The Cherry Orchard

Total Page:16

File Type:pdf, Size:1020Kb

The Cherry Orchard The Cherry Orchard Kelsey Murphy, Steven Colburn, Madison Merlanti, Brendan Alpiner, Ryan McGriff March 23, 2016 Theatre History II - Mbala About Chekhov... -January 29, 1860 (Russia) - July 15, 1904 (Germany). -He was 44. -His father owned a grocery store, very abusive, devout director of a parish choir (hypocrisy ideologies). -His mother was a kind woman, “excellent storyteller.” He attended the Greek School in Taganrog (now called the Chekhov Gymnasium) for 10 years. Meanwhile, his father became bankrupt and moved to Moscow. -While in Taganrog, he sent money through tutoring and short sketches... Humble Writing Beginnings -Chekhov wrote s,all satirical pieces chronicling Russian life under the pseudonym “Man Without a Spleen.” -He got offered a spot to write for one of the most popular newspapers of the time in St. Petersburg, where he became more serious about writing (currently physician). -in 1888, he published his first full work called “Steppe,” which was an autobiographical account of Ukraine through the eyes of a child. -He wrote tragic stories embedded with humor. He then went to curate a sociological study became of fame... As a Dramatist -Chekhov began to specifically dabble in drama by the 1890’s, writing small plays like The Bear. -Most were criticized on first performance. -The Cherry Orchard was one of the last plays written (for a man who brought his house). -It wasn’t until after WW1 that his plays became popular, once translated into English. -He died dramatically of tuberculosis at 44. Play Background ● The Cherry Orchard is the last play by Russian playwright Anton Chekhov. ● Opened at the Moscow Art Theatre on January 17, 1904. ● It was intended as a comedy, and does contain comedic elements, however Stanislavski, the director, insisted on directing the play as a tragedy, although it does employ many elements of farce. ● It is identified as one of Chekhov’s best plays, up there with The Seagull, Three Sisters, and Uncle Vanya. Brief Summary I Act I opens with the businessman Lopakhin and maid Dunyasha waiting for the owners of the Ranevskaya estate: the mistress of the house, Lubov Ranevskaya, her brother Gaev, and daughter Anya. They finally arrive, in the middle of the night, with an assortment of others: the governess Charlotta, the manservant Yasha, a friend named Simeon-Pischik, and other servants. Varya, Lubov's adopted daughter, is there too. Tearful reunions and a general catching-up ensue. Those who stayed home report on the orchard, and those who left report on Paris. The important news items are these: Lopakhin still hasn't proposed to Varya; Lubov lost all her money supporting a scamp; the cherry orchard will definitely be sold to pay their debts; and the elderly servant Fiers is still alive. Summary (cont’d) II Lopakhin has an idea to save their house. He's attached to it because he grew up there, the son of a serf (a peasant working on the land). Lopakhin proposes clearing the land to lease it for summer homes. Neither Lubov nor Gaev can stomach the idea. Just before everyone goes to bed, the student Trofimov enters. He was the tutor to Lubov's deceased young son, and the sight of his face makes her cry for her dead child. In Act II, we're at a picnic in the cherry orchard. Some weeks have passed. The aristocrats arrive with Lopakhin, who is still hatching plans to save the estate. Lubov knows they need to do something, but to her the idea of summer homes is bourgeois and distasteful. Summary (cont’d) III Trofimov enters with Anya and Varya. Pet subjects come up: Varya's engagement; Trofimov's eternal student status; telegrams from Lubov's ne'er-do-well Parisian lover; and the orchard, again and again. A homeless man enters the scene, drunk and singing. He asks for money and Lubov gives him a gold piece, an oversized donation she immediately regrets upon his exit. Everyone leaves, and finally Trofimov and Anya are left alone. Under his influence, she's come to see the orchard differently. It's no longer the magical center of her childhood, but a symbol of the injustice her family afflicted on others. Summary (cont’d) IV Act III is set in August, back at the family estate. Lubov is throwing a party. There are a number of little arguments and discussions. But the main event is the arrival of Lopakhin. He and Gaev have come from the auction of the cherry orchard. Lubov's been on pins and needles waiting to hear what happened. What happened is…Lopakhin bought the estate. The former son of a serf who worked on the estate now owns it. Lubov is crushed, but Anya gently tells her to move on. Summary (cont’d) V Act IV takes place in October, outside the estate. Everyone is moving out, and Lopakhin, no master of sensitivity, offers champagne. Each character says good-bye to the house in his or her way. Anya and Trofimov are excited about the future. Lubov and Gaev are distraught, but trying to keep it together. Lubov is concerned about the elderly servant Fiers: have they taken him to the hospital? Yes, says Anya, he's taken care of. And one last thing: will Lopakhin finally propose to Varya? He won't. Everyone leaves, and after a moment, Fiers enters the stage. He has been forgotten. He lies down and grows quiet. (source: shmoop) Characters Madame Lyubov Andreievna Ranevskaya- The estate/land owner, point in which all character revolves around. Fixed and firmly rooted character Peter Trofimov- student Ayna’s main love interest, strong in reformist political opinions Boris Borisovich Simeonov-Pishchik - Embodiment of irony, role model aristocrat. Despite financial rune spends the whole play doing nothing but talking Anya- Lyubovs daughter, lots of internal strength, listens to Peter's strong political ideas, however may be viewed as dreaming instead of taking it in. Varya- adopted daughter, age 24, can be viewed as being the main reason the family stayed afloat for so long. She is the solid base of the family. Leonid Andreieveitch Gayev - the brother of Madame Ranevskaya, can be viewed as one of the more comedic character. Has an addiction to billiards, tired hard to save his family but lack of willpower prevented him from being successful. Yermolai Alexeievitch Lopakhin- The wealthiest character in the play, but comes from lower social class, worked at the estate at one point. Very driven opposite of the aristocrat. Characters Cont. Charlotta Ivanovna- A governess, highly eccentric, companion of Anya. Does crazy tricks at a party, accepts loss of station in end. Yepikhodov- big source f comedy, clerk who’s very clumsy, nicknamed twenty two calamities. Dunyasha - loves attention, maid, in love with Yasha. Yasha - young servant of the house, manifestation of the new age. Firs – a manservant, aged 87. An aging eccentric, representative of the old times coming to an end! A Stranger – a passer-by who encounters the Gayevs, symbolic represents the new invading the ways of the old. Grisha - sun of Lyubov, drowned in the lake of the orchard years prior, source of much pain and disaster. Themes -MEMORY -NATURE AND NATURALISM Symbolism -TREES -THE CHERRY ORCHARD -THE BREAKING STRING National Theatre Trailer 2011 https://www.youtube.com/watch?v=r2EbZVEXDW0 https://www.youtube.com/watch?v=9uZP6vjLQ5I Historical Context Political -1861, Russian serfs are emancipated -The government made laws to enable peasants to purchase land from nobility -japan declares war on Russia in February 1904. -Japan defeated Russia in battle in May of 1904, and by October Japan had forced Russia to retreat. -The minister of the interior, Vyacheslave Plehve, exercised complete control over the public. -Plehve forbade political assemblies, required written police permission for small social gatherings, and forbad students to walk together in the streets of St. Petersberg. -Plehve is assassinated in July 1904. -political tensions made life very hard for Russian citizens. -middle class started to rise and many nobles lost their wealth and estates Technological/Transportation Advancements -The Trans-Siberian Railroad’s link from Moscow to Vladivostok opened in 1904. This is the longest line of track in the world, spanning 3,200 miles between the two cities. -new transportation leads to more urbanized society -Large plots of land (like the cherry orchard) are broken up into smaller pieces for building and industry -The railroads allowed people of all economic backgrounds to travel and allowed goods to be shipped long distances using much less manpower. -in 1904, German physicists Julius Elster and Hans Friedrich Geitel invented the first practical photoelectric cell, which led to the invention of radio. -Marie Curie discovered radium and polonium in uranium ore in 1904 -these scientific advancements lead to a new age of technology and the simple, rural way of life is slowly being erased Michigan Production!.
Recommended publications
  • Alice Munro and the Anatomy of the Short Story
    Alice Munro and the Anatomy of the Short Story Alice Munro and the Anatomy of the Short Story Edited by Oriana Palusci Alice Munro and the Anatomy of the Short Story Edited by Oriana Palusci This book first published 2017 Cambridge Scholars Publishing Lady Stephenson Library, Newcastle upon Tyne, NE6 2PA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2017 by Oriana Palusci and contributors All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-5275-0353-4 ISBN (13): 978-1-5275-0353-3 CONTENTS Introduction ................................................................................................. 1 Alice Munro’s Short Stories in the Anatomy Theatre Oriana Palusci Section I: The Resonance of Language Chapter One ............................................................................................... 13 Dance of Happy Polysemy: The Reverberations of Alice Munro’s Language Héliane Ventura Chapter Two .............................................................................................. 27 Too Much Curiosity? The Late Fiction of Alice Munro Janice Kulyk Keefer Section II: Story Bricks Chapter Three ............................................................................................ 45 Alice Munro as the Master
    [Show full text]
  • Bulletin of the Center for Children's Books
    ILLINO S UNIVERSITY OF ILLINOIS AT URBANA-CHAMPAIGN PRODUCTION NOTE University of Illinois at Urbana-Champaign Library Large-scale Digitization Project, 2007. THE BULLETIN OF THE CENTER FOR CHILDREN'S BOOKS JULY/AUGUST 1992 VOLUME 45 NUMBER 11 THE UNIVERSITY OF CHICAGO PRESS EXPLANATION OF CODE SYMBOLS USED WITH ANNOTATIONS * Asterisks denote books of special distinction. R Recommended. Ad Additional book of acceptable quality for collections needing more material in the area. M Marginal book that is so slight in content or has so many weaknesses in style or format that it should be given careful consideration before purchase. NR Not recommended. SpC Subject matter or treatment will tend to limit the book to specialized collections. SpR A book that will have appeal for the unusual reader only. Recommended for the special few who will read it. C.U. Curricular Use. D.V. Developmental Values. THE BULtum OF THE CENTER PO CmLDREN'S BOOKs (ISSN 0008-9036) is published monthly except August by The University of Chicago Press, 5720 S. Woodlawn, Chicago, Illinois, 60637 for The Centeor Children's Books. Betsy Hearnm Editor; Roger Sutton Executive Editor; Zena Sutherland, Associate Editor, Deborah Stevenson, Editorial Assistant. An advisory committee meets weekly to discuss books and reviews. The members are Alba Endicott, Robert Strang, Elizabeth Taylor, Kathryn Jennings, and Deborah Stevenson. Reviewers' initials are appended to reviews. SUBSCRI RATES:•oN 1 year, institutions, $32.00; individuals, $27.00; $24.00 per year for two or more subscriptions to the same address; Canada, $39.24. In countries other than the United States and Canada, add $5.00 per subscription for postage.
    [Show full text]
  • 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.
    [Show full text]
  • Personality Development of Grigory Stepanovitch Smirnov in the Bear Drama by Anthon Chekhov (1888): an Individual Psychological Approach
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by UMS Digital Library - Selamat datang di UMS Digital Library PERSONALITY DEVELOPMENT OF GRIGORY STEPANOVITCH SMIRNOV IN THE BEAR DRAMA BY ANTHON CHEKHOV (1888): AN INDIVIDUAL PSYCHOLOGICAL APPROACH PUBLICATION ARTICLE Submitted as a Partial Fulfillment of the Requirements for Getting Bachelor Degree of Education in English Department by: DARMAWAN ROSADI A 320 080 124 SCHOOL OF TEACHING TRAINING AND EDUCATION MUHAMMADIYAH UNIVERSITY OF SURAKARTA 2015 1 PERSONALITY DEVELOPMENT OF GRIGORY STEPANOVITCH SMIRNOV IN THE BEAR DRAMA BY ANTHON CHEKHOV (1888): AN INDIVIDUAL PSYCHOLOGICAL APPROACH Darmawan Rosadi Dewi Candraningrum Titis Setyabudi School of Teacher Training and Education Muhammadiyah University of Surakarta ABSTRACT The object of the research is the drama entitled The Bear by Anthon Chekhov. The major problem of this study is how personality development influences the major character, Grigory Stepanovitch Smirnov, in Anthon Chekhov’s The Bear. It is aimed to analyze the drama based on individual psychological approach by Alfred Adler. The type of the study is qualitative research. There are two data sources that the researcher uses, the primary data sources and secondary data sources. The primary data source is the drama itself and the secondary data sources are any information related to study and other books which deal with the study. The techniques of data collection are documentations and library research. Anthon Chekhov wants to tell that everyone has his own personality developments and ways of overcoming them. In the drama, Smirnov has problem with his personality development. It influences his personality in facing the others people.
    [Show full text]
  • B.A. English Semester IV Paper I: Drama (B) Department of English and Modern European Languages University of Lucknow Contents
    0 B.A. English Semester IV Paper I: Drama (B) Department of English and Modern European Languages University of Lucknow *(Compiled by: Raj Gaurav Verma) Unit-I Social and Intellectual Background Unit-II Henrik Ibsen : *A Doll’s House Unit-III George Bernard Shaw : *Candida Unit-IV J M Synge : *Riders to the Sea Anton Chekhov : *A Marriage Proposal Recommended Readings Modern Drama: A Very Short Introduction by Kirsten E. Shepherd-Barr A Short History of English Literature by Pramod K Nayar A Compendious History of English Literature by R.D. Trivedi A History of English Literature by Edward Albert Contents Social and Intellectual Background Modern Drama Characteristics of Modern Drama Independent Theatre Movement Naturalism Theatre and the Avant-Garde Expressionist drama Problem plays Drama of ideas Shavian comedy Propaganda plays Social drama New Woman Henrik Ibsen : *A Doll’s House George Bernard Shaw : *Candida J M Synge : *Riders to the Sea Anton Chekhov : *A Marriage Proposal Worksheet -Henrik Ibsen’s A Doll’s House Worksheet -George Bernard Shaw’s Candida Worksheet -J M Synge’s Riders to the Sea Worksheet -Anton Chekhov’s A Marriage Proposal 1 Unit I Social intellectual background Modern drama Modern Drama refers to plays written in the 19th and 20th centuries The word "modern" implies current art work, the term "modern drama" is frozen into the historical dramatic movement away from Victorian drama, with its exaggerated and non-realistic characters, to the realistic depictions of psychological, genuine characters depicted in realistic settings. Post- modernism began after WW I, so "Modern Drama" flourished between 1800 and 1914.
    [Show full text]
  • The Seagull(1896)
    Summer 1, 2021 GBS Theatre The Seagull (1896) by Anton Chekhov adapted by Joan Oliver Cast (in alphabetical order) Creative Team Simon Medvedenko Director Ian Bouillion Joan Oliver Eugene Dorn Designer Dylan Corbett-Bader Louis Carver Masha Russian Translator and Literary Advisor Florence Dobson Viktorija Rasciauskaite Boris Trigorin Associate Designer Raphel Famotibe Anita Gander Irina Arkadina Lighting Designer Elizabeth Hollingshead Amy Mae Konstantin Associate Lighting Designer Gabriel Howell Ollie Morrill Paulina Sound Designer Megan Langford Dylan Marsh Nina Cellist Aliyah Odoffin Elizabeth Hollingshead Ilia Shamrayev Movement Coach Samuel Tracy Mixalis Aristidou Peter Sorin Voice and Dialect Coach Benjamin Westerby Deborah Garvey Fight Coach Bret Yount Student Production Team Production Manager Radio Mic Runner Scenic Art Assistants Sam Kelly Abraham Walkling-Lea Jordan Deegan-Fleet Roma Farnell Technical Manager Broadcast Lucinda Plummer Jack Hollingsworth Andrea Scott Spiky Saul Stage Manager Sound Crew Props Maker Rosa Watson Alfie Sissons Pip Beattie Daberechi Ukoha-Kalu Deputy Stage Manager Abraham Walkling-Lea Props Assistants Jaimie Wakefield Isabelle Whitehill Aidan O’Sullivan Sylvia Wan Assistant Stage Manager Construction Project Manager Thomas Fielding Jeff Bruce-Hay (RADA Staff) Show Crew Alfie Sissons ASM 2s Assistant Construction Project Daberechi Ukoha-Kalu Aidan O’Sullivan Manager Abraham Walkling-Lea Sylvia Wan Joel Mansi Thomas Isabelle Whitehill Chief Electrician Scenery Builders Special thanks: Sammy Emmins Alice
    [Show full text]
  • The Wisdom of Anton Chekhov
    Copyright © 2010 by Walter G. Moss THE WISDOM OF ANTON CHEKHOV Table of Contents (with links) CHEKHOV‟S LIFE AND TIMES ................................................................................. 3 Chekhov‟s Early Years and the Women in His Life................................................... 5 Years of Transition, 1886-1891 .................................................................................. 7 The Melikhovo Years, 1892-1898, and Helping Others ........................................... 14 The Moscow Art Theater, Olga, and Yalta, 1898-1904 ........................................... 21 CHEKHOV AND WISDOM ........................................................................................ 29 Chekhov‟s Beliefs and Values .................................................................................. 32 Faith, Hope, and Despair .......................................................................................... 40 Literature, Realism, Comedy, and Tragedy .............................................................. 45 Isolation, Women, Love, Sex, and Marriage ............................................................ 53 Social and Political Views ........................................................................................ 60 Environmental Views................................................................................................ 67 CONCLUSION AND LEGACY .................................................................................. 71 2 THE WISDOM OF ANTON CHEKHOV In his novel
    [Show full text]
  • Metrodogs: the Heart in the Machine
    MetroDogs: the heart in the machine Alaina Lemon University of Michigan Dogs in the Moscow Metro, some say, have evolved a unique sentience: they navigate a human-scaled infrastructure and interpret human motives there. Such assertions about dogs, and encounters with them on public transit, invoke Soviet-era moral projects that wove sentiment (‘compassion’) and affect (‘attention’) through technical dreams: to erase material suffering and physical violence, to traverse the globe and the cosmos, to end wars and racisms. Dogs, after all, helped defeat the Nazis and took part in the space race. In the Metro now, their wags and barks stir debate about access and exclusion, resonating across assemblages of materials and meanings, social connections and signs. MetroDogs invite us to theorize the ways people extend connections in the moment well beyond the here-and-now. Super-smart dog mutants have appeared in Moscow, explaining themselves with gestures. Novosti Rossii, 14 October 2004 Dogs have learned to ride the Moscow Metro escalators. Inhabitants have documented this on the Internet, posting videos of dogs who wait for trains and curl up on car bench seats. Moscow’s leading canine experts stress the dogs’ strategic virtuosity as they slip between car doors just as they slam shut: MetroDogs entertain themselves in quite an original way. They love to jump through the closing doors of electric train cars. Just in time, so that their tails might get pinched! Zoologists say that this striving towardsextremesarisesfromsatiation.Justasitdoesinpeople,incidentally(Komsomol’skaja Pravda, 20 May 2008). For Muscovites, it is an enviable virtuosity: they may know their Metro as the most efficient, most beautiful in the world, but they also know that its automated car doors smash together even before the recording finishes warning passengers (Lemon 2009a).
    [Show full text]
  • Simplicissimus : the German Adventurer / by Hans Jacob Christoffel Von Grimmelshausen ; Translated by John C
    by Hans Jacob Christoffel von Grimmelshausen Simplicissimus,The German Adventurer Translated by JOHN C. OSBORNE With a Foreword by LYNNE TATLOCK Simplicissimus, The German Adventurer by Hans Jacob Christoffel von Grimmelshausen Translated by JOHN C. OSBORNE The GermanWith a Foreword Adventurer by Simplicissimus,LYNNE TATLOCK The German Simplicißimus That is: The Description of the Life of a Peculiar Wanderer Named Melchior Sternfels von Fuchshaim, Including Where and in What Manner He Came into This World, What He Saw, Learned, Experienced and Put Up With Therein; Also Why He Voluntarily Left It. Exceedingly Amusing and in Many Ways Useful to Read. Brought to Light by German Schleifheim of Sulsfort Monpelgart Printed in the Shop of Johann Fillion In the Year 1669. Newfound Press THE UNIVERSITY OF TENNESSEE LIBRARIES, KNOXVILLE Simplicissimus, The German Adventurer © 2008 by Martha Lee Osborne All rights reserved. Newfound Press is a digital imprint of the University of Tennessee Libraries. Its publications are available for non-commercial and educational uses, such as research, teaching and private study. The author encourages the “fair use” of these materials as defined in current U.S. Copyright Law. You may reproduce Newfound Press materials by printing, downloading, or making copies without prior permission as long as the original work is credited. For all other uses, contact: Newfound Press University of Tennessee Libraries 1015 Volunteer Boulevard Knoxville, TN 37996-1000 www.newfoundpress.utk.edu Cover illustration is frontispiece from the 1669 edition, courtesy of the Beinecke Rare Book and Manuscript Library, Yale University. ISBN-13: 978-0-9797292-2-5 ISBN-10: 0-9797292-2-x Grimmelshausen, Hans Jakob Christoph von, 1625-1676.
    [Show full text]
  • Penguin Classics
    PENGUIN CLASSICS A Complete Annotated Listing www.penguinclassics.com PUBLISHER’S NOTE For more than seventy years, Penguin has been the leading publisher of classic literature in the English-speaking world, providing readers with a library of the best works from around the world, throughout history, and across genres and disciplines. We focus on bringing together the best of the past and the future, using cutting-edge design and production as well as embracing the digital age to create unforgettable editions of treasured literature. Penguin Classics is timeless and trend-setting. Whether you love our signature black- spine series, our Penguin Classics Deluxe Editions, or our eBooks, we bring the writer to the reader in every format available. With this catalog—which provides complete, annotated descriptions of all books currently in our Classics series, as well as those in the Pelican Shakespeare series—we celebrate our entire list and the illustrious history behind it and continue to uphold our established standards of excellence with exciting new releases. From acclaimed new translations of Herodotus and the I Ching to the existential horrors of contemporary master Thomas Ligotti, from a trove of rediscovered fairytales translated for the first time in The Turnip Princess to the ethically ambiguous military exploits of Jean Lartéguy’s The Centurions, there are classics here to educate, provoke, entertain, and enlighten readers of all interests and inclinations. We hope this catalog will inspire you to pick up that book you’ve always been meaning to read, or one you may not have heard of before. To receive more information about Penguin Classics or to sign up for a newsletter, please visit our Classics Web site at www.penguinclassics.com.
    [Show full text]
  • Transforming Traditions: Studies in Archaeology, Comparative Linguistics and Narrative
    STUDIA CELTO-SLAVICA 6 Transforming Traditions: Studies in Archaeology, Comparative Linguistics and Narrative Maxim Fomin, Václav Blažek and Piotr Stalmaszczyk (editors) Proceedings of the Fifth International Colloquium of Societas Celto-Slavica held at Příbram, 26-29 July 2010 ABSTRACT Fomin, M., Blažek, V. & Stalmaszczyk, P., eds., 2006. Transforming Traditions: Studies in Archaeology, Comparative Linguistics and Narrative. Proceedings of the Fifth International Colloquium of Societas Celto-Slavica held at Přibram, 26-29 July 2010. Studia Celto-Slavica 6. 212 pp. Łódź. ISBN 978- 83-7525-726-7. This volume contains thirteen articles, ten of which were presented at the Fifth International Colloquium of Societas Celto-Slavica held at Příbram, 26-29 July 2010. The contributions include papers on a range of subjects relating to Celtic and Slavic early and modern linguistic data, their cultural and narrative traditions. In addition to papers on lexical and grammatical parallels between Celtic and Slavic languages, other subjects covered are mythological aspects of Irish narrative tradition, modern Welsh literature and language, and aspects of Breton grammar. The second part of the volume includes invited papers on Russian and Scottish Gaelic paremiology, early Irish pseudo-history and archaeological evidence relating to Celtic presence on the territory of the present day Ukraine. Maxim Fomin, Research Institute for Irish and Celtic Studies, University of Ulster, Northern Ireland Václav Blažek, Department of Linguistics and Baltic Languages,
    [Show full text]
  • The Mercurian Vol. 3, No
    The Mercurian A Theatrical Translation Review Volume 3, Number 2 Editor: Adam Versényi The Mercurian is named for Mercury who, if he had known it, was/is the patron god of theatrical translators, those intrepid souls possessed of eloquence, feats of skill, messengers not between the gods but between cultures, traders in images, nimble and dexterous linguistic thieves. Like the metal mercury, theatrical translators are capable of absorbing other metals, forming amalgams. As in ancient chemistry, the mercurian is one of the five elementary “principles” of which all material substances are compounded, otherwise known as “spirit”. The theatrical translator is sprightly, lively, potentially volatile, sometimes inconstant, witty, an ideal guide or conductor on the road. The Mercurian publishes translations of plays and performance pieces from any language into English. The Mercurian also welcomes theoretical pieces about theatrical translation, rants, manifestos, and position papers pertaining to translation for the theatre, as well as production histories of theatrical translations. Submissions should be sent to: Adam Versényi at [email protected] or by snail mail: Adam Versényi, Department of Dramatic Art, CB# 3230, The University of North Carolina at Chapel Hill, Chapel Hill, NC 27599-3230. For translations of plays or performance pieces, unless the material is in the public domain, please send proof of permission to translate from the playwright or original creator of the piece. Since one of the primary objects of The Mercurian is to move translated pieces into production, no translations of plays or performance pieces will be published unless the translator can certify that he/she has had an opportunity to hear the translation performed in either a reading or another production-oriented venue.
    [Show full text]