Peasant Wives Anton Chekhov
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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. -
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. -
Matthew Herrald
Trillium Issue 39, 2018 The Trillium is the literary and visual arts publication of the Glenville State College Department of Language and Literature Jacob Cline, Student Editor Heather Coleman, Art Editor Dr. Jonathan Minton, Faculty Advisor Dr. Marjorie Stewart, Co-Advisor Dustin Crutchfield, Designer Cover Artwork by Cearra Scott The Trillium welcomes submissions and correspondence from Glenville State College students, faculty, staff, and our extended creative community. Trillium Department of Language and Literature Glenville State College 200 High Street | Glenville, WV 26351 [email protected] http://www.glenville.edu/life/trillium.php The Trillium acquires printing rights for all published materials, which will also be digitally archived. The Trillium may use published artwork for promotional materials, including cover designs, flyers, and posters. All other rights revert to the authors and artists. POETRY Alicia Matheny 01 Return To Expression Jonathan Minton 02 from LETTERS Wayne de Rosset 03 Healing On the Way Brianna Ratliff 04 Untitled Matthew Herrald 05 Cursed Blood Jared Wilson 06 The Beast (Rise and Fall) Brady Tritapoe 09 Book of Knowledge Hannah Seckman 12 I Am Matthew Thiele 13 Stop Making Sense Logan Saho 15 Consequences Megan Stoffel 16 One Day Kerri Swiger 17 The Monsters Inside of Us Johnny O’Hara 18 This Love is Alive Paul Treadway 19 My Mistress Justin Raines 20 Patriotism Kitric Moore 21 The Day in the Life of a College Student Carissa Wood 22 7 Lives of a House Cat Hannah Curfman 23 Earth’s Pure Power Jaylin Johnson 24 Empty Chairs William T. K. Harper 25 Graffiti on the Poet Lauriat’s Grave Kristen Murphy 26 Mama Always Said Teddy Richardson 27 Flesh of Ash Randy Stiers 28 Fussell Said; Caroline Perkins 29 RICHWOOD Sam Edsall 30 “That Day” PROSE Teddy Richardson 33 The Fall of McBride Logan Saho 37 Untitled Skylar Fulton 39 Prayer Weeds David Moss 41 Hot Dogs Grow On Trees Hannah Seckman 42 Of Teeth Berek Clay 45 Lost Beach Sam Edsall 46 Black Magic 8-Ball ART Harold Reed 57 Untitled Maurice R. -
Short Story, 1870-1925 Theory of a Genre
The Classic Short Story, 1870-1925 Theory of a Genre Florence Goyet THE CLASSIC SHORT STORY The Classic Short Story, 1870-1925 Theory of a Genre Florence Goyet http://www.openbookpublishers.com © 2014 Florence Goyet This work is licensed under a Creative Commons Attribution 4.0 International license (CC BY 4.0). This license allows you to share, copy, distribute and transmit the work; to adapt the work and to make commercial use of the work providing attribution is made to the author (but not in any way that suggests that she endorses you or your use of the work). Attribution should include the following information: Goyet, Florence. The Classic Short Story, 1870-1925: Theory of a Genre. Cambridge, UK: Open Book Publishers, 2014. https://doi.org/10.11647/OBP.0039 In order to access detailed and updated information on the license, please visit https:// www.openbookpublishers.com/product/199#copyright Further details about CC BY licenses are available at http://creativecommons.org/ licenses/by/4.0/ All external links were active at the time of publication unless otherwise stated and have been archived via the Internet Archive Wayback Machine at https://archive.org/web Digital material and resources associated with this volume are available on our website at http://www.openbookpublishers.com/product/199#resources ISBN Paperback: 978-1-909254-75-6 ISBN Hardback: 978-1-909254-76-3 ISBN Digital (PDF): 978-1-909254-77-0 ISBN Digital ebook (epub): 978-1-909254-78-7 ISBN Digital ebook (mobi): 978-1-909254-79-4 DOI: 10.11647/OBP.0039 Cover portraits (left to right): Henry James, Flickr Commons (http://www.flickr.com/photos/7167652@ N06/2871171944/), Guy de Maupassant, Wikimedia (https://commons.wikimedia.org/wiki/File:Guy_ de_Maupassant_fotograferad_av_Félix_Nadar_1888.jpg), Giovanni Verga, Wikimedia (http:// commons.wikimedia.org/wiki/File:Catania_Giovanni_Verga.jpg), Anton Chekhov, Wikimedia (http://commons.wikimedia.org/wiki/File:Anton_Chekov_1901.jpg) and Akutagawa Ryūnosuke, Wikimedia (https://commons.wikimedia.org/wiki/File:Akutagawa_Ryunosuke_photo.jpg). -
The Good Doctor: the Literature and Medicine of Anton Chekhov (And Others)
Vol. 33, No. 1 11 Literature and the Arts in Medical Education Johanna Shapiro, PhD Feature Editor Editor’s Note: In this column, teachers who are currently using literary and artistic materials as part of their curricula will briefly summarize specific works, delineate their purposes and goals in using these media, describe their audience and teaching strategies, discuss their methods of evaluation, and speculate about the impact of these teaching tools on learners (and teachers). Submissions should be three to five double-spaced pages with a minimum of references. Send your submissions to me at University of California, Irvine, Department of Family Medicine, 101 City Drive South, Building 200, Room 512, Route 81, Orange, CA 92868-3298. 949-824-3748. Fax: 714-456- 7984. E-mail: [email protected]. The Good Doctor: The Literature and Medicine of Anton Chekhov (and Others) Lawrence J. Schneiderman, MD In the spring of 1985, I posted a anything to do with me. “I don’t not possible in this public univer- notice on the medical students’ bul- want a doctor who knows Chekhov, sity; our conference rooms are best letin board announcing a new elec- I want a doctor who knows how to described as Bus Terminal Lite. tive course, “The Good Doctor: The take out my appendix.” Fortunately, The 10 second-year students who Literature and Medicine of Anton I was able to locate two more agree- signed up that first year spent 2 Chekhov.” It was a presumptuous able colleagues from literature and hours each week with me for 10 announcement, since I had never theatre. -
Religious-Verses-And-Poems
A CLUSTER OF PRECIOUS MEMORIES A bud the Gardener gave us, A cluster of precious memories A pure and lovely child. Sprayed with a million tears He gave it to our keeping Wishing God had spared you If only for a few more years. To cherish undefiled; You left a special memory And just as it was opening And a sorrow too great to hold, To the glory of the day, To us who loved and lost you Down came the Heavenly Father Your memory will never grow old. Thanks for the years we had, And took our bud away. Thanks for the memories we shared. We only prayed that when you left us That you knew how much we cared. 1 2 AFTERGLOW A Heart of Gold I’d like the memory of me A heart of gold stopped beating to be a happy one. I’d like to leave an afterglow Working hands at rest of smiles when life is done. God broke our hearts to prove to us I’d like to leave an echo He only takes the best whispering softly down the ways, Leaves and flowers may wither Of happy times and laughing times The golden sun may set and bright and sunny days. I’d like the tears of those who grieve But the hearts that loved you dearly to dry before too long, Are the ones that won’t forget. And cherish those very special memories to which I belong. 4 3 ALL IS WELL A LIFE – WELL LIVED Death is nothing at all, I have only slipped away into the next room. -
Lancelot, the Knight of the Cart by Chrétien De Troyes
Lancelot, The Knight of the Cart by Chrétien de Troyes Translated by W. W. Comfort For your convenience, this text has been compiled into this PDF document by Camelot On-line. Please visit us on-line at: http://www.heroofcamelot.com/ Lancelot, the Knight of the Cart Table of Contents Acknowledgments......................................................................................................................................3 PREPARER'S NOTE: ...............................................................................................................................4 SELECTED BIBLIOGRAPHY: ...............................................................................................................4 The Translation..........................................................................................................................................5 Part I: Vv. 1 - Vv. 1840..........................................................................................................................5 Part II: Vv. 1841 - Vv. 3684................................................................................................................25 Part III: Vv. 3685 - Vv. 5594...............................................................................................................45 Part IV: Vv. 5595 - Vv. 7134...............................................................................................................67 Endnotes...................................................................................................................................................84 -
How Much Land Does a Man Need? by Leo Tolstoy
Lesson Ideas English Language Arts 6-12 How much land does a man need? By Leo Tolstoy How much land does a man need? is a short story written by Leo Tolstoy (1828-1910). In the story, Tolstoy reflects critically on the hierarchy of 19th century Russian society where the poor were deprived and the rich stayed wealthy. Personal belongings, property, and other forms of material wealth were measures of an individual’s worth and determined social class. Land shortage was a major issue in 19th century Russia, and in his story, Tolstoy associates the Devil with the main character’s greed for land. How much land does a man need? inspires discussion about the concepts of how greed and both socio-economic inequalities and injustices can contribute to our desire to “have more,” even if it means taking risks. The story also calls into question additional topics that students can apply to their own lives such as how we anticipate and justify the consequences of our actions when fueled by greed or other motivations. Many of these themes serve a double purpose as they are also relevant to building gambling literacy and competencies. After all, being able to identify our own tendencies toward greed can help us pause and perhaps rethink our decisions. And being mindful that we are more than our wealth can release us of the burden of comparing our and others’ financial value. Pahom sets out to encircle so much land that by the Brief summary afternoon he realizes he has created too big of a circuit. -
NCRA Broadcast and CART Captioning Committee Guidelines for CART Captioners (Communication Access Realtime Translation Captioner
Page 1 of 58 NCRA Broadcast and CART Captioning Committee Guidelines for CART Captioners (Communication Access Realtime Translation Captioners) Revised October 2016 Page 2 of 58 Table of contents Mission statement ........................................................................................................................................ 6 Know your consumers .................................................................................................................................. 7 Definitions of hearing loss .......................................................................................................................... 7 Service definitions....................................................................................................................................... 8 Assistive listening devices ........................................................................................................................... 9 Working with sign language interpreters ................................................................................................... 12 CART captioning in the legal setting ........................................................................................................... 14 Ethics......................................................................................................................................................... 14 FAQs for CART in the legal setting ........................................................................................................... -
Duality and Reflections in Stephen King's Writers Alexis Hitchcock
ABSTRACT A Dark Mirror: Duality and Reflections in Stephen King's Writers Alexis Hitchcock Director: Dr. Lynne Hinojosa, Ph.D. Stephen King is well known for popular horror fiction but has recently been addressed more thoroughly by literary critics. While most studies focus on horror themes and the relationships between various characters, this thesis explores the importance of the author characters in three works by Stephen King: Misery, The Dark Half, and The Shining. The introduction gives a background of Stephen King as an author of popular horror fiction and discusses two themes that are connected to his author characters: doppelgängers and duality, and the idea of the death of the author. The death of the author is the idea that an author's biography should not affect the interpretation of a text. Implicit in this idea is the notion that the separation of an author from his work makes the text more literary and serious. The second chapter on Misery explores the relationship between the author and the readership or fans and discusses Stephen King’s divide caused by his split between his talent as an author of popular fiction and a desire to be a writer of literary fiction. The third chapter concerning The Dark Half explores Stephen King’s use of the pseudonym Richard Bachman and the splitting this created within himself and the main character of his novel. The last chapter includes discussion of The Shining and the author character’s split in personality caused by alcohol and supernatural sources. Studying the author characters and their doppelgängers reveals the unique stance King takes on the “death of the author” idea and shows how he represents the splitting of the self within his works. -
Women in Nineteenth-Century Russia: Lives and Culture
To access digital resources including: blog posts videos online appendices and to purchase copies of this book in: hardback paperback ebook editions Go to: https://www.openbookpublishers.com/product/98 Open Book Publishers is a non-profit independent initiative. We rely on sales and donations to continue publishing high-quality academic works. Wendy Rosslyn is Emeritus Professor of Russian Literature at the University of Nottingham, UK. Her research on Russian women includes Anna Bunina (1774-1829) and the Origins of Women’s Poetry in Russia (1997), Feats of Agreeable Usefulness: Translations by Russian Women Writers 1763- 1825 (2000) and Deeds not Words: The Origins of Female Philantropy in the Russian Empire (2007). Alessandra Tosi is a Fellow at Clare Hall, Cambridge. Her publications include Waiting for Pushkin: Russian Fiction in the Reign of Alexander I (1801-1825) (2006), A. M. Belozel’skii-Belozerskii i ego filosofskoe nasledie (with T. V. Artem’eva et al.) and Women in Russian Culture and Society, 1700-1825 (2007), edited with Wendy Rosslyn. Women in Nineteenth-Century Russia: Lives and Culture Edited by Wendy Rosslyn and Alessandra Tosi Open Book Publishers CIC Ltd., 40 Devonshire Road, Cambridge, CB1 2BL, United Kingdom http://www.openbookpublishers.com © 2012 Wendy Rosslyn and Alessandra Tosi Some rights are reserved. This book is made available under the Creative Commons Attribution-Non-Commercial-No Derivative Works 2.0 UK: England & Wales License. This license allows for copying any part of the work for personal and non-commercial -
Toronto Slavic Quarterly. № 43. Winter 2013
TRANSLATION Aleksandr Chekhov In Melikhovo Translated by Eugene Alper This translation came about as the result of a surprise. A few years ago I noticed in amazement that despite the all-pervasive interest in everything and anything related to Anton Chekhov, among the multiple translations of his stories and plays, among the many biographies, research papers, and monographs describing his life in minute details and spliting hairs over the provenance of his characters, amidst the lively and bubbly pond of chekhovedenie, there was a lacuna: a number of memoirs about Chekhov writen by people closest to him were not available in English. Since then I have translated a couple of them—About Chekhov by his personal physician Isaac Altshuller (in Chekhov the Immigrant: Translating a Cultural Icon, Michael C. Finke, Julie de Sherbinin, eds., Slavica, 2007) and Anton Chekhov: A Brother’s Memoir by his younger brother Mikhail, Palgrave Macmillan, 2009, as have other translators, the most recent being Peter Sekirin’s Memories of Chekhov (McFarland, 2011)—but there is still more to be done. The book by Chekhov’s sister Maria, for one, remains unavailable to the English reader. The following translation of a memoir by Chekhov’s older brother Alek- sandr is aiming to place another litle patch over the gap. Aleksandr Chekhov (1855-1913) was an accomplished writer in his own right; although never rising to Anton’s level of celebrity (very few could), his short stories, essays, and articles were published regularly during his lifetime. This memoir—one of several writen by Aleksandr following Anton’s death in 1904—was published in 1911.