Anton Chekhov

The article explores Boris Akunin's The Seagull (2000) as a postmodern detective story. Akunin exploits and simultaneously makes light of the basic concepts of post-modernism: parodic and intertextual stance, the erasure of the line between high and mass literature, a mixing up of genres, a non-linear plot, emphasized theatricality, and metafictionalilty. It also discusses Akunin as a representative of intellectual mainstream fiction, and intertextuality is both a discursive tool of the postmodern scepticism toward cultural heritage, and a defense mechanism of culture.

One hundred fifty years after his birth, Anton Chekhov remains the most beloved Russian playwright in his own country, and in the English-speaking world he is second only to Shakespeare. His stories, deceptively simple, continue to serve as models for writers in many languages. In this volume, Carol Apollonio and Angela Brintlinger have brought together leading scholars from Russia and the West for a wide-ranging conversation about Chekhov’s work and legacy. Considering issues as broad as space and time and as tightly focused as the word, these are twenty-one exciting new essays for the twenty-first century.

THE number of local speech characteristics in fiction fulfilling expressive function can be exceedingly great. Taken together they create a unique emotional atmosphere without which a piece of writing would contain nothing but a record of certain facts of doubtful conceptual or aesthetic significance. Inability to find similarly expressive units in the target language in the course of translation may end up with a complete failure to ren-der “the emotional spirit” of the original narration which in many cases appears to be the only “device” turning a trivial enough uneventful story with practically no philosophic generalisations into a masterpiece of literary writing.

В статье предпринята попытка в ходе компаративного анализа установить генетическую связь между творчеством А.П. Чехова и турецкого писателя ХХ. в. Азиза Несина на материале сопоставления их рассказов "Двое в одном" и "Слава богу" и оценки А.Несином творчества Чехова.

A partir da análise das duas últimas peças de Anton Tchekhov, As Três Irmãs e O Jardim das Cerejeiras, pretendemos investigar as semelhanças entre as estruturas narrativas de ambas e como estas manifestam a poética do autor.

From the analysis of the two last plays of Anton Chekhov, The Three Sisters and The Cherry Orchard, we intend to investigate the similarities between both narrative structures and how they express the author’s poetic.

The materials from the New York University archives as well as the author’s interview with actress Essie Borden who took part in the play, served as the material for the presented article, which tells the story of A.P. Chekhov’s Tatyana Repina premiere staged by The Judson Poets’ Theater for the first time. Reverend Al Carmines who was the leading figure in Off-off Broadway movement in the 70-ies and 90ies of the XXth century was the producer of the staging. John Racin’s translation as well as his long term research on Tatyana Repina by A.S. Suvorin and A.P. Chekhov made it possible to show Tatyana Repina to English-speaking public. The full overview of all the newspaper articles dedicated to the pay allowed to draw the conclusion that the staging was well accepted by the contemporaries as an experimental show put together by a group of enthusiasts, but did not get any attention of big theater producers. Themes and problems of the drama were not of any interest for the majority of audience, the play could not be of any commercial value, so the premiere show remained the only one in the USA. The drama plays a very important role in understanding of the creative dialog between A.P. Chekhov and A.S. Suvorin and understanding of Chekhov’s themes and innovative approaches to playmaking.

Из всех аспектов раннего творчества Чехова жанровый состав является наиболее изученным. Большинство исследователей оставили свои замечания по поводу особенностей юмористических рассказов, сценок и «мелочишек» писателя (см.: [Александров; Родионова; Коротаев; Чудаков]). Вместе с тем, одной из основных проблем остается неопределенность жанрового состава, зыбкость границ между разными жанрами в юмористических журналах и газетах. Не случайно сами авторы часто обобщенно называют свои сценки, юмористические рассказы и мелочишки «фельетонами».

O objetivo deste trabalho é analisar a estética de Tchekhov no que concerne seus contos breves. Para tanto, primeiramente examinaremos a noção de inteligibilidade e autonomia do conto, usando Decamerão como referência, uma vez que Boccaccio é o primeiro a transformar em prosa os contos populares, dando-lhes uma forma literária. Em seguida, trataremos da descontinuidade temporal nos contos tchekhovianos. Por fim, explicitaremos o que é propriamente o impressionismo realista de Tchekhov para, então, finalmente poder delinear qual é o modus operandi de seus contos breves.

The clients that come to Counselling Psychology do not live in a vacuum. They are located in time and space and are faced with the particular challenges presented by their contexts and their interactions with these contexts. This essay tries to show that an awareness of life-span development is essential for Counselling Psychologists in order to contextualize their clients’ experiences and use this understanding as a resource for therapeutic work. It argues in particular that the existential theme of finitude needs to be considered as impacting on life-span development. It starts by introducing the life-span perspective and its implications for practice and goes on to exemplify this view by focusing on the subject of death – particularly on death awareness and death anxiety – and its influence on people’s lives, especially during what has been called ‘the mid-life crisis’, before applying some of the ideas to the fictional character of Ivanov from Chekhov’s eponymous play. It tries to show that death assumes special significance in mid life and that this is not merely a challenge in Counselling Psychology practice but also an opportunity for growth.

Of any other Russian author, Anton Chekhov is the one who will bring to light the many facets of a marriage so that the marriage itself becomes one of the more significant aspects of the story itself, sometimes standing on equal ground as the main theme of the story itself. Given his regard for Anton Chekhov's work, W.H. Auden may have had the Russian author in mind when he said, "Any marriage, happy or unhappy, is infinitely more interesting than any romance, however passionate" (62). Throughout Anton Chekhov’s stories and plays, unhappiness and loneliness seem to always be the underlying theme or in some cases, such as “Living Chattel”, an obvious theme of Chekhov’s short stories. This unhappiness is what leads ‘unsaid’ character creation so that the reader and audience can imagine the emotional state of the characters, especially those married couples who obviously detest each other, yet remain together for some unknown reason. It is up to the reader to glean as much information as possible from the glimpse into the characters’ lives that Anton Chekhov gives us; so that the reader may understand the present and historical reasoning behind the character’s loneliness and unhappiness. Of the multitude of Chekhov’s short stories, only a few will be necessary to show that significance of the Russian marriage and its microcosm of emotional states found in these unusual circumstances of marriage. Anton Chekhov presents the Russian marriage as that of a couple who are usually in the unhappiest of situations, often blatantly stated, yet continue to remain married, or as seen in “Living Chattel”, the woman leaves, but only to return to her first husband. As in the case of the “Living Chattel” there are other stories presented here that will show the significance of the unhappily married couple: “The Huntsman” and “The Chemist’s Wife (Pharmacist’s Wife)”.

To Cite:
Deatherage, Michael L.
Specifically Anton Chekhov: So Many Unhappily Content Married Couples
California Baptist University
2015

All-solid-state flexible supercapacitor (AFSC) is a promising energy storage device due to its high flexibility, security, and environmental friendliness. However, high electrical resistance and low specific capacitance of electrodes limit its application for potential portable electronic devices. In this study, we design a novel hybrid film electrode composed of reduced graphene oxide (rGO)/silver nanowire (Ag NW)@nickel aluminum layered double hydroxide (NiAl LDH; herein, GAL) possessing high electrochemical performance by using hydrothermal and vacuum filtration techniques. The Ag NW@NiAl LDH (AL) composites with hierarchical core-shell structure are utilized to increase electroactive surface area and improve electrical conductivity, while the rGO nanosheets serve as a prominent carbon material with outstanding electrical conductivity and mechanical flexibility. The freestanding GAL electrode shows high specific capacitance of 1148 F g −1 at 1 A g −1 compared with that of rGO/NiAl LDH (GL) of 765.2 F g −1 at 1 A g −1. The bind-free symmetric AFSC device is prepared using GAL hybrid film as electrodes and PVA-KOH as solid-state gel electrolyte. Meanwhile, the GAL//GAL AFSC device delivers a superior specific capacitance of 127.2 F g −1 at 1 A g −1 , a high energy density of 35.75 mWh cm-3 at a power density of 1.01 W cm-3 , and great cycling ability of 83.2% over 10000 cycles. This study introduces a novel design of flexible electrode structure for advanced energy storage applications.

Новая книга включает в себя размышления о русской словесности - письменности, орфографии, прозе и поэзии. Она сочетает вольные эссе о русской литературе, написанные от первого лица и исследовательские статьи о  Карамзине, Болотове, Пушкине, Лермонтове, Достоевском, Розанове, Набокове, Есенине, Фатьянове, Солженицыне, Бродском, Распутине, Мамлееве, Лимонове. Наверняка неоднозначный резонанс вызовут остро-полемические эссе о Радищеве и полупросвещении, Костомарове, Чехове, Евтушенко. Отдельное внимание уделяется вопросу о преподавании русской словесности в школе и воспитании носителя русского национального самосознания. Книга посвящена памяти Константина Крылова. В данном проспекте представлены крупные ознакомительные фрагменты книги.

This Introductory Essay presents to the general reader a few facts about Leon Shestov's life and thought. Little-known outside his native Russia, Shestov is one of the most significant philosophers and critics of modern Russia. He is at once a thinker in his own right and a deep-thinking critic of literature and philosophies. This essay includes a short biography of his life and a sketch of some of his philosophical ideas, including those presented in his intriguingly named 'The Apotheosis of Groundlessness' (the original title for 'All Things are Possible!). He is an existentialist and individualist in his thinking, and it is interesting to not that he has written monographs on Friedrich Nietzsche and Soren Kierkegaard - the two most fundamental forefathers of 20th century Existentialism. In the work that this essay introduces Shestov takes time to compare the European (or Western) and the Russian ways of thinking. He explores these two Weltanschauungs and go deep to the heart of the divergences between these two philosophies. Leon Shestov is a fascinating writer who is one of the few - apart from Nietzsche and Lichtenberg - who can express his philosophy through a series of thoughts and aphorisms. This essay includes a select bibliography of Shestov's key works of philosophy and criticism.

One of Chekhov's favorite plots in his early stories involves a clash between two kinds of characters, one sensitive, excitable, and desperate for recognition, the other reserved and emotionally inaccessible. When the little clerk, Chervyakov, in "Death of a Civil Servant" ("Smert' chinovnika," 1883), sneezes on an important general, the general is unperturbed and hardly notices the offense. Chervyakov, however, is horrified by the audacity of his act, and he apologizes profusely, mystified and alarmed by the general's indifference. Eventually, on his sixth apology, he succeeds in irritating the general and eliciting the rebuke "Get lost!" (Poshel von!), which causes the overwrought Chervyakov to die from terror and humiliation. 1 Something in the dynamic between these two characters-something more basic than the social power imbalance that divides thempersistently reemerges as a psychological pattern among Chekhov's many characterizations. From the early 1880s onward these two individuals keep attempting to communicate-one trembling, weeping, and struggling for justice within an enclosed sphere of concerns, while the other observes the comedy, without much interest, from outside. This article will examine how the simple dramatic conflict between engaged and detached characters in many of the early stories anticipates a more philosophically complex psychological dualism that appears in the stories of the 1890s. 2 Through an analysis of these "enemies"-first as distinct characters in conflict and then as warring identities within the individual-I shall examine how Chekhov conceived of a complex architecture for the self over the span of his career, how these attitudes in conflict in his early works initiate a meditation on the nature of compassion and the problem of the structure of the human personality. By following the development of this conflict, we can observe how Chekhov engaged and reenvisioned the larger European tradition of psychological dualism and personal fragmentation that he inherited at the end of the nineteenth century.

According to Anton Chekhov life -"just as it is"is tragic. The dramatic nature of everyday's life needs new theatrical and narrative conventions, which the Russian playwright develops to illustrate that existence is not populated by heroes and heroines, but by ordinary men and women. Chekhov's characters, without undertaking extraordinary actions, rise and fall from a happy state of mind to an unhappy condition throughout the day. 1

‘The Lady with the Dog’, written in 1899, is a short story by Anton Chekhov (1860 – 1904), the great Russian playwright and short-story writer. The story essentially describes a relationship between a married man and a married woman. In this paper, I explain the significance of the relationship and discuss how this element of the story is concluded in the story.

In his work “Chekhov’s Art: A Stylistic Analysis” (1942) P. Bitsilli gives us no simple and clear answer to the question about the main idea of Chekhov’s “Gusev”. But P. Bitsilli’s observations on this short story and his research methods as regards to the writer’s prosaic works, particularly his comparative method, means of stylistic analysis and investigation of Chekhov’s prosaic texts as a rhythmic structure, as well as his idea about monas and principium individuationis concerning Chekhov himself and his works – all these together form a reliable basis for us to study “Gusev” as a whole and perfect work of art. The idea of thе short story, as the author of the article argues, is that the Everyman, who is mortal and exists in this world, as a rule does not suspect that he has a vocation to comprehend and understand the eternal, infinite and beautiful cosmos in order to reflect it in works of science, philosophy, art or religion and in this way to overcome death.

Ο Ιβάνοφ του Τσέχοφ (1887-1901), πρωτόλειο θεατρικό έργο του μεγάλου δραματουργού, γραμμένο την εποχή της «κρίσης του ‘δράματος’», τοποθετείται στο μεταίχμιο ανάμεσα στην κλασική δραματουργία του τέλους του 19ου αιώνα και στη μοντέρνα, «ανοιχτή» δραματουργία των αρχών του 20ού αιώνα. Η παράσταση που ανέβασε ο καταξιωμένος σκηνοθέτης Ντίμιτερ Γκότσεφ στη βερολινέζικη Volksbühne (2005) ανήκει στην παράδοση της μπρεχτικής ιστορικοποίησης, της επαναδιατύπωσης δηλαδή κλασικών έργων προκειμένου να έρθει στο προσκήνιο η σύγχρονη δυναμική τους. Προς το σκοπό αυτό, ο Γκότσεφ σε συνεργασία με τον δραματουργό Πέτερ Στάατσμαν επιλέγει να ενισχύσει δύο βασικές μη-δραματικές παραμέτρους του κειμένου, τη μονολογικότητα και τη χορικότητα, που λειτουργούν συμπληρωματικά εις βάρος του διαλόγου. Αυτό που οργανώνει τις επιμέρους σκηνές σε σημαίνον σύνολο είναι η φόρμα του μονοδράματος, που επιτρέπει τον συνδυασμό της μονολογικότητας μιας κεντρικής συνείδησης με τη χορικότητα του κοινωνικού αντικατοπτρισμού της. Αντικαθιστώντας την ενότητα της δράσης με την ενότητα του εγώ, ενός εγώ που πορεύεται προς την παραίτηση και το μοιραίο τέλος, ο Γκότσεφ αναπτύσσει με θεατρικά μέσα έναν κριτικό στοχασμό σχετικά με την αποτυχία του σύγχρονου ανθρώπου να γεμίσει το κενό που άφησε η κατάρρευση των ιδεολογιών και το συνακόλουθο τέλος των μεγάλων αφηγήσεων.

A short story by Anton Chekhov deals with a woman’s obsession with expensive clothing and her outlook. To connect the story with the context of Bangladesh, Muhammad Kamruzzamann points out the contribution of our garment industry and their poor treatment by the state.--'NEW AGE'

In “The Cherry Orchard” Chekhov demonstrates the contrast between aristocrats and the newly established intelligentsia in Russia. While the higher-class society finds themselves in a moral and financial crisis, the third estate was thriving. Ranevskaya cannot overstep her moral stances and sell part of the cherry orchard. People like Lopakhin are different because they prefer to act rather than conserve their assets. Morality does not play many roles to them because their primary target is financial independence and freedom. Chekhov shows the impracticality of Ranevskaya’s character in comparison to the utilitarian character of Lopakhin. This fundamental difference in attitudes toward reality leads to the diminishing of the Russian aristocracy and the rise of the Russian intelligentsia.