Tim Parks
- Published in print:
- 2016
- Published Online:
- January 2017
- ISBN:
- 9780300215366
- eISBN:
- 9780300216738
- Item type:
- chapter
- Publisher:
- Yale University Press
- DOI:
- 10.12987/yale/9780300215366.003.0004
- Subject:
- Literature, Criticism/Theory
This chapter examines the tension between involvement and withdrawal that characterized so much of Anton Chekhov's life and work, as well as the milieu in which he lived and the way he positioned ...
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This chapter examines the tension between involvement and withdrawal that characterized so much of Anton Chekhov's life and work, as well as the milieu in which he lived and the way he positioned himself in relation to friends, family, and reading public. Chekhov often felt trapped in the company of other people, but boredom and feelings of exclusion became equally oppressive once he was alone. “Freedom, complete and absolute freedom,” was the supreme value, something the author never tired of repeating. The chapter analyzes some of Chekhov's short stories, including “A Blunder,” “A Misfortune,” “Grisha,” and “The Robbers.” In all these stories the decision to love, whether it be marriage or an affair, is always an error and always leads to a prison from which there is no safe escape; yet love is powerfully seductive and life a prison of boredom without it.Less
This chapter examines the tension between involvement and withdrawal that characterized so much of Anton Chekhov's life and work, as well as the milieu in which he lived and the way he positioned himself in relation to friends, family, and reading public. Chekhov often felt trapped in the company of other people, but boredom and feelings of exclusion became equally oppressive once he was alone. “Freedom, complete and absolute freedom,” was the supreme value, something the author never tired of repeating. The chapter analyzes some of Chekhov's short stories, including “A Blunder,” “A Misfortune,” “Grisha,” and “The Robbers.” In all these stories the decision to love, whether it be marriage or an affair, is always an error and always leads to a prison from which there is no safe escape; yet love is powerfully seductive and life a prison of boredom without it.
Melissa L. Caldwell
- Published in print:
- 2010
- Published Online:
- May 2012
- ISBN:
- 9780520262843
- eISBN:
- 9780520947870
- Item type:
- chapter
- Publisher:
- University of California Press
- DOI:
- 10.1525/california/9780520262843.003.0002
- Subject:
- Anthropology, European Cultural Anthropology
This chapter investigates the significance of place to the dacha experience. Anton Chekhov truly understood and best captured the nature of dacha life in all of its intensely visceral, passionate, ...
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This chapter investigates the significance of place to the dacha experience. Anton Chekhov truly understood and best captured the nature of dacha life in all of its intensely visceral, passionate, and often conflicted glory. Dachas were a recurring theme in his work, and in particular were used as a setting for his critical commentaries on the pressing social issues of the day: the rise of populism, the consequences of the emancipation of the serfs, the beginnings of industrialization and urbanization, and the class tensions heightened by these changes. Maxim Gorky's play offers a glimpse into a typical day in a dacha community at the turn of the twentieth century, as his middle- and upper-class dachniki wander aimlessly into and out of the woods. Chekhov and Gorky are not just narrating fictional dachniki, but rather are telling the story of every dachnik.Less
This chapter investigates the significance of place to the dacha experience. Anton Chekhov truly understood and best captured the nature of dacha life in all of its intensely visceral, passionate, and often conflicted glory. Dachas were a recurring theme in his work, and in particular were used as a setting for his critical commentaries on the pressing social issues of the day: the rise of populism, the consequences of the emancipation of the serfs, the beginnings of industrialization and urbanization, and the class tensions heightened by these changes. Maxim Gorky's play offers a glimpse into a typical day in a dacha community at the turn of the twentieth century, as his middle- and upper-class dachniki wander aimlessly into and out of the woods. Chekhov and Gorky are not just narrating fictional dachniki, but rather are telling the story of every dachnik.
- Published in print:
- 2010
- Published Online:
- June 2013
- ISBN:
- 9780804770552
- eISBN:
- 9780804775625
- Item type:
- chapter
- Publisher:
- Stanford University Press
- DOI:
- 10.11126/stanford/9780804770552.003.0015
- Subject:
- Society and Culture, Jewish Studies
This chapter examines Anton Chekhov's portrayal of the Jews in his novels “Tina” and “Skripka Rotshil'da.” It explains that Chekhov's correspondence attests to the consistent function of “the Jews” ...
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This chapter examines Anton Chekhov's portrayal of the Jews in his novels “Tina” and “Skripka Rotshil'da.” It explains that Chekhov's correspondence attests to the consistent function of “the Jews” in his imagination as a negative marker for a wide range of phenomena and suggests that “Jewishness” looms large in Chekhov's professional self-image. The chapter also argues that Chekhov is an example of a writer who must negotiate his imaginative dependence on the generative model of “the Jews” in an ideological context which stigmatizes overt public expressions of Judeophobia and anti-Semitism as socially and culturally retrograde.Less
This chapter examines Anton Chekhov's portrayal of the Jews in his novels “Tina” and “Skripka Rotshil'da.” It explains that Chekhov's correspondence attests to the consistent function of “the Jews” in his imagination as a negative marker for a wide range of phenomena and suggests that “Jewishness” looms large in Chekhov's professional self-image. The chapter also argues that Chekhov is an example of a writer who must negotiate his imaginative dependence on the generative model of “the Jews” in an ideological context which stigmatizes overt public expressions of Judeophobia and anti-Semitism as socially and culturally retrograde.
Condee Nancy
- Published in print:
- 2009
- Published Online:
- May 2009
- ISBN:
- 9780195366761
- eISBN:
- 9780199867394
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195366761.003.0003
- Subject:
- Literature, Film, Media, and Cultural Studies
Mikhalkov’s films constitute Russian cinema’s most ambitious reclamation project. While several films, including 12, address contemporary subjects, his work more typically crafts an elegiac and ...
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Mikhalkov’s films constitute Russian cinema’s most ambitious reclamation project. While several films, including 12, address contemporary subjects, his work more typically crafts an elegiac and turbulent Russia of 1877–1937, simultaneously distinct from the West, yet recognizably European, with a leisured, pastoral enchantment that the West has putatively lost. The prerevolutionary estate becomes barely distinguishable from the Soviet dacha; the intensely charged enactments of one era come to stand in for those of another, as if they were recurrent or interchangeable. His films seek to draw audiences into a world where the morally ineffectual landowning class blurs into the Soviet ineffectual nomenklatura, lending moral anomie an aura of nostalgic, aristocratic allure. Property seizure becomes a paradoxically reassuring disruption of estate and dacha life, suggesting a cycle of imperial regeneration. Though often indebted to Chekhov, using his work to invite participation in a consensual fiction where class distinctions are sharpened, yet gentility is available with the purchase of a cinema ticket; historical rupture is reimagined as a newly coherent continuum; social dispersal is rescripted as endearing melodramatic excess.Less
Mikhalkov’s films constitute Russian cinema’s most ambitious reclamation project. While several films, including 12, address contemporary subjects, his work more typically crafts an elegiac and turbulent Russia of 1877–1937, simultaneously distinct from the West, yet recognizably European, with a leisured, pastoral enchantment that the West has putatively lost. The prerevolutionary estate becomes barely distinguishable from the Soviet dacha; the intensely charged enactments of one era come to stand in for those of another, as if they were recurrent or interchangeable. His films seek to draw audiences into a world where the morally ineffectual landowning class blurs into the Soviet ineffectual nomenklatura, lending moral anomie an aura of nostalgic, aristocratic allure. Property seizure becomes a paradoxically reassuring disruption of estate and dacha life, suggesting a cycle of imperial regeneration. Though often indebted to Chekhov, using his work to invite participation in a consensual fiction where class distinctions are sharpened, yet gentility is available with the purchase of a cinema ticket; historical rupture is reimagined as a newly coherent continuum; social dispersal is rescripted as endearing melodramatic excess.
Melinda Harvey
- Published in print:
- 2015
- Published Online:
- May 2018
- ISBN:
- 9780748694419
- eISBN:
- 9781474422277
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9780748694419.003.0009
- Subject:
- Literature, Women's Literature
This chapter reexamines allegations that Katherine Mansfield copied her story ‘The Child-Who-Was-Tired’ from the Russian writer Anton Chekhov. It argues that Mansfield's copying of Chekhov's story ...
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This chapter reexamines allegations that Katherine Mansfield copied her story ‘The Child-Who-Was-Tired’ from the Russian writer Anton Chekhov. It argues that Mansfield's copying of Chekhov's story was not an isolated incident but instead part of a continuum, a compositional practice that privileged copying over pure invention. Harvey contends that copying was ‘central to Mansfield’s writing process and, ultimately, artistic and personal vision’, and that her writing practice involved much more ‘notetaking, sketching, drafting and revising’ than John Middleton Murry’s mythologising of Mansfield as a solitary genius has allowed. Harvey identifies three modes of copying – appropriation, translation and emulation – that disrupt conventional linear approaches to understanding influence: a precursor may influence a descendant, rather than the other way around.Less
This chapter reexamines allegations that Katherine Mansfield copied her story ‘The Child-Who-Was-Tired’ from the Russian writer Anton Chekhov. It argues that Mansfield's copying of Chekhov's story was not an isolated incident but instead part of a continuum, a compositional practice that privileged copying over pure invention. Harvey contends that copying was ‘central to Mansfield’s writing process and, ultimately, artistic and personal vision’, and that her writing practice involved much more ‘notetaking, sketching, drafting and revising’ than John Middleton Murry’s mythologising of Mansfield as a solitary genius has allowed. Harvey identifies three modes of copying – appropriation, translation and emulation – that disrupt conventional linear approaches to understanding influence: a precursor may influence a descendant, rather than the other way around.
Roger Keys
- Published in print:
- 1996
- Published Online:
- October 2011
- ISBN:
- 9780198151609
- eISBN:
- 9780191672767
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198151609.003.0006
- Subject:
- Literature, 20th-century Literature and Modernism, European Literature
This chapter examines briefly the development of the Russian realist novel genre and its significance in the eyes of both the reading public and of the writers themselves. It then examines the ...
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This chapter examines briefly the development of the Russian realist novel genre and its significance in the eyes of both the reading public and of the writers themselves. It then examines the development of new forms of creative expression in fiction, such as character ‘impressionism’ in Anton Pavlovich Chekhov's fictional works.Less
This chapter examines briefly the development of the Russian realist novel genre and its significance in the eyes of both the reading public and of the writers themselves. It then examines the development of new forms of creative expression in fiction, such as character ‘impressionism’ in Anton Pavlovich Chekhov's fictional works.
Peter Holland
- Published in print:
- 1999
- Published Online:
- June 2013
- ISBN:
- 9780853236740
- eISBN:
- 9781846314285
- Item type:
- chapter
- Publisher:
- Liverpool University Press
- DOI:
- 10.5949/liverpool/9780853236740.003.0017
- Subject:
- Literature, Criticism/Theory
Ivan Turgenev's essay ‘Hamlet and Don Quixote’ was originally presented as a lecture in 1860, the year Anton Chekhov was born. This chapter examines how William Shakespeare's Hamlet penetrates ...
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Ivan Turgenev's essay ‘Hamlet and Don Quixote’ was originally presented as a lecture in 1860, the year Anton Chekhov was born. This chapter examines how William Shakespeare's Hamlet penetrates Russian culture by focusing on Chekhov's 1879 letter to his youngest brother, Mikhail Pavlovich Chekhov, recommending some reading, including ‘Hamlet and Don Quixote’. It also looks at Oswald LeWinter's comment on Turgenev's essay and the implication and embedding of Hamlet into Russia's social and political history. It first outlines the history of Russian translations of Hamlet and the social contexts for Turgenev which gave the play a specific cultural meaning. It then considers how the play has functioned recently in theatrical productions in Eastern Europe, in the former Soviet Union, the Warsaw Pact.Less
Ivan Turgenev's essay ‘Hamlet and Don Quixote’ was originally presented as a lecture in 1860, the year Anton Chekhov was born. This chapter examines how William Shakespeare's Hamlet penetrates Russian culture by focusing on Chekhov's 1879 letter to his youngest brother, Mikhail Pavlovich Chekhov, recommending some reading, including ‘Hamlet and Don Quixote’. It also looks at Oswald LeWinter's comment on Turgenev's essay and the implication and embedding of Hamlet into Russia's social and political history. It first outlines the history of Russian translations of Hamlet and the social contexts for Turgenev which gave the play a specific cultural meaning. It then considers how the play has functioned recently in theatrical productions in Eastern Europe, in the former Soviet Union, the Warsaw Pact.
Andrew Murphie
- Published in print:
- 2005
- Published Online:
- March 2012
- ISBN:
- 9780748635030
- eISBN:
- 9780748652587
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9780748635030.003.0012
- Subject:
- Philosophy, General
This chapter aims to establish the relation between contemporary VJing and the works of Anton Chekhov and Aeschylus through the philosophical thoughts of Gilles Deleuze and Félix Guattari. It ...
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This chapter aims to establish the relation between contemporary VJing and the works of Anton Chekhov and Aeschylus through the philosophical thoughts of Gilles Deleuze and Félix Guattari. It examines the way in which theatre and performance can incline themselves towards a wider distribution of difference in life and argues that the VJing event is a democratising performance-form that engages in combat with the normative configurations of image-culture. It argues that it is more important to evaluate the role of performance in directly adding to, or diminishing, life as lived than to evaluate it in terms of the success or failure of its representation of life.Less
This chapter aims to establish the relation between contemporary VJing and the works of Anton Chekhov and Aeschylus through the philosophical thoughts of Gilles Deleuze and Félix Guattari. It examines the way in which theatre and performance can incline themselves towards a wider distribution of difference in life and argues that the VJing event is a democratising performance-form that engages in combat with the normative configurations of image-culture. It argues that it is more important to evaluate the role of performance in directly adding to, or diminishing, life as lived than to evaluate it in terms of the success or failure of its representation of life.
Barbara Lounsberry
- Published in print:
- 2016
- Published Online:
- May 2017
- ISBN:
- 9780813062952
- eISBN:
- 9780813051833
- Item type:
- chapter
- Publisher:
- University Press of Florida
- DOI:
- 10.5744/florida/9780813062952.003.0004
- Subject:
- Literature, 20th-century Literature and Modernism
Can a diary help heal and restore? Emphatically. In her 1921 diary Woolf faces two foes. The first is physical and mental exhaustion, a danger that will arise periodically across her life. In 1921, ...
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Can a diary help heal and restore? Emphatically. In her 1921 diary Woolf faces two foes. The first is physical and mental exhaustion, a danger that will arise periodically across her life. In 1921, Hogarth Press work takes the time previously given to her diary—to her peril. In early January, she gives over her diary’s “casual half hours after tea” to Russian lessons for Hogarth Press translations of Chekhov, the Tolstoys, and more. The Woolfs also devote the year to printing Bloomsbury works, making the months ripe for rivalry—for literary envy of several shades. Woolf falls ill after hearing of James Joyce’s “prodigious” novel, Ulysses; however, once more she turns to her diary for rescue: to medicine herself. The diary becomes an anodyne, “a comforter” or “reliever of pain.” During this time, Woolf links arms with (and salutes) another literary doctor: Anton Chekhov. She draws the title of the only short story collection she publishes in her life, the 1921 Monday or Tuesday, from Chekhov’s Note-book[s], published the same month by the Hogarth Press.Less
Can a diary help heal and restore? Emphatically. In her 1921 diary Woolf faces two foes. The first is physical and mental exhaustion, a danger that will arise periodically across her life. In 1921, Hogarth Press work takes the time previously given to her diary—to her peril. In early January, she gives over her diary’s “casual half hours after tea” to Russian lessons for Hogarth Press translations of Chekhov, the Tolstoys, and more. The Woolfs also devote the year to printing Bloomsbury works, making the months ripe for rivalry—for literary envy of several shades. Woolf falls ill after hearing of James Joyce’s “prodigious” novel, Ulysses; however, once more she turns to her diary for rescue: to medicine herself. The diary becomes an anodyne, “a comforter” or “reliever of pain.” During this time, Woolf links arms with (and salutes) another literary doctor: Anton Chekhov. She draws the title of the only short story collection she publishes in her life, the 1921 Monday or Tuesday, from Chekhov’s Note-book[s], published the same month by the Hogarth Press.
Jeremi Szaniawski
- Published in print:
- 2014
- Published Online:
- November 2015
- ISBN:
- 9780231167352
- eISBN:
- 9780231850520
- Item type:
- chapter
- Publisher:
- Columbia University Press
- DOI:
- 10.7312/columbia/9780231167352.003.0007
- Subject:
- Film, Television and Radio, Film
This chapter talks about The Stone (1992). The Stone is preoccupied with the motifs of death and a return home. With its minimalistic plot and sedate, cotton-like atmosphere, the film conveys a sense ...
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This chapter talks about The Stone (1992). The Stone is preoccupied with the motifs of death and a return home. With its minimalistic plot and sedate, cotton-like atmosphere, the film conveys a sense of dreamy routine. The Stone is a film about the sentience of things and dead persons, the simple pleasures of senses found again, but only for a very short while, their impermanence eliciting sadness rather than hedonistic relish. In many ways, the emotional heart of the film lies in this sensory epiphany, and its most powerful scenes demonstrate the “added value” of sound multiplying the power of evocation present in the image. Memory is a strong engine of the film's poetics, but the predominant mood is hardly one of successful reunion with things past. In the end, the film resolves none of its questions or narrative knots, exhibiting the paradox of the impossibility of the return, momentarily made flesh through Anton Chekhov's character and through the practice of repetition and re-working proposed by the cinematic medium itself.Less
This chapter talks about The Stone (1992). The Stone is preoccupied with the motifs of death and a return home. With its minimalistic plot and sedate, cotton-like atmosphere, the film conveys a sense of dreamy routine. The Stone is a film about the sentience of things and dead persons, the simple pleasures of senses found again, but only for a very short while, their impermanence eliciting sadness rather than hedonistic relish. In many ways, the emotional heart of the film lies in this sensory epiphany, and its most powerful scenes demonstrate the “added value” of sound multiplying the power of evocation present in the image. Memory is a strong engine of the film's poetics, but the predominant mood is hardly one of successful reunion with things past. In the end, the film resolves none of its questions or narrative knots, exhibiting the paradox of the impossibility of the return, momentarily made flesh through Anton Chekhov's character and through the practice of repetition and re-working proposed by the cinematic medium itself.
Tim Parks
- Published in print:
- 2016
- Published Online:
- January 2017
- ISBN:
- 9780300215366
- eISBN:
- 9780300216738
- Item type:
- book
- Publisher:
- Yale University Press
- DOI:
- 10.12987/yale/9780300215366.001.0001
- Subject:
- Literature, Criticism/Theory
The author of this book has long been fascinated by the complicated relationship between an author's life and work, and began exploring the underlying values and patterns that guide authors in both ...
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The author of this book has long been fascinated by the complicated relationship between an author's life and work, and began exploring the underlying values and patterns that guide authors in both their writing and their lives. In a series of provocative, incisive, and unflinching essays written over the past decade and collected for the first time here, this book reveals how style and content in a novel reflect a whole pattern of communication and positioning in the author's ordinary and daily behavior. We see how life and work are deeply enmeshed in the work of writers as diverse as Charles Dickens, Feodor Dostoevsky, James Joyce, Anton Chekhov, Philip Roth, Julian Barnes, Peter Stamm, and Geoff Dyer, among others. The book further shows us how readers' reactions to these writers and their works are inevitably connected to these communicative patterns, establishing a relationship that goes far beyond aesthetic appreciation. The book takes us into the psychology of some of our greatest writers and challenges us to see with more clarity how our lives become entangled with theirs through our reading of their novels.Less
The author of this book has long been fascinated by the complicated relationship between an author's life and work, and began exploring the underlying values and patterns that guide authors in both their writing and their lives. In a series of provocative, incisive, and unflinching essays written over the past decade and collected for the first time here, this book reveals how style and content in a novel reflect a whole pattern of communication and positioning in the author's ordinary and daily behavior. We see how life and work are deeply enmeshed in the work of writers as diverse as Charles Dickens, Feodor Dostoevsky, James Joyce, Anton Chekhov, Philip Roth, Julian Barnes, Peter Stamm, and Geoff Dyer, among others. The book further shows us how readers' reactions to these writers and their works are inevitably connected to these communicative patterns, establishing a relationship that goes far beyond aesthetic appreciation. The book takes us into the psychology of some of our greatest writers and challenges us to see with more clarity how our lives become entangled with theirs through our reading of their novels.
Katherine Bowers
- Published in print:
- 2017
- Published Online:
- September 2017
- ISBN:
- 9781784992699
- eISBN:
- 9781526124050
- Item type:
- chapter
- Publisher:
- Manchester University Press
- DOI:
- 10.7228/manchester/9781784992699.003.0012
- Subject:
- Literature, Film, Media, and Cultural Studies
This chapter examines nineteenth-century Russian writers who drew on the Gothic in order to explore the experience of death, existential terror, and the possibility of an afterlife within the bounds ...
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This chapter examines nineteenth-century Russian writers who drew on the Gothic in order to explore the experience of death, existential terror, and the possibility of an afterlife within the bounds of literary realism. In Turgenev’s story ‘Bezhin Meadow’ and Chekhov’s sketch ‘A Dead Body’, Gothic language and imagery create a narrative frame that contextualizes an encounter between peasants and a traveller focused around a discussion of death. This chapter argues that the Gothic is juxtaposed with folk belief in these works, to underscore that both the peasants’ dvoeverie and educated Russia’s interest in natural sciences, materialist philosophy, and the pseudo-science of spiritualism represent attempts to systematise and explain the unknown. The Gothic mediates the tension between science and faith, the irrational and the prosaic, and the abject and the mysterious, while allowing these ruminations to remain ambiguously unfinalised for the reader.Less
This chapter examines nineteenth-century Russian writers who drew on the Gothic in order to explore the experience of death, existential terror, and the possibility of an afterlife within the bounds of literary realism. In Turgenev’s story ‘Bezhin Meadow’ and Chekhov’s sketch ‘A Dead Body’, Gothic language and imagery create a narrative frame that contextualizes an encounter between peasants and a traveller focused around a discussion of death. This chapter argues that the Gothic is juxtaposed with folk belief in these works, to underscore that both the peasants’ dvoeverie and educated Russia’s interest in natural sciences, materialist philosophy, and the pseudo-science of spiritualism represent attempts to systematise and explain the unknown. The Gothic mediates the tension between science and faith, the irrational and the prosaic, and the abject and the mysterious, while allowing these ruminations to remain ambiguously unfinalised for the reader.
Galya Diment, Gerri Kimber, and W. Todd Martin (eds)
- Published in print:
- 2017
- Published Online:
- January 2019
- ISBN:
- 9781474426138
- eISBN:
- 9781474438681
- Item type:
- book
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474426138.001.0001
- Subject:
- Literature, 20th-century Literature and Modernism
It is hard to overestimate how huge the “Russian influence” was on both Mansfield’s craft as a short story writer and her life choices, including, even, whom she most trusted to treat her ...
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It is hard to overestimate how huge the “Russian influence” was on both Mansfield’s craft as a short story writer and her life choices, including, even, whom she most trusted to treat her tuberculosis. Growing up in New Zealand, young Mansfield began devouring Russian books in translation. The authors she read included Marie Bashkirtseff, Leo Tolstoy, Fyodor Dostoevsky, Ivan Turgenev, Anton Chekhov and Maxim Gorky. After she moved to England, which at the time was undergoing its own passionate affair with all things Russian, Mansfield also discovered Russian art and Russian ballet. Later she became, with S. S. Koteliansky, a co-translator of Chekhov’s and Leonid Andreyev’s letters and autobiographical writings. And yet, other than Joanna Woods’ Katerina: The Russian World of Katherine Mansfield (2001), there have not been any significant publications dealing with this extraordinary aspect of Mansfield’s evolution as an artist and a human being. This volume goes a long way to remedy that. It includes contributions by both English and Russian scholars and explores many aspects of Mansfield’s personal and artistic response to Russian literature, culture, philosophy, and art, as well as to the actual Russians she met in England and — towards the end of her life — in France.Less
It is hard to overestimate how huge the “Russian influence” was on both Mansfield’s craft as a short story writer and her life choices, including, even, whom she most trusted to treat her tuberculosis. Growing up in New Zealand, young Mansfield began devouring Russian books in translation. The authors she read included Marie Bashkirtseff, Leo Tolstoy, Fyodor Dostoevsky, Ivan Turgenev, Anton Chekhov and Maxim Gorky. After she moved to England, which at the time was undergoing its own passionate affair with all things Russian, Mansfield also discovered Russian art and Russian ballet. Later she became, with S. S. Koteliansky, a co-translator of Chekhov’s and Leonid Andreyev’s letters and autobiographical writings. And yet, other than Joanna Woods’ Katerina: The Russian World of Katherine Mansfield (2001), there have not been any significant publications dealing with this extraordinary aspect of Mansfield’s evolution as an artist and a human being. This volume goes a long way to remedy that. It includes contributions by both English and Russian scholars and explores many aspects of Mansfield’s personal and artistic response to Russian literature, culture, philosophy, and art, as well as to the actual Russians she met in England and — towards the end of her life — in France.
Maya Plisetskaya
- Published in print:
- 2001
- Published Online:
- October 2013
- ISBN:
- 9780300088571
- eISBN:
- 9780300130713
- Item type:
- chapter
- Publisher:
- Yale University Press
- DOI:
- 10.12987/yale/9780300088571.003.0043
- Subject:
- Music, Dance
In this chapter, Maya Plisetskaya reflects on her five decades as a ballerina. She marked her fiftieth year in the ballet world by dancing The Madwoman of Chaillot in the French city of Rennes in ...
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In this chapter, Maya Plisetskaya reflects on her five decades as a ballerina. She marked her fiftieth year in the ballet world by dancing The Madwoman of Chaillot in the French city of Rennes in Brittany on April 2, 1993. It was exactly fifty years previously that she had been accepted into the Bolshoi Ballet troupe. She performed Anna Karenina at the Bolshoi more than a hundred times and danced it in other countries as well. Two of her other performances were for Anton Chekhov's The Seagull, which she danced around sixty times and was staged in the Swedish city of Göteborg, and Lady with the Dog, which she danced on her sixtieth birthday on the Bolshoi stage, along with Carmen Suite.Less
In this chapter, Maya Plisetskaya reflects on her five decades as a ballerina. She marked her fiftieth year in the ballet world by dancing The Madwoman of Chaillot in the French city of Rennes in Brittany on April 2, 1993. It was exactly fifty years previously that she had been accepted into the Bolshoi Ballet troupe. She performed Anna Karenina at the Bolshoi more than a hundred times and danced it in other countries as well. Two of her other performances were for Anton Chekhov's The Seagull, which she danced around sixty times and was staged in the Swedish city of Göteborg, and Lady with the Dog, which she danced on her sixtieth birthday on the Bolshoi stage, along with Carmen Suite.
- Published in print:
- 2010
- Published Online:
- June 2013
- ISBN:
- 9780804770552
- eISBN:
- 9780804775625
- Item type:
- chapter
- Publisher:
- Stanford University Press
- DOI:
- 10.11126/stanford/9780804770552.003.0012
- Subject:
- Society and Culture, Jewish Studies
This chapter examines the confluence of the intra- and intertextual functions of “the Jews” as holders of interpretive keys to authorial imagination, and as mediators in the dialogical rapports ...
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This chapter examines the confluence of the intra- and intertextual functions of “the Jews” as holders of interpretive keys to authorial imagination, and as mediators in the dialogical rapports between writers and texts in four different stories. These include Ivan Turgenev's “Zhid” and “Neschastnaia” and Anton Chekhov's “Tina” and “Skripka Rotshil'da.” The chapter analyzes these stories in the context of the personal and professional dilemmas of their authors, and in relation to contemporary works where the authors articulated their social, cultural, and aesthetic preoccupations in the language of “Jewish” difference.Less
This chapter examines the confluence of the intra- and intertextual functions of “the Jews” as holders of interpretive keys to authorial imagination, and as mediators in the dialogical rapports between writers and texts in four different stories. These include Ivan Turgenev's “Zhid” and “Neschastnaia” and Anton Chekhov's “Tina” and “Skripka Rotshil'da.” The chapter analyzes these stories in the context of the personal and professional dilemmas of their authors, and in relation to contemporary works where the authors articulated their social, cultural, and aesthetic preoccupations in the language of “Jewish” difference.
- Published in print:
- 2010
- Published Online:
- June 2013
- ISBN:
- 9780804770552
- eISBN:
- 9780804775625
- Item type:
- chapter
- Publisher:
- Stanford University Press
- DOI:
- 10.11126/stanford/9780804770552.003.0001
- Subject:
- Society and Culture, Jewish Studies
This introductory chapter discusses the theme of this book, which is about the imagination and depiction of the Jewish persona in Russian literature. The book explores the representation of Jews in ...
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This introductory chapter discusses the theme of this book, which is about the imagination and depiction of the Jewish persona in Russian literature. The book explores the representation of Jews in literary fiction by placing them within the continuity of the Jewish vocabulary of difference, not only in Christian, but also in post-Christian Europe. It argues that most historical facts of European Jewish experience are not the sources of the “Jewish” image but its cultural role as the paradigmatic Other after Christianity lost its legal and social hold on European societies. The book also analyzes the relevant works of several Russian writers including Nikolai Gogol, Ivan Turgenev, Anton Chekhov, and Isaak Babel.Less
This introductory chapter discusses the theme of this book, which is about the imagination and depiction of the Jewish persona in Russian literature. The book explores the representation of Jews in literary fiction by placing them within the continuity of the Jewish vocabulary of difference, not only in Christian, but also in post-Christian Europe. It argues that most historical facts of European Jewish experience are not the sources of the “Jewish” image but its cultural role as the paradigmatic Other after Christianity lost its legal and social hold on European societies. The book also analyzes the relevant works of several Russian writers including Nikolai Gogol, Ivan Turgenev, Anton Chekhov, and Isaak Babel.
Tom Ryan
- Published in print:
- 2019
- Published Online:
- January 2020
- ISBN:
- 9781496817983
- eISBN:
- 9781496822406
- Item type:
- chapter
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781496817983.003.0003
- Subject:
- Film, Television and Radio, Film
This chapter gives a brief outline of Sirk’s life after his emigration to the US and analysis of the early films he made there. It offers commentary on the ways in which this work reflected as much ...
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This chapter gives a brief outline of Sirk’s life after his emigration to the US and analysis of the early films he made there. It offers commentary on the ways in which this work reflected as much on where he was coming from as it did on where he now found himself, “an émigré filmmaker who was working in the US but whose heart and mind were still based elsewhere”.Less
This chapter gives a brief outline of Sirk’s life after his emigration to the US and analysis of the early films he made there. It offers commentary on the ways in which this work reflected as much on where he was coming from as it did on where he now found himself, “an émigré filmmaker who was working in the US but whose heart and mind were still based elsewhere”.
