, the humour stems from bathos and trying to overcome a dark situation through use of humour. A reflective essay accompanies the play. The essay sheds some light on the previously mentioned themes, but its main focus is a discussion of theatrical techniques used within The Corrigan Brothers and my own theatrical style. It also includes a discussion of the impact of other writers on the play and my theatrical voice, with emphasis placed on the plays of Harold Pinter and Eugene O’Neill and the novels of Fyodor Dostoyevsky. -
FILM ESSAYS and a Lecture by Sergei Eisenstein Sergei Eisenstein in 1934
FILM ESSAYS and a Lecture by Sergei Eisenstein Sergei Eisenstein in 1934. Photograph by Jay Leyda FILM ESSAYS AND A LECTURE by SERGEI EISENSTEIN edited by JAY LEYDA Foreword by Grigori Kozintsev Princeton University Press Princeton, New Jersey English translation © 1968 by Dobson Books, Ltd.; © 1970 by Praeger Publishers, Inc. Preface and English translation of "The Prometheus of Mexican Painting" copyright © 1982 Princeton University Press Published by Princeton University Press, Princeton, New Jersey All Rights Reserved LCC: 81-47283 ISBN: 0-691-03970-4 ISBN: 0-691-00334-3 pbk. THIS COLLECTION OF TRANSLATIONS Is DEDICATED TO PERA ATASHEVA First Princeton Paperback printing, 1982 Dobson Books edition, 1968; Praeger Publishers, Inc. edition, 1970 Published by arrangement with Praeger Publishers, Inc. Printed in the United States of America by Princeton University Press, Princeton, New Jersey CONTENTS Preface 1 Foreword 7 A Personal Statement 13 The Method of Making Workers' Films 17 Soviet Cinema 20 The New Language of Cinema 32 Perspectives 35 The Dynamic Square 48 GTK-GIK-VGIK; Past—Present—Future 66 Lessons from Literature 77 The Embodiment of a Myth 84 More Thoughts on Structure 92 Charlie the Kid 108 Mr Lincoln by Mr Ford 139 A Close-Up View 150 Problems of Composition 155 Sources and Notes 184 Appendices A. The Published Writings (1922-1982) of Sergei Eisenstein with notes on their English translations 188 B. The Prometheus of Mexican Painting 222 Index 233 PREFACE Before I left Moscow in 1936 Eisenstein prepared a list of the publications in journals and newspapers that he would like drawn upon if some miracle made it possible to publish a collection of his essays in the United States. -
Reminiscences of Leo Nikolaevich Tolstoy Maxim Gorky Translators
Reminiscences of Leo Nikolaevich Tolstoy Maxim Gorky Translators S. S. Koteliansky and Leonard Woolf Reprint of the original 1920 edition. Folcroft Library Editions Folcroft, PA 1977 Published: 1920 REMINISCENCES OF LEO NIKOLAEVICH TOLSTOY BY MAXIM GORKY AUTHORIZED TRANSLATION FROM THE RUSSIAN BY S. S. KOTELIANSKY AND LEONARD WOOLF NEW YORK B. W. HUEBSCH, INC. MCMXX COPYRIGHT BY THE FREEMAN, INC, 1920 COPYRIGHT BY B. W. HUEBSCH, INC., 1920 PRINTED IN U. S. A. These fragmentary notes were written by me during the period when I lived in Oleise and Leo Nikolaevich at Gaspra in the Crimea. They cover the period of Tolstoy's serious illness and of his subsequent recovery. The notes were carelessly jetted down on scraps of paper, and I thought I had lost them, but recently I have found some of them. I include here an unfinished letter written by me under the influence of the "going away" of Leo Nikolaevich from Yasnaya Polyana, and of his death. I publish the letter just as it was written at the time and without correcting a single word; and I do not finish it, for somehow or other this is not possible. M. GORKY. GORKY'S NOTES I THE thought which beyond others most often and conspicuously gnaws at him is the thought of God. At moments it seems, indeed, not to be a thought of God. He speaks of it less than he would like, but thinks of it always. It can scarcely be said to be a sign of old age, a presentiment of death -- no, I think that it comes from his exquisite human pride, and -- a bit -- from a sense of humiliation: for, being Leo Tolstoy, it is humiliating to have to submit one's will to a Streptococcus. -
Creatures That Once Were Men, by Gorky #1 in Our Series, by Maxim Gorky
PGCC Collection: Creatures That Once Were Men, by Gorky #1 in our series, by Maxim Gorky World eBook Library PGCC Collection Bringing the world's eBook Collection Together http://www.WorldLibrary.net Project Gutenberg Consortia Center is a member of the World eBook Library Consortia, http://WorldLibrary.net __________________________________________________ Limitations By accessing this file you agree to all the Terms and Conditions, as stated here. This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.net Here are 3 of the more major items to consider: 1. The eBooks on the PG sites are NOT 100% public domain, some of them are copyrighted and used by permission and thus you may charge for redistribution only via direct permission from the copyright holders. 2. Project Gutenberg is a registered trademark [TM]. For any other purpose than to redistribute eBooks containing the entire Project Gutenberg file free of charge and with the headers intact, permission is required. 3. The public domain status is per U.S. copyright law. This eBook is from the Project Gutenberg Consortium Center of the United States. The mission of the Project Gutenberg Consortia Center is to provide a similar framework for the collection 1 of eBook collections as does Project Gutenberg for single eBooks, operating under the practices, and general guidelines of Project Gutenberg. The major additional function of Project Gutenberg Consortia Center is to manage the addition of large collections of eBooks from other eBook creation and collection centers around the world. -
In the Spring Quarter of 1946 I Returned from the War to Long-Awaited Civilian Life
In the spring quarter of 1946 I returned from the war to long-awaited civilian life. I had no civilian clothes and so had my army khakis died dark blue. My waist was still a trim 29 inches-a measurement never to be seen again. My financial support came from the GI bill, that wonder that allowed new life for returnees and sparked the economy of the country. The amount was not large but offered the chance for what the returning soldier most desired, a home, a wife and babies. This was the start of the baby boom. I registered for Professsor Elliott's famous course on Personality. We met in one of the larger classrooms of Folwell Hall with a group that seemed to number about 70 or more. Elliott looked out on the group and announced that the class was double-numbered and therefore was open to juniors and seniors as well as to graduate students. It would encompass psychological works on personality and would culminate in a paper of graduate dimensions to encompass the life of a hero or heroine of our choice. We were to assemble information to indicate the formation ofthe personality of that person. "The requirements of this class and of the paper will be the same for graduate students and undergraduates." This announcement had the desired effect. The second meeting revealed a class of manageable dimensions. Prof. Elliott occasionally drew upon his own life for examples. He compared the choice points that a person faced to a railway switch. One could make a choice but all too often that was the easiest choice determined by the past already=set experiences-not the road less traveled of Robert Frost. -
A Tribute to Maxim Gorky
Proletarians of all countries—unite! No. 1 March 2007 A Tribute to Maxim Gorky I. Funeral Orations on the Red Square by V. M. Molotov, Alexei Tolstoy, Andre Gide & Gyorgy Lukács II. The Stormy Petrel & Hatred by A. M Gorky III. Gorky’s Proclamation to the French Workers (1906) IV. The Socialist Humanism of Maxim Gorky by Eugenia Knipovich _________________ 2 Maxim Gorky 1868-1936: beginning in his early childhood. Not a few times was he thrown to the depths in Eulogies from his funeral on the Red Square* which many talented and gifted man has perished. For the sake of daily bread, he had to labor much for big and little Translated from the German by S. D. capitalists—as painter, baker, clerk, Kogan stevedore, hired man. V. M. Molotov None of the great writers of our country, ay! and of other countries, knew so On Behalf of the Council of People’s closely the life of “the depths” of the Commissars of the USSR and the people under capitalism. None of them Central Committee of the CPSU personally experienced so much of the ferocity and infamy of the masters and Comrades: exploiters. None of them had even seen with his own eyes so many people Bidding farewell tortured by slave labor and broken under today to Maxim the yoke of capital as our Gorky, in Gorky, we, his whom all this suffering was forged into friends and irreconcilable and revolutionary hatred countless towards the capitalist system, and admiring readers, boundless faith in the liberating power of feel as if some Communism. -
Waiting for the Barbarians: the Magistrate's Identity in a Colonial
International Journal of Humanities and Social Science Vol. 3 No. 10 [Special Issue – May 2013] Waiting for the Barbarians: The Magistrate’s Identity in a Colonial Context Abdullah F. Al-Badarneh Department of English Jerash University P.O. Box 1929 Irbid City (Postal Code 21110), Jordan Abstract This paper puts into analysis the identity of the Magistrate in J. M. Coetzee’s Waiting for the Barbarians from a post-modern perspective. It warns against the terror of colonialism that yields unstable and confused identities such as that of the Magistrate. As the Magistrate spends a long time in the service of the Empire in the colony, his mode of thinking about colonization gets changed especially with the coming of the military Colonel Joll, who represents the aggression and violence of the colonizer. Living in such kind of conflict between his identification with the colonized and his loyalty to the Empire, the Magistrate’s self gets divided and fragmented. Alienation, lack of cultural belonging, and fragmentation are among the post-modern themes this paper analyzes in relation to the Magistrate’s identity. Loss and vagueness are anticipated by the Magistrate to identify the colonial figure in an atmosphere of mess and chaos. Key Words: Postmodernism, colonial identity, fragmentation, hyper-reality, assimilation, conflict, power relations. This article is ultimately dedicated to investigating the Magistrate as a post-modern identity living in a colonial context. The Magistrate establishes his identity in the novel as an intermediary figure between two opposing polemics: the colonizer and the colonized. Though he works for the colonizers and carries out their colonial duties in the unnamed colony, the Magistrate inconsistently appears sympathetic with the natives whom the colonizers usually describe as barbarian. -
Adrian Prokhorov
INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored 01 poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6” x 9” black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. UMI A Bell St Howell information Company 300 North Zeeb Road, Ann Arbor Ml 48106*1346 USA 313/761-4700 800/521-0600 PUSHKIN’S THE TALES OF THE LATE IVAN PETRO VICH BELKIN AND THE LITTLE TRAGEDIES : THEMATIC UNITY IN TWO KEYS DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in the Graduate School of The Ohio State University By Ludmila S. -
Miami1281218845.Pdf (444.5
ABSTRACT NEITHER THIS ANCIENT EARTH NOR ANCIENT RUS’ HAS PASSED ON: A MICROHISTORICAL BIOGRAPHY OF IVAN BUNIN by Zachary Adam Hoffman The life and writings of Russian author Ivan Alexseevich Bunin (1870-1953) provide a number of important insights into the major cultural discourses of late nineteenth and early twentieth- century Russian history. This thesis uses his experiences and literature as well as those of a number of his contemporaries as a guide for examining the larger dialogues of Russian cultural life in which Bunin participated. In particular, it focuses on the question of Russian national identity, responses to the February and October Revolutions, and the role of nostalgia in Russian émigré culture in Russia Abroad. The use of Bunin’s life to explore these themes also demonstrates the ways in which many of these issues carried over from the imperial era to the Soviet era in Russian émigré communities. A microhistorical study of his life thus provides a template for examining these themes within the larger scope of Russian history during this period. NEITHER THIS ANCIENT EARTH NOR ANCIENT RUS’ HAS PASSED ON: A MICROHISTORICAL BIOGRAPHY OF IVAN BUNIN 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 Zachary Adam Hoffman Miami University Oxford, Ohio 2010 Advisor_____________________________________________ Stephen M. Norris Reader_____________________________________________ Robert W. Thurston Reader_____________________________________________ Benjamin Massey Sutcliffe Table of Contents Note on Romanization and Dating iii Acknowledgements iv Introduction 1 Chapter One: The Village 7 Chapter Two: Cursed Days 25 Chapter Three: The Life of Arseniev 44 Conclusion 68 Bibliography 72 ii Note on Romanization and Dating This thesis follows the United States Library of Congress method of romanization for all Russian names and transliterations of original Russian language passages into Latin characters.