324 results on '"Chekhov"'
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2. Metafiction in Anton Chekhov’s 'A Story Without an End'
- Author
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Artur Sadecki
- Subjects
chekhov ,metafiction ,ironic hamlet ,narrative ,evolution ,Slavic languages. Baltic languages. Albanian languages ,PG1-9665 - Abstract
The paper seeks to explore how the metafictional awareness within each character shapes the overall interpretation of “A Story Without an End” (1886) by Anton Chekhov. From this perspective, this short story can be seen as Chekhov’s commentary on his own writing, revealing the path of evolution he would take in the years that followed. The analysis leads to the conclusion that “A Story Without an End” should be regarded as one of the key texts in the author’s creative breakthrough period, since after 1886 Chekhov’s works evolve towards greater artistic challenges and a style that goes far beyond the norms of humorous writing. Original title in Polish: Metafikcja w „Opowiadaniu bez końca” Antoniego Czechowa.
- Published
- 2025
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3. The Symbolism of the Cherry Orchard: Between a Commercial Project, a Manor and a Dacha
- Author
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Maxim V. Skorokhodov
- Subjects
garden ,cherry tree ,chekhov ,tradition ,manor ,dacha ,russian literature ,poetry ,drama. ,Literature (General) ,PN1-6790 - Abstract
The widespread of cherry orchards in different regions of Russia and vaious locations (landowners’ estates, peasants’ plots, inns, cemeteries, Soviet-era dachas, etc.) was reflected in the works of fiction by Russian writers, as well as in their diary entries and epistolary heritage. The article considers the works of Alexei K. Tolstoy, Lev Mey, Anton Chekhov, Ivan Bunin, Boris Zaitsev, Sergey Esenin, Marina Tsvetaeva, and other authors who formed the symbolism of the cherry orchard. Since the cultivation of seedlings and adult trees with skillful but not very burdensome care was commercially effective, the cherry orchard symbolized prosperity and prosperity. The cherry harvest allowed the owners to show their hospitality: they treated their guests to various culinary products made of berries and liqueurs. Thanks to Chekhov, the cherry orchard became one of the symbols of the traditional Russian estate, and its death symbolized the destruction of the conservative world order. Cherry orchards testified to the domestication of the landscape.
- Published
- 2024
- Full Text
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4. 'CRAZY' STORY-TELLING (F. M. DOSTOEVSKY, V. M. GARSHIN, A. P. CHEKHOV)
- Author
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Angelika Molnar
- Subjects
garshin ,dostoevsky ,chekhov ,madness ,narrative ,discourse ,short story and short novel ,motifs and metaphors ,Philology. Linguistics ,P1-1091 - Abstract
Not only the general theme of madness, but also the features of the narrative allow us to compare the Garshin’s "A Red Flower" with "The Dream of a Ridiculous Man" by Dostoevsky and "Ward No. 6" by Chekhov. It turns out that the storytelling process creates similar problems, the solution of which each writer provides in his own way: see personalisation, dual narrative and apparent objectivity. Motifs along with metaphorical constructions (f.e. dream, luminaries, illness) are also have common features. In Dostoevsky's story, the concept of the "fantastic" becomes a form of path to the personal narrative of the subject of the text, who analyzes the story, develops new linguistic and semantic means for the presentation of history, in which laughter-madness is becoming the generative principle. Consequently, both the parable character and the transformation of the short story into a short novel by Dostoevsky are realized, despite the fact that there is a first-person narrator. In "A Red Flower" there is also the mission of saving the world as a "crazy man", but the narrator in the third person and the narrative does not turn into a story-parable. The story seems to reproduce an anecdote about the adventures of the hero. At the same time, the uniqueness of Garshin's work lies in the way the world is renamed "illy", i. e. metaphorical language. In Chekhov's short novel, the metaphorical plan unfolds the comprehension of the hero, giving the corpus of "crazy narratives" a new touch thanks to completely non-random details – reminiscent of Garshin's. As a result of the analysis, it becomes clear that "Ward No. 6" implements the parable beginning, even if it does not unfold into a personal narrative similar to "The Dream of a Ridiculous Man".
- Published
- 2024
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5. Objections and Replies
- Author
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Howard-Snyder, Frances and Howard-Snyder, Frances
- Published
- 2024
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6. Chaliapin
- Author
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Bunin, Ivan, author and Marullo, Thomas Gaiton, translator
- Published
- 2024
- Full Text
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7. Un Regard croisé sur l'attente dans Les Trois Sœurs: En attendant Godot de Lin Zhaohua.
- Author
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Miao, Haiyu
- Abstract
Copyright of Samuel Beckett Today / Aujourd'hui is the property of Brill Academic Publishers and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)
- Published
- 2024
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8. The Brain Disorders Debate, Chekhov, and Mental Health Humanities.
- Author
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Valtonen, Jussi and Lewis, Bradley
- Subjects
- *
MENTAL health , *CREATIONISM , *BRAIN imaging - Abstract
The contemporary brain disorders debate echoes a century-long conflict between two different approaches to mental suffering: one that relies on natural sciences and another drawing from the arts and humanities. We review contemporary neuroimaging studies and find that neither side has won. The study of mental differences needs both the sciences and the arts and humanities. To help develop an approach mindful of both, we turn to physician-writer Anton Chekhov's story "A Nervous Breakdown." We review the value of the arts and humanities as a coequal partner with natural sciences in the creation of a robust mental health humanities. [ABSTRACT FROM AUTHOR]
- Published
- 2023
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9. Evadarea personajelor cehoviene prin religie
- Author
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Dana-Mirela Puia
- Subjects
chekhov ,sacrifice ,Music and books on Music ,Arts in general ,NX1-820 - Abstract
The Escape through Religion of the Chekhovian Characters In a study that involves the interpretation of such complex characters as those in the sphere of Russian writing, I inevitably reached issues like faith, soul, religion, suffering and aspirations. Considering that mysticism underlies the Russian soul, I tried to understand the human dimension of the characters from Chekhov’s plays, “Three sisters”, “Uncle Vanya”, “The Cherry Orchard” and ”The Seagull”. Thus, I analyzed the abyssal Slavic soul through the ideas of Russian mystical school and its representatives, Paul Evdokimov, and Nikolai Berdiaev, starting from the image of Christ in Russian thinking. For Chekhov, one must be faithful or go in search of faith, otherwise, his life will be deserted.
- Published
- 2023
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10. 'ANTI-LULLABY' BY A.P. CHEKHOV 'I WANT TO SLEEP' Irina N. Raikova
- Author
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Irina N. Raikova
- Subjects
chekhov ,short story ,folklore literature ,babysitter girls ,lullaby ,death ,sleep ,Philology. Linguistics ,P1-1091 - Abstract
This article presents the folklorist's view of the famous story by A.P. Chekhov “I want to Sleep” (1988), reveals his biographical and folklore-ethnographic contexts, shows his connection with the social institute of nanny girls and autobiographical memoirs about this experience. Special attention is paid to the deep connection of the story with the tradition of a lullaby, common motifs and images of the author's work and folklore songs are revealed, the so-called “mortal” lullabies – songs with a wish for the imminent death of the baby, the image of his funeral. If in the “mortal” lullabies death was replaced by sleep, then in the story “I want to sleep” the young nurse replaced the baby's sleep with his death, setting such an incredibly high price for the opportunity to sleep soundly. It is suggested that the “mortal” lullabies, having arisen as a magical act of deceiving death, were distributed, supported among hired nannies, responding to their soulful requests. On the other hand, it is concluded that the descriptions of funerals and commemorations are smoothly logically and poetically summed up by adult threats addressed to a child, including deadly ones. A modern parody version of the “scary” lullaby is presented. The analysis once again confirms the special, implicit folklorism as a property of the poetics of the writer's creativity. Chekhov's story is presented as an artistic imitation of an unsuccessful lullaby.
- Published
- 2023
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11. CHEKHOV AND SHOLOKHOV: REGULATED INTERSECTIONS
- Author
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Marina Ch. Larionova
- Subjects
chekhov ,sholokhov ,steppe ,cossacks ,the petcheneg ,the silent don (tikhy don) ,Philology. Linguistics ,P1-1091 - Abstract
Unregulated intersections, according to E.A. Yablokov, are artistic rapprochement of writers not connected to each other biographically. At first glance, the oeuvres of Chekhov and Sholokhov form such an unregulated intersection. However, it is seemingly unregulated, seemingly uncrossed. The article highlights the commonality of writers, who belonged to one ethno-cultural space. The author indicates the consilience of functions of the image of steppe in Chekhov’s short-stories and Sholokhov’s epic novel The Silent Don (Tikhy Don), the similarities and differences when it comes to the writers focus on the Cossacks and related issues. Thus, the comparison of the writers may be both within their typological commonality and genetic succession.
- Published
- 2023
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12. CHEKHOV'S PLAY THE 'THREE SISTERS' AND THE PLAY'S SOUND PALETTE: PROBLEMS OF INTERPRETATION
- Author
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Olga V. Bigildinskaya
- Subjects
chekhov ,three sisters ,remarks ,noises ,music ,sound score of the play ,interpretation ,Philology. Linguistics ,P1-1091 - Abstract
Chekhov's drama “Three Sisters” is the richest of all Chekhov's plays in terms of sound design – despite a number of scientific works devoted to the sound score of the play, it still attracts the attention of researchers in this aspect. Today it seems relevant to consider the sounds, noises, musical fragments of the drama, recorded by the author in the remarks and text, constituting an integral part with the semantic field of the drama. This article shows that the sound concept of the play was carefully thought out by Chekhov in relation to the images he created and the events unfolding in the play – for each act and the play as a whole, and therefore the sound palette of the drama is its integral part and should be read by the directors as part of the author's intention. Examples of sound design of several significant performances in the history of the world theater of different years staged by K.S. Stanislavsky, Vl.I. Nemirovich-Danchenko, A.V. supplementing the article, actualize attention to the sound palette of the play and expand the possibilities of interpreting the Chekhov’s play.
- Published
- 2023
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13. Night, Dream, Nightmare. An Oneiric Reading of Chekhov's Seagull.
- Author
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CIOBOTARI, Călin
- Subjects
DREAMS ,GULLS ,RECOLLECTION (Psychology) ,READING ,SLEEP - Abstract
The present study proposes a reinterpretation of Chekhov's play from the perspective of the relationship the characters have with the night, with sleep, with dreams and nightmares. A very complex oneiric web is created by Chekhov by means of several factors: certain disturbances of temporality, slowness of the movement of the characters, boredom as a background state, drowsiness, insomnia, forgetfulness, identity disorders and so on. [ABSTRACT FROM AUTHOR]
- Published
- 2023
14. PROVINCIJSKI MOTIVI I TEME U DRAMAMA GOGOLJA I ČEHOVA (REVIZOR, GALEB, TRI SESTRE).
- Author
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Koprivica, Marina
- Abstract
Copyright of Journal of Language & Literary Studies / Folia Linguistica & Litteraria is the property of Journal of Language & Literary Studies / Folia Linguistica & Litteraria and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)
- Published
- 2023
- Full Text
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15. On Some Pitfalls and Paradoxes of Comparative Literary Analysis (the Case Study of Anton Chekhov)
- Author
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Olga Tabachnikova
- Subjects
comparative literature ,Chekhov ,ethics ,aesthetics ,Literature (General) ,PN1-6790 - Abstract
The article is preoccupied by the problem of comparative analysis in the case of a writer as elusive as Chekhov, who does not formulate an open ideological message and generally withdraws his authorial voice. It raises the questions of what constitutes true kinship and similarity and highlights the vital importance of discerning above all the aesthetic aspect of the work, its poetics and artistic truth which take precedence over any structural or ideological considerations. To this end, various misconceptions and cases of false kinship are discussed, followed by examples of true continuity. In these examples, a close affinity is demonstrated through proximity of both ethics and aesthetics of the writers in question, and close textual comparisons are conducted. The next category discussed in the article addresses a paradox of simultaneously occurring rejection (or dislike) at one level, and real artistic closeness at another. We conclude by some general remarks on the nature of comparative analysis and offer another demonstration of stylistic proximity between two great writers, whose stylistics turns out to be so close that it is hard to tell them apart. We suggest that such parallels are not accidental, as form is inseparable from content, just as ethics is inseparable from aesthetics, and it is ultimately the artistic truth of the works under comparison that should always be kept strongly in focus.
- Published
- 2023
- Full Text
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16. RUS KÜLTÜRÜNDEN RUS EDEBİYATINA "USADBA" NIN DEĞİŞEN ÇEHRESİ (ANTON ÇEHOV'UN "ASMA KATLI EV"İ ÖRNEĞİNDE).
- Author
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TAN METREŞ, Eda H.
- Abstract
Copyright of Motif Academy Journal of Folklore is the property of Motif Yayincilik and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)
- Published
- 2023
- Full Text
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17. Platonov or bust.
- Author
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Grace, Fraser
- Subjects
SOCIALISTS ,REALISM ,COVID-19 pandemic ,RUSSIAN revolutionaries ,VIOLENCE - Abstract
The author presents a highly personal case for considering Andrey Platonov as the third person of a 'holy trinity' of writers from early twentieth-century Russia. Where Chekhov foresaw huge social upheaval (but died before seeing it) and Gorky staged the beginnings of insurrection, Platonov explores the fallout of the Revolution. The malign impact of Gorky's doctrine of Socialist Realism on Platonov's life and work is tracked. The challenges of adapting Platonov's fiction to the stage are examined, and a case study offered of the new play Bliss, based on 'The River Potudan', which premiered in Platonov's hometown of Voronezh, in June 2019. [ABSTRACT FROM AUTHOR]
- Published
- 2023
- Full Text
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18. NUDA I KARAMAZOWSKI „PUCHAR ŻYCIA” W DRAMACIE NA POLOWANIU ANTONIEGO CZECHOWA.
- Author
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Sadecki, Artur
- Published
- 2023
- Full Text
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19. On Some Pitfalls and Paradoxes of Comparative Literary Analysis (the Case Study of Anton Chekhov).
- Author
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TABACHNIKOVA, OLGA
- Subjects
AESTHETICS ,PARADOX ,COMPARATIVE studies ,KINSHIP ,ETHICS ,COMPARATIVE literature - Abstract
The article is preoccupied by the problem of comparative analysis in the case of a writer as elusive as Chekhov, who does not formulate an open ideological message and generally withdraws his authorial voice. It raises the questions of what constitutes true kinship and similarity and highlights the vital importance of discerning above all the aesthetic aspect of the work, its poetics and artistic truth which take precedence over any structural or ideological considerations. To this end, various misconceptions and cases of false kinship are discussed, followed by examples of true continuity. In these examples, a close affinity is demonstrated through proximity of both ethics and aesthetics of the writers in question, and close textual comparisons are conducted. The next category discussed in the article addresses a paradox of simultaneously occurring rejection (or dislike) at one level, and real artistic closeness at another. We conclude by some general remarks on the nature of comparative analysis and offer another demonstration of stylistic proximity between two great writers, whose stylistics turns out to be so close that it is hard to tell them apart. We suggest that such parallels are not accidental, as form is inseparable from content, just as ethics is inseparable from aesthetics, and it is ultimately the artistic truth of the works under comparison that should always be kept strongly in focus. [ABSTRACT FROM AUTHOR]
- Published
- 2023
- Full Text
- View/download PDF
20. W obliczu choroby — tyfus w opowiadaniach Antoniego Czechowa.
- Author
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NOWAKOWSKA-OZDOBA, JOANNA
- Abstract
Copyright of Slavica Wratislaviensia is the property of Wroclaw University Press and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)
- Published
- 2023
- Full Text
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21. БЕЗОТЦОВЩИНА/БЕЗМАТЕРЩИНА Късните пиеси на А. П. Чехов като цикъл.
- Author
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Димитров, Людмил
- Subjects
MATRIARCHY ,COMMUNITIES ,POVERTY ,GULLS ,MOTHERS ,FATHERS - Abstract
The text attempts to conceptualize the four late plays of A. P. Chekhov – “The Seagull”, “Uncle Vanya”, “Three Sisters” and “The Cherry Orchard”, written between 1895 and 1904, as a cycle. The common places and problems in them are noted with the following regularity: once introduced, a given motif is not limited to the relevant drama in which it appears, but is reinterpreted until it exhausts its possibilities. In this sense, the article suggests the dramatical strategies of the mature Chekhov, betting on themes and characters with serious poetic potential, forming a recognizable, precisely Chekhovian macroplot. The semiotic center in it is fatherlessness, understood not so much as the absence of the father and, respectively, the disintegration of the patriarchal community, but also as destitution, uncertainty, pathlessness, lack of a stable perspective and the related fears for the upcoming – near or more distant – ruin. However, the missing father is not at all compensated by the presence of the mother – on the contrary, the primal matriarchy in which the Russian mythological mentality resides is also denied. [ABSTRACT FROM AUTHOR]
- Published
- 2023
- Full Text
- View/download PDF
22. THE PROCESS OF REVISITING THE CLASSICS IN MATEI VIȘNIEC'S THEATRE. OR ABOUT THE FRAGILITY OF SEAGULLS IN CANONICAL DRAMA.
- Author
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PETCU, IOANA
- Subjects
IN situ hybridization ,THEATERS ,POSTMODERNISM & education ,HUMANITY - Abstract
Dramatic rewritings--adaptations, updates, additions and hybridizations of genres--have the role of dynamizing the literary substrate and framework, often configuring a bridge between history events or episodes through which a society passes across eras. Matei Vișniec deconstructs and recomposes Shakespearean or Chekhovian characters, reworks the material of classical authors' plays in a new form on a seemingly improvised frame, contextualising both hypotext and hypertext. Through these returns, a constant dialogue with memory is operated, with the revitalization and remembrance of important moments in the becoming of a culture, a theatre or an artist. Textual improvisations also show themselves as a way of productive reception. Our analysis1 will focus on texts that go through the process of rewriting the classics of universal literature, from The Chekhov Machinery, to Richard III Will Not Take Place or Scenes from the Life of Meyerhold and Why Hecuba--these are plays that revisit texts and characters, melting them into the mould of the present with tragi-comic, grotesque, derisory accents. In a perspective beyond spatial and temporal landmarks, the playwright creates a palimpsest from fragments about humanity across eras, about the great errors West to East of Europe, and themes that cross literary, theatrical and creative borders. [ABSTRACT FROM AUTHOR]
- Published
- 2023
- Full Text
- View/download PDF
23. Friendship: Perspectives From Two Modern Plays.
- Author
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Rawashdeh, Mohammed A.
- Subjects
FRIENDSHIP ,DOLLHOUSES ,WESTERN civilization - Abstract
From ancient times until the nineteenth century, loyalty, trust, understanding, forbearance, and empathy were only some of the merits one expected to find as the foundation of true friendship in Western culture. For instance, Aristotle insists that friendship must be "reciprocal" and "must involve a wish for the good of the loved one as an end in itself". Any friendship based on personal gains, whether tangible or not, would have been dismissed as false friendship. The transition from the relatively simple life of Aristotle's time and the following centuries to the complex modern age has produced a dramatic change in the Western culture, a change that evidently encompassed the concept of friendship. Whereas the Industrial Revolution initiated a gradual change, shifting the world's economy from an agricultural to an industrial one, the transition from friendships of 'excellence' to friendships of 'utility' and 'pleasure' was rather more accelerated, in the sense that what was viewed as superficial relationships became, over a short period of time, dominant in modern Western culture and recognized as manifestations of friendship. This study explores this cultural change as depicted in two modern dramas-- The Cherry Orchard by Anton Chekhov and A Doll's House by Henrik Ibsen. [ABSTRACT FROM AUTHOR]
- Published
- 2022
- Full Text
- View/download PDF
24. A Metaphor of Freedom or an Allegory of Suicide? 'America' in Dostoevsky’s Works
- Author
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Sergei A. Kibalnik
- Subjects
dostoevsky ,america ,crime and punishment ,demons ,brothers karamazov ,herzen ,chernyshevsky ,chekhov ,gazdanov ,russian socialists ,metaphor ,allegory ,American literature ,PS1-3576 - Abstract
For the Russian socialists, “America” was the promised land — a kind of metaphor of absolute freedom, making possible full self-realization of every person. In Dostoevsky's The Demons, Russian socialists Shatov and Kirillov find their way to America, subsequently break with the ideas of socialism, but nevertheless perish — either as a result of his past (Shatov), or his atheism (Kirillov). It is not without reason that even for Raskolnikov in Crime and Punishment America also means the futility of the exodus for a Russian person who is not free from shame and conscience, and Svidrigailov's expression “to go to America” even turned out to be an allegory of suicide. This symbolism is to a certain extent preserved in Russian literature after Dostoevsky. The article demonstrates this by examples of Chekhov's play The Seagull and Gazdanov's story “Black Swans”. Although plots and images of the Crime and Punishment, Demons and The Brothers Karamazov differ, the similar artistic dialectics is observed in Dostoevsky's last novel, which, according to some researchers, allegedly ends with Dmitry Karamazov's flight to America. Unlike Herzen and Chernyshevsky, “America” in Dostoevsky's works appears not so much as a metaphor of freedom, but rather as an allegory of suicide.
- Published
- 2021
- Full Text
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25. Transnational Indistinctions: Bir Zamanlar Anadolu’da/Once Upon a Time in Anatolia (2011) and Kış Uykusu/ Winter Sleep (2014)
- Author
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Diken, Ebru Thwaites, author
- Published
- 2023
- Full Text
- View/download PDF
26. The Seagull (Reality Chekhov) Chekhov Through the Lens of Reality Television
- Author
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Tsubota, Scott Masao
- Subjects
Theater ,Theater history ,Literature ,Barnstorm ,Chekhov ,Persona ,Realism ,Reality TV ,The Seagull - Abstract
My research examines the works of Anton Chekhov through the lens of realitytelevision as an effective tool for adapting a play for a modern audience. I willaccomplish this by defining what a Reality Persona is and demonstrate examples ofan accessible exploration of Chekhov’s realism. In this paper, I will discuss myproduction, The Seagull (Reality Chekhov), an adaptation of Anton Chekhov’s TheSeagull, and how I modified Chekov’s original play through the eyes of realitytelevision. My research examines adaptations of theatrical texts that are successfulwhen a modern lens is used, why culturally conscious dramaturgy benefits casting,and provides a safe and exciting acting method for performers in Chekhov’s plays.
- Published
- 2023
27. 'A Lady with a Lapdog': A Breakdown of Orthodoxy
- Author
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Vera K. Zubareva
- Subjects
chekhov ,“the lady with the dog” ,faith ,sin ,freedom/ unfreedom ,spitz ,Philology. Linguistics ,P1-1091 - Abstract
This article provides a historical perspective on the famous Chekhovian story that has been previously viewed only as a story of love with the main focus on characters’ psychology. The new approach refers to a historical climate in Russian in the end of 19 century when religion lost its primary value. The conflict between the main characters is interpreted as a conflict between religious and secular mentality. Chekhov talks about a tendency of changing values in society, when the natural man’s mentality dominates the sacramental sphere, declares its morality false, ridiculous and even harmful. Gurov cannot understand Anna Sergeevna’s repentance, because he gravitates towards the progressive pole. The institution of marriage is not sacred for him, and, like for many of his contemporaries, a church wedding ceremony is no more than just a beautiful ritual. Just as another Chekhovian character, Voinitsky, Gurov doesn’t consider cheating on a spouse a great sin. He is a man of modern tendencies. For him, God is an abstract, mythical, speculative, philosophical concept not applicable to his own life that he lives in accordance with the tendencies of a secular society. Critics often associate the image of the dog with Anna Sergeevna, but in reality it is connected rather to Gurov. First of all, the sex of the dog is male, not female (Spitz is a male). Also, in the story, the dog loves his owner, Anna Sergeevna, but he could never understand the reason for her sadness. In the same way, Gurov, though being in love with Anna Sergeevna, would never understand fully what makes her so upset.
- Published
- 2021
- Full Text
- View/download PDF
28. Cultural Universals in A.P. Chekhov and I. Temerken’s Short Stories: Genetics and Typology
- Author
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Viktoriya V. Kondrateva and Marina Ch. Larionova
- Subjects
temerken ,chekhov ,“steppe” short stories ,“counter courses” ,Philology. Linguistics ,P1-1091 - Abstract
For a long time Hungarian literature has been influenced by Russian literature. A.P. Chekhov’s works have been drawing a specific interest among Hungarian readers. In this regard, the question about genetic and typological ties between Russian and Hungarian literature arises. The issue in the article is considered on the example of the short story “Ferko” by the Hungarian writer, ethnographer and folklorist Istvan Temerken and the “steppe” works of A.P. Chekhov. For many Hungarian writers Chekhov’s literary works became a model which they relied on during the search of new art forms. I. Temerken grew up in a steppe region of Hungary and the “steppe” theme was especially close to him. The story “Ferko” is written in Chekhov’s manner. The place of the action is the steppe, the main character is a boy, as if separated from everyone who is next to him, the image of the road and a number of other elements of the art world of the short story allow you to notice strong similarities in the story “Ferko” and “steppe” works of Chekhov (especially in the story “Steppe”). However, Temerken could not read “Steppe” translated into Hungarian, since the story was translated after the writer’s death. It means that apart from a direct orientation to the Chekhov’s style and poetics, there should be something in the field of typological rapprochement of cultures, which explains this similarity. A.N. Veselovsky called this phenomenon “counter courses”. And modern researchers explain then as archetypes or cultural universals common to all cultures. In the works of Temerken and Chekhov such are the images of a child, steppe, sun, etc.
- Published
- 2021
- Full Text
- View/download PDF
29. ДРУГАТА РУСКА ТРОЙКА. СЛУЧАЯТ ДОСТОЕВСКИ.
- Author
-
Димитров, Людмил
- Subjects
RUSSIAN literature ,NINETEENTH century ,ARCHETYPES ,METAMORPHOSIS ,HOLINESS ,PARODY - Abstract
This text attempts to trace a hidden archetype in nineteenth-century Russian literature and how it works in Dostoevsky. As much as there is a lot of space in the metaliterature of the Russian troika, understood as a horses driving and its symbolic metamorphosis of a bird-trio in Gogol, the emphasis here is on the topic, which I can call the “other Russian troika (trio)”. It is about the presence of an almost sacred three-dimensional character, who at one point is attacked and overturned against his presumption of holiness by a fourth demonological hero and a serious battle for his re-sacralization is imminent. Set by the three Baroque witches in Shakespeare's “Macbeth”, led by Hekate, this model was first tested in nineteenth-century Russian literature by Pushkin in “A Tale of Tsar Saltan”, and then in two stages, feminized and masculinized, developed by Dostoevsky in “The Idiot” and “The Karamazov Brothers”, respectively, and finally finds its triumphant ending in Chekhov's “Three Sisters”, whose character system parodies that of “The Idiot”. Why is Dostoevsky such an important link in the listed paradigm? [ABSTRACT FROM AUTHOR]
- Published
- 2022
- Full Text
- View/download PDF
30. Comparative Analysis of Flash Fiction by A.P. Chekhov and J. Joyce: The Narrator and the Main Character in the Structure of Narrative.
- Author
-
Baisarina, Z. S., Malikova, A. M., Denisova, O. I., Ulianishchev, P. V., Mussaui Ulianishcheva, E. V., and Bogatyreva, S. N.
- Subjects
NARRATORS ,OMNISCIENT narration - Abstract
The article presents a comparative analysis of the relationship between the narrator and the main character in the structure of flash fiction by A.P. Chekhov and J. Joyce. The authors conclude that there are typological similarities in the relationship between the narrator and the main character in the flash fiction of A.P. Chekhov and J. Joyce. This was influenced by the global trend in literature at the turn of the 20th century, according to which the role of the author as an omniscient and omnipresent demiurge of the fictional world started to wane. The paper puts forward that the unique entwinement of the narrator's and the main character's voices in A.P. Chekhov's and J. Joyce's short stories is the main structural-constructive factor of the free indirect speech and contributes to revealing the subtle creative substance of the works. [ABSTRACT FROM AUTHOR]
- Published
- 2022
- Full Text
- View/download PDF
31. A Walk into the Depth of the Garden (about One Metaphor in the Play ‘Uncle Vanya’ By A. Chekhov)
- Author
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Natalya M. Shcharenskaya
- Subjects
chekhov ,‘uncle vanya’ ,chekhov’s language ,poetic style ,metaphor ,Philology. Linguistics ,P1-1091 - Abstract
The metaphor «depth of the garden» introduced in the stage direction of the first act of «Uncle Vanya» is analyzed. It is proved that both entities of the genitive metaphor have a metaphoric meaning. The metaphoric meaning of the lexeme ‘garden’ is connected with units of legal semantics. The lexeme ‘depth’ is connected with water metaphors in the text. ‘The depth of the garden’ points to the degree of Serebryakov’s doomness in his search for God’s mercy, which is depicted through water images. The analysis of the metaphor with its complex relations, including phonetic ones, demonstrates Chekhov’s poetic style, that gives the word specific weight and lends the language a leading role in depicting the world. A fragment of the world – Serebryakov’s walk in the garden – looks like predestination of professor’s fate, made up of his missteps.
- Published
- 2020
- Full Text
- View/download PDF
32. 'Uprooted:' Anton Chekhov’s Influence on Frank O’Connor
- Author
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Pellérdi Márta
- Subjects
o’connor ,chekhov ,modernism ,realism ,naturalism ,irish short story ,Philology. Linguistics ,P1-1091 - Abstract
Thus far perhaps the most acclaimed Irish practitioner of the short story, Frank O’Connor, attributes a lasting influence to Russian author Anton Chekhov when he considers the direction that the modern Irish short story was to take in the twentieth century. In The Lonely Voice: A Study of the Short Story (1963), O’Connor emphasized two particular themes in Chekhov’s short fiction that influenced his own stories: on the one hand, a preoccupation with loneliness; on the other, a belief that venial sin, or the adoption of a false personality, was “far more destructive” than mortal sin itself. In other writings, he expressed an interest in narrative technique and structure as he found them in Chekhov’s stories. The article explores O’Connor’s “Uprooted” from his collection Crab Apple Jelly (1944), a story about displaced intellectuals. My reading illustrates how the Irish writer was not only adopting Chekhov’s themes but was also experimenting with Chekhov’s character types and narrative techniques, particularly as found in the Russian author’s story “The Lady with the Dog.” At the same time, O’Connor developed a distinctly individual technique of his own within the Irish realist/naturalist short story tradition, making a lasting impact on the art of the modern Irish short story. Unlike his displaced Irish characters in “Uprooted,” he prefers to remain faithful to this tradition.
- Published
- 2020
- Full Text
- View/download PDF
33. CHEKHOV - OUR CONTEMPORARY
- Author
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Almir Bašović
- Subjects
chekhov ,nature ,cube ,sphere ,stage ,dramatic space ,History of scholarship and learning. The humanities ,AZ20-999 - Abstract
This text deals with Chekhov’s questioning of the conventions of the stage observed as a box and his insistence on Nature as an important element of the dramatic space. Through the example of five of Chekhov’s great plays it shows the developmental journey of his plays, bearing in mind the place that Nature occupies in them. This journey could be treated as a path from the principle of representation based on the cube to the alternative principle based on the on the sphere, as suggested by Étienne Souriau. In this argument we can find reasons to proclaim Chekhov our contemporary.
- Published
- 2020
34. Intertexte et métathéâtre dans les pièces d’inspiration tchékhovienne de Matéi Visniec / Intertext and metatheatre in Matéi Visniec’s plays inspired by A. P. Chekhov’s dramatic works
- Author
-
Nicoleta Popa Blanariu
- Subjects
intertextual ,poetics ,metatheatre ,visniec ,chekhov ,Language and Literature - Abstract
Beyond their psychological realism and questionable symbolism, some of A. P. Chekhov’s plays also manifest a self-referential and metadramatic/ metadramaturgical component of implicit theatrical po(i)etics. This is an aspect rather ignored by Chekhov’s critics and linked to the crisis which, according to Peter Szondi, occurs in European drama around 1880. Matéi Visniec draws attention to it and exploits it in his own creation, in plays such as “La machine Tchékhov” [The Chekhov Machine], “Nina ou De la fragilité des mouettes empaillées” [Nina or About the Fragility of Stuffed Seagulls], in close connection with the postmodern preference for intertextual and self-referential writing.
- Published
- 2020
- Full Text
- View/download PDF
35. 'For What Purposes are they Suffering and for What are they Living'. Again on the Teleological Paradigm of Chekhov’s World
- Author
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Aleksey D. Semkin
- Subjects
teleological model ,meaning of existence ,goal ,model «anchor» ,model «vector» ,«field man» ,chekhov ,Philology. Linguistics ,P1-1091 - Abstract
It is considered the paradigm of teleological models, attempts to answer the eternal question about the meaning and purpose of existence in Chekhov’s. It is introduces the concepts of «anchor model» (justification of life by simplifying it by forcing the introduction of meaning), «model vector» (general aspiration towards meaningful life) and «field man» (according to Chekhov’s ideology, a true sage walking between the poles «there is a sense» and «there is no sense»).
- Published
- 2020
- Full Text
- View/download PDF
36. Concept of 'Shame': Chekhov’s Characters
- Author
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Elena N. Petukhova
- Subjects
chekhov ,character ,shame ,conscience ,truth ,feeling ,reason ,state ,Philology. Linguistics ,P1-1091 - Abstract
The feeling of «shame» of Chekhov’s characters does not always coincide with the one which author means. Characters in Chekhov’s stories have different reasons for the feeling. They also experience it with different intensity levels. Lexis for the concept of «shame» is rarely verbalized in the text, this emotional state is conveyed by external evidence, behaviour, perception of an environment. Besides, the author distinguishes shame from awkwardness and a state of confusion, that is why lexis which denotes the concept of «shame» is not a synonymic one, as it is always broadly interpreted. In a number of Chekhov’s characters painful feeling of shame awakes conscience, leads to the insight and broader views on a situation and himself. In Chekhov’s stories, as in ones of his classic forerunners, only a person gifted with a moral feeling can experience shame. However, before Chekhov’s works the concept of shame was not such a characteristic feature, but in his stories presence of this feeling as well as its absence is of a great importance for the character. In Chekhov’s stories the concept of «shame» correlates not with the idea of «recovery of a lost person», original sin, or idea of one’s duty, but with the idea of right or wrong overviews, feelings and acts of a character and a society.
- Published
- 2020
- Full Text
- View/download PDF
37. World of Deacon Pobedov in Chekhov’s Novel «The Duel»: Laughter, Dialogue, Space
- Author
-
Edgar G. Manukyan
- Subjects
chekhov ,«the duel» ,deacon pobedov ,laughter ,dialogue ,space of nature ,Philology. Linguistics ,P1-1091 - Abstract
This article deals with the study of the phenomenon of laughter, which is an important component and feature of the character of deacon Pobedov in Chekhov’s novel «The Duel». The deacon’s laughter, as a reaction to the words and actions of other characters, implements in dialogues when Pobedov acts as an observer of the act of communication. In this context, laughter should be considered as an assessment of a communicative event. The study shows that the deacon, being in the space of nature, loses laughter as a positive reaction. In this space, the deacon, on the one hand, in the internal dialogue acts as a dreaming and reflecting person, and, on the other hand, a person experiencing feelings of fear, despair, and excitement.
- Published
- 2020
- Full Text
- View/download PDF
38. 'Mermaids' Theme in A. P. Chekhov’s Short Stories «Trouble» and 'Nervous Breakdown'
- Author
-
Anna A. Zubanova and Marina Ch. Larionova
- Subjects
chekhov ,folk culture ,mermaid ,«trouble» ,«nervous breakdown» ,Philology. Linguistics ,P1-1091 - Abstract
Short stories «Trouble» and «Nervous Breakdown» have social and psychological issues. However, as it often happens in A.P. Chekhov’s works, it is realized with the involvement of a folk culture language with which it creates the basis for its national identity. A folklore image of a mermaid and concepts related to it have an important role in these realistic short stories. The image, being constructive in both cases, appears in different forms and performs different functions. In the first case, the mermaid creates an associated field of indifference, devastation. In the second – temptation, fall, seduction.
- Published
- 2020
- Full Text
- View/download PDF
39. 'Classic Theatre' as Media Against Trump: Imagining Chekhov
- Author
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Tulloch, John, Happer, Catherine, editor, Hoskins, Andrew, editor, and Merrin, William, editor
- Published
- 2019
- Full Text
- View/download PDF
40. РАССКАЗ А.П. ЧЕХОВА «ВОЛК»: ИСТОРИКО-МЕДИЦИНСКИЙ И АРХЕТИПИЧЕСКИЙ АСПЕКТЫ.
- Author
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КОНДРАТЬЕВА, Виктория Виктор&
- Abstract
The plot of A. P. Chekhov's story "The Wolf" (in the first edition the story was called "Hydrophobia (A true story)") is associated with the frequent facts of wolves attacking people in the 80s of the XIX century in the central part of the country (it is not by chance that this period of tragic cases of contact with wild animals was called an epidemic).The time of writing the story from March to December 1886 is not accidental, since the discovery of the rabies vaccine in the laboratory of Louis Pasteur and its successful testing occurred about a year before the writing of "Hydrophobia (A true story)" in 1885; and in the year the story was created, the first Pasteur stations in Russia were opened. The paramount aspect of a plot of the work by A. P. Chekhov is connected with the field of psychology. Fear, which takes possession over the character, the landowner Nilov, is a psychological phenomenon in the medical sense and leads to an understanding of the fact why Chekhov needs an emphasis on the wolf in the title of the second edition of the story. The image of a wolf with its archetypal component plays a fundamental role in recreating a clinically accurate picture of fear. The real clash with a real wolf, becomes a reflection of the fight with the "mental wolf," with its own fears. The writer is interested not as much in the existential side of the phenomenon of fear, as in the psychological one. And the image of a wolf with its archetypal component plays a fundamental role in recreating a clinically accurate picture of fear. [ABSTRACT FROM AUTHOR]
- Published
- 2022
- Full Text
- View/download PDF
41. The Mother Figure in Chekhov's Dramaturgy.
- Author
-
Nikitas, Zafiris
- Abstract
The article examines the construction of the mother figure in Chekhov's dramaturgy. In his four major plays the playwright creates diverse mother characters that reflect psychological tendencies and socioeconomic factors. These characters are central in the family dynamics of the plays and influence the actions and emotions of the other characters. Themes of love, success, loss and memory prevail in the interpersonal discourse. In The Seagull Arkadina is a dominant mother in an antagonistic relationship with her son. The Russian literary type of the "superfluous man" inspires the creation of Treplev in a play where the Oedipus Complex becomes an illuminating lens. In Uncle Vanya, Vanya is an emasculated son who renegades (temporarily) to claim (unsuccessfully) his masculinity. His mother admires her son-in-law, not her son. In Three Sisters, Natasha is a possessive mother that usurps a house for herself and her children. Her pragmatism supersedes the dreamy illusions of the three sisters. In The Cherry Orchard, Ranevskaya functions as a frivolous mother governed by her fluid emotions. She leaves her daughters behind in favor of a lover, burdened by the loss of her son. Chekhov creates complex mother portraits that spark the dramatic tension of his plays. [ABSTRACT FROM AUTHOR]
- Published
- 2022
42. LAS CANCIONES (2019), DE PABLO MESSIEZ: TEATRO, MÚSICA Y POESÍA, CON CHÉJOV DE FONDO.
- Author
-
Laín Corona, Guillermo
- Subjects
PSYCHOLOGICAL burnout ,POETRY (Literary form) ,CONCERTS ,SISTERS ,AESTHETICS - Abstract
Copyright of Acotaciones: Investigación y Creación Teatral is the property of Real Escuela Superior de Arte Dramatico and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)
- Published
- 2022
- Full Text
- View/download PDF
43. Brian Friel: Ireland's Chekhov.
- Author
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Jones, Nesta
- Subjects
DRAMATURGES ,DRAMATISTS ,ACQUISITION of translations - Abstract
Brian Friel acquired the appellation 'Ireland's Chekhov' or the 'Irish Chekhov' during the 1970s when critics began to comment on similarities in their respective dramaturgies. Here Friel's 'affinities' with Chekhov are outlined through his several observations on the playwright; a brief examination of three of his own plays with Chekhovian echoes and resonances; the consideration of his 'translations' of major plays described as "after Chekhov"; and an introductory appraisal of an original piece where Friel invents a fictional 'afterlife' meeting for two of Chekhov's characters from different plays. [ABSTRACT FROM AUTHOR]
- Published
- 2021
- Full Text
- View/download PDF
44. Teffi's Theatrical Work and the Influence of Chekhov.
- Author
-
Stelleman, Jenny
- Abstract
Teffi's theatrical work has not been investigated to any great extent. As Teffi was dubbed the 'female Chekhov', I aim to explore similarities with Chekhov's dramatic work by comparing two of her early miniatures with two Chekhov vaudevilles in order to find out how he may have influenced her and where instead she seeks her own way. A more general analysis of an early full-length Teffi drama coupled with a comparison of that work with the features of Chekhov's major dramas are offered as a conclusion. [ABSTRACT FROM AUTHOR]
- Published
- 2021
- Full Text
- View/download PDF
45. ЧЕХОВСКИЕ ГЕРОИ В РАССКАЗАХ СОВРЕМЕННЫХ РУССКИХ ПИСАТЕЛЕЙ.
- Author
-
Хуссейн Али Кудх, Аль Шувайли
- Subjects
ENTERTAINERS ,PRODUCTIVE life span ,SCHOOL principals ,EVERYDAY life ,CONTINUITY - Abstract
Copyright of Larq Journal for Philosophy, Linguistics & Social Sciences is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)
- Published
- 2021
46. The film and the theater of panpsychism in 'Letters About the Theater' of L.N. Andreyev
- Author
-
Đuričić Mila D.
- Subjects
andreyev ,the seventh art ,drama ,xx century ,chekhov ,theater ,drama games ,Language and Literature - Abstract
In our research, we saw that Andreyev's assumptions were fulfilled - the film perfected the technique of depicting the action and the scene. The truth theater has replaced the incomprehensible naturalist theater with the new viewer. Enchanted theater is what makes everyone involved in a play - the writer, the stage, the theater and the audience. New Age viewers have to play offstage. In order for viewers to participate in a play, it must be responsive to new challenges - a more developed intellect, which gives the theater a representation of "intellectual experiences", or as Andreyev puts it: "the time of the drama of the Word has come. The body is surrendered to the film, and the soul and thought to the theater. (…) there is the subtlest crack of survival, almost like a dream of the soul, projection into the fourth dimension…" In further research into this topic it would be interesting to examine the extent to which today's participants in the drama of the Moscow Art Theater (the Hudozhestveny Theater) follow Andreyev's conception, as well as to look at the pro et contra views of contemporary playwrights on the theater of panpsychism.
- Published
- 2020
- Full Text
- View/download PDF
47. The Social Question in 'The Proposal' by Anton Chékhov
- Author
-
Frédéric-Gaël Theuriau
- Subjects
Chekhov ,comedy ,nobility ,peasantry ,social question ,Literature (General) ,PN1-6790 - Abstract
The article focuses on social and economic connotations of Chekhov’s The Proposal placing them against the context of the post-reform 19th century Russia. It examines the aspects of social and economic life of peasants who after the 1861 Emancipation Manifesto, were forced to become wage workers, and later urban proletariat because the landowners had maintained their land property. However, aristocracy, too, had to adapt to the new social and economic conditions; the main class of the Russian society was undergoing existential crisis. The article discusses how contractual relations among gentry, owners of small or medium-size estates, effected their living conditions and became fateful for the slowly fading class. Landowners’ struggle for survival in harsh social conditions is the key to the understanding of the conflict in Checkov’s play, polysemantic nature of the “proposal,” and lyrical humor of the “social comedy”. The essay argues that the conflict described in the play stems from a verbal agreement on the land ownership between the characters’ ancestors. The play is farcical because the dispute over the land has no rational or documentary grounds but bears on the idea of appropriation.
- Published
- 2019
- Full Text
- View/download PDF
48. A.P.Chekhov’s Plays in Experimental Theatre of Sаlakh Alkasab (Iraq)
- Author
-
Abdulasis Yassin Abbaskhilmi
- Subjects
chekhov ,plays ,alkhasab ,experimental theory ,iraq ,Philology. Linguistics ,P1-1091 - Abstract
In the process of professional theater formation in Iraq the choice of translated plays for the stage was of a great importance. A.P.Chekhov became one of the most favorite Russian playwrights in the Arab countries. During the previous century practically all Chekhov’s plays were staged by Iraqi theatre parties. Salakh Alkasab, the creator of Iraqi experimental “theatre of visual perception”, also staged his plays. This type of theatre in general is based not upon dialogues, but upon spectacular and peculiar performances, distribution of author’s and director’s ideas between artificially created characters. Here the thing, which is called Chekhov’s “underlying theme” by Russian scientists, is bared and put on the stage. It resulted in a great difference between Chekhov’s text and the text of the performance. The director put away characters, substitutes cues for actions. In the play “The seagull” S.Alkhasab concentrated on the love-line Treplev – Nina and on the confrontation between Treplevinnovator and his mother. In the play “Uncle Vanya” characters are placed not in the space of the manor, but in the ward. In “Three sisters” artistic space has become dominating category in the play. The director uses symbolic language, for instance, he puts Destiny on the stage. At the heart of performance there is tendency to show Chekhov’s innovations. Iraqi critics have ambiguous thoughts about S.Alkhasab’s performances.
- Published
- 2019
- Full Text
- View/download PDF
49. Unchildish Childish Stories by A. P. Chekhov
- Author
-
Elena N. Petukhova
- Subjects
chekhov ,children ,adults ,attitude ,peace ,perception of the world ,suspension ,norm ,Philology. Linguistics ,P1-1091 - Abstract
Chekhov’s stories about children should not be considered as childish. In these stories questions and problems which are typical of Chekhov’s works are raised. And these problems turn out to be even tragic because they concern the most unprotected people – children. Chekhov does not connect humane feeling which distinguishes children’s image with idealization and tender emotion, their images are not entered in stereotype “infant”. Childhood is described from different sides in Chekhov’s stories: it is child’s world itself with its happiness and misfortunes, it is also child’s world which contacts with the world of adults, adult world and children’s perception of adults, interrelations between children and parents marked by A.P. Chekhov with communicative failure which takes place because of adults. Opposition of something natural, clear to something burdened with prejudice, “rules” and stereotyped views on the world shows falsity and “abnormality of the norm” of world order, its unhappiness. It is “hard to be child” in such kind of the world. Chekhov does not affirm its total conformity to reality. Child’s perception is narrowed and superficial, but contact with it evidently shows distortion primary and elementary norms of human contacts and behavior. In a number of stories, starting with the earliest ones, A.P. Chekhov used the method of deprivation in which elements of Chekhov’s peculiar way of narration “in manner and tone of the hero” are obvious.
- Published
- 2019
- Full Text
- View/download PDF
50. Performing the Literal: Translating Chekhov’s Seagull for the Stage
- Author
-
Brodie, Geraldine, Rogers, Margaret, Series Editor, Boase-Beier, Jean, editor, Fisher, Lina, editor, and Furukawa, Hiroko, editor
- Published
- 2018
- Full Text
- View/download PDF
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