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Journal articles on the topic 'Mikhail Chekhov'
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1
Markina, I. V. "The summer visit to Bogimovo." Voprosy literatury, no. 4 (August 28, 2020): 33–41. http://dx.doi.org/10.31425/0042-8795-2020-4-33-41.
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The article discusses the details of A. Chekhov’s visit to the Kaluga governorate, which influenced some of his later short stories. There is a wooden house in Kaluga. Built on a stone basement, it overlooked the boulevard and once belonged to the parents of Mikhail Mikhaylovich Chekhov (who resided in Moscow at the time), a cousin of Anton Pavlovich Chekhov and his active correspondent. The latter even had plans to visit his Kaluga relatives. Sadly, this never happened. But the writer’s brother, Mikhail Pavlovich Chekhov, worked as a tax inspector in the town on Aleksin, an administrative hub in the Tula governorate, resulting in Chekhov’s family visiting the town’s environs in 1891 and staying on the state Bogimovo in the Tarusa district of the Kaluga governorate, which belonged to a landowner E. Bylim-Kolosovsky. It was there that Chekhov was working on his novella The Duel [Duеl] and the book Sakhalin Island [Ostrov Sakhalin]. A spectacular view of the nearby Dankovo, whose purchase Chekhov contemplated for a while, was recreated in his short story The House with the Mezzanine [Dom s mezoninom].
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Romanov, D. A. "SYNTACTIC ASPECT OF MIKHAIL CHEKHOVʼS IDIOSTYLE". TULA SCIENTIFIC BULLETIN. HISTORY. LINGUISTICS, № 4(20) (28 грудня 2024): 150–62. https://doi.org/10.22405/2712-8407-2024-4-150-162.
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In Mikhail Chekhov’s idiostyle, syntactic phenomena play a prominent role. Some of them are independent stylistic dominants, others form micro-compositions that are periodically repeated in the text and organize it in a certain way. Various types of homogeneous components serve the author primarily to expand the narrative in-formationally, as well as to enhance its expressiveness. Graduation series help to emphasize the logic of the author’s reasoning. In the field of word combination, M. A. Chekhov, the most noticeable tenden-cy is towards non-standard, unusual component composition against the background of conventional units of a similar type. The impersonal attribution of direct speech and the special structuring of dia-logue and polylogue helps the fiction writer convey the atmosphere of that difficult time that he em-bodies in his book «Life and Encounters». Sentences with double semi-predication provide the most complete development of the theoretical thought of M. Chekhov as the author of the original system of actor training and allow us to comprehend the experience of colleagues – the founders of theater schools. The composition of M. Chekhov’s text is distinguished by its fragmentation, which is determined, on the one hand, by the memoir genre, and on the other, by the nature of the author’s understanding of reality. Local fragments of reasoning and relatively holistic, complete micronarratives are organically introduced by the author into the «large» text composition. Chekhov's idiostyle is characterized by an extensive composition of polypredicative syntactic con-structions, among which the leading (in terms of quantity) role is played by non-conjunctive com-pound sentences with various types of relations between the clauses and, as a rule, repeated com-pounding of each of them, e.g., supplementary comments and syntactic constructions marked by parentheses. Supplementary comments, also known as parenthetical constructions, serve to augment the narrative's intensity. These supplementary elements not only enrich the event narrative but also reveal the author's perspective on the unfolding events, manifested through emotional or reflective remarks.
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Glushkova, Maria, and Elena Vasilevich. "Analysis of the Short Story “The Lady with the Dog”. Parallels in the Author-Character Relations in Mikhail Bakhtin and Anton Chekhov." Bakhtiniana: Revista de Estudos do Discurso 17, no. 4 (2022): 75–103. http://dx.doi.org/10.1590/2176-4573p54981387.
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ABSTRACT Bakhtin's early works point to the origins of his theory. The novelty of this article consists in presenting Bakhtin's early works, more precisely the essay “The Author and the Hero in Aesthetic Activity,” written in the 1920s, and comparing it with Chekhov's views on the Author-Character-Reader relationship since we consider Chekhov a writer and a theorist of verbal creation, which we will evidence with excerpts from his letters. The article presents an analysis of Anton Chekhov's short story “The Lady with the Dog,” and the thesis that Chekhov had, right from the title, about the intention of relating his story to Alexandre Dumas' novel The Lady of the Camellias.
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Сорокина, Т. А. "Make-up images of Mikhail Chekhov." ТЕАТР. ЖИВОПИСЬ. КИНО. МУЗЫКА, no. 4 (2021): 45–60. http://dx.doi.org/10.35852/2588-0144-2021-4-45-60.
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Тема уникальных гримов Михаила Чехова актуальна в связи с малой исследованностью этого феномена в его актерском мастерстве. Из истории сценографической системы первой половины ХХ века известно, как профессионально и точно актеры создавали грим-образы. Это, в первую очередь, К. С. Станиславский, Я. И. Гремиславский, М.А. Чехов. В традиции, восходящей к МХТ Станиславского, все было значимо, и грим не являлся каким-то второстепенным элементом в сценографии спектакля. Поэтому грим-образы Михаила Чехова всегда были аскетичными и точными по рисунку, яркими по композиции, харáктерными по физиогномике. При современном минималистичном подходе к сценическому гриму «старая» традиция этого искусства может на первый взгляд показаться несколько перегруженной, однако и Чехов заложил основы упрощенного грим-рисунка в ролях символистского плана. Учитывая нервную психологическую природу актера Михаила Чехова, подвижность его мимики, можно предположить, как эти гримы «оживали». Они не были чужеродными на его лице. Не было ни одной лишней линии. Во многом в этом и заключался феномен мастерства актера Михаила Чехова – все работало на образ предельно точно.
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BLAGA, OCTAVIA-ANA. "CEHOV ÎN GRĂDINĂ: AVATARURI ALE SPAȚIULUI ÎN CĂLUGĂRUL NEGRU." Slovo 13, no. 1/2023 (2023): 37–45. http://dx.doi.org/10.62229/slv13/3.
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If he weren't an excellent writer, Chekhov could have been an equally great gardener. The writer reflected on this idea in a letter to Mikhail Menshikov dated February 20, 1900. From the moving descriptions of the hills full of lilac in The Steppe (1887) to the desperate attempts of a family to save their orchard in The Cherry Orchard (1904), nature disturbed or completed by man is a common occurrence in Chekhov’s writing. We will attempt to read Chekhov’s natural space using filters of spatial theory (or its contingents), focusing on the garden in “The Black Monk”. We will strive to understand Chekhov's text through Foucault’s concept of heterotopia, as well as Hone’s interspaciality, while also looking at it through Soja’s theory of the three spaces, derived from the spatial perceptions proposed by Lefebvre, in an attempt to understand the multiple meanings of Pesotsky’s garden.
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Senelick, Laurence. "Embodying Emptiness: the Irreality of Mikhail Chekhov's Khlestakov." New Theatre Quarterly 25, no. 3 (2009): 224–32. http://dx.doi.org/10.1017/s0266464x09000402.
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Comedy, argues Laurence Senelick, is the form most indigenous to the Russian stage; so while its great players may still vie to make Hamlet their own, it is the comic figure of Khlestakov in Gogol's Government Inspector (Revizor) who most fully absorbs and enacts the concerns of the times in which the role is recreated. Here, while tracing the history of the role during the nineteenth century, Laurence Senelick is chiefly concerned with its performance by Mikhail Chekhov in Stanislavsky's first post-Revolutionary production at the Moscow Art Theatre in 1921. Stanislavsky's earlier revival in 1908 had placed Khlestakov amidst a ‘community of fools’; now – reflecting the view of Gogol's anti-hero given by Dmitry Merezhkovsky in his influential essay of 1906, ‘Gogol and the Devil’ – Chekhov accomplished the challenging task of embodying a nullity, an ‘empty vessel’, the odd one out in a ‘normal’ society which he manages briefly to plunge into delirium. Laurence Senelick is Distinguished Professor at Tufts University, and has published widely in the fields of Russian theatre, the history of popular entertainments, sex and gender and performance, and theatre iconography. His most recent works include A Historical Dictionary of Russian Theatre (Scarecrow Press, 2007), The Complete Plays of Anton Chekhov as translator and editor (Norton, 2005), and The Changing Room: Sex, Drag, and Theatre (Routledge, 2000).
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Taylor, George, and Rose Whyman. "Francois Delsarte, Prince Sergei Volkonsky and Mikhail Chekhov." Mime Journal 23, no. 1 (2005): 96–111. http://dx.doi.org/10.5642/mimejournal.20052301.07.
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Nakano, Yukio. "On the History of the Novel We, 1937–1952: Zamiatin's We and the Chekhov Publishing House." Canadian-American Slavic Studies 45, no. 3-4 (2011): 441–46. http://dx.doi.org/10.1163/221023911x567641.
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AbstractWhen Zamiatin died in 1937, his novel We remained unpublished in Russian, although it was available in several languages. Eventually, it was published in its original language by the Chekhov Publishing House in 1952. So, what manuscript was the basis for the Chekhov Publishing House edition of We? At the death of Zamiatin, his widow, Liudmila Zamiatina had two galley proofs. When Mikhail Kaprpovich, editor-in-chief of New Journal, had an interest in publishing the novel in 1949, Liudmila sent the galley prood to Gleb Struve for the publication in New Journal. And, according to the correspondence of Gleb Struve and Vera Aleksandrova, editor-in-chief of the Chekhov Publishing House, she received this galley proof from Mikhail Karpovich. Very likely, The Chekhov Publishing House edition of We was based on this galley proof. Meanwhile, the Chekhov Publishing House was a branch of the East European Fund subsidized by the Ford Foundation. And the East European Fund assisted the Community Integration Program's efforts to help the refugees from Soviet Bloc nations to get settled in the United States and supported research programs on the U.S.S.R. This fact reminds us of the case of Animal Farm. As Orwell mentioned in 1948, the American authorities seized about half the copies of his book Animal Farm in Ukrainian edition and handed them over to the Soviet repatriation camp. A Ukrainian translation of Animal Farm was made by the D.P. historian, Ihor Ševčenko and distributed to Ukrainian readers in the camps.
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Bao, Tingting. "Chekhov’s context in Mikhail Zoshchenko’s ‘Sentimental Tales’." Вестник Пермского университета. Российская и зарубежная филология 14, no. 3 (2022): 69–77. http://dx.doi.org/10.17072/2073-6681-2022-3-69-77.
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Mikhail Zoshchenko’s Sentimental Tales are organized as a pyramid where each level is consistent and connected with the previous ones and with Russian classic literature. One of the writers who most influenced Zoshchenko was Anton Chekhov. Their creative similarity is manifold: the poetics of daily life, the image of the little man they wrote about, the lyrical humor, the existential problems they raised. The present study provides a comprehensive analysis and an intertextual comparison of M. Zoshchenko’s and A. Chekhov’s poetics. The paper aims to identify how Zoshchenko employs and transforms Chekhov’s principle of discovery story and to determine the meaning-forming functions performed by intertexts. The analysis revealed that M. Zoshchenko’s Sentimental Tales are to a great degree based on Chekhov’s discovery story genre. The theme of sudden insight, the it seemed versus it turned out compositional principle, existential problems, man-in-a-case complex continue the literary succession and offer new opportunities for the interpretation of Zoshchenko’s prose. Characters created by Zoshchenko represent the average intellectual type of the last century. The tragedy lies in the fact that their world no longer exists, and fate is irreversible, thus the intellectuals become senseless martyrs, victims of the change of epoch. Whether the characters are aware of this problem or not, being the subjects of orientation in reality, they inevitably plunge into a dead end of cognition of being. Consequently, fears, loneliness, lack of understanding, perplexity, disunity, communication failure acquire depth in M. Zoshchenko’s tales. The paper evidently demonstrates the authors sympathy for intellectuals he writes about. Existential pathos, eternal powerlessness of the thought and action, pathos of the impossibility of returning to the past life, and fear of the unknown future, constitute the inner issues of Sentimental Tales and raise the stories to the philosophical level.
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Sokolov, Boris V. "Anton P. Chekhov and Mikhail A. Bulgakov: Chekhov’s trace in “The Master and Margarita”." RUDN Journal of Studies in Literature and Journalism 28, no. 3 (2023): 471–81. http://dx.doi.org/10.22363/2312-9220-2023-28-3-471-481.
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The research examines the presence of A.P. Chekhov’s works in M.A. Bulgakov’s novel “The Master and Margarita”. It is established that Bulgakov drew inspiration from Chekhov’s principles, particularly those outlined in Chekhov’s “Autobiography”, when depicting medical events in his novel. This is evident, for example, in the poisoning episode involving the main characters. It is demonstrated that Chekhov’s story “The Black Monk” greatly influenced the creation of the main and supporting characters in “The Master and Margaruta”, additionally the climactic Great Ball at Satan’s. Both Chekhov’s story and Bulgakov’s novel offer rational explanations to the characters’ mental disorders; however, these explanations are not exhaustive, allowing room for the mystical elements in the plots.
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Shatsky, E. O. "Namesakes in literature, or Chekhov's code in Sholokhov's novels." Voprosy literatury, no. 2 (June 17, 2021): 116–38. http://dx.doi.org/10.31425/0042-8795-2021-2-116-138.
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An allusive proper name is one of the traditional artistic devices of the Russian classics. The author examines Sholokhov's prose to find nearly a dozen names with reference to various Chekhov short stories. In most cases, there is no similarity between the characters' destinies, but the sheer ubiquity of Chekhov-inspired names can be considered as an homage to the master. On the other hand, the allusive names that Sholokhov consistently borrows from The Cherry Orchard [Vishnyoviy sad] are indicative of plot parallels between Sholokhov's novels and Chekhov's play. Notably, Sholokhov uses allusive proper names as a means of generalisation and typification of characters, from the bulwark of traditional morality, the Cossack woman Natalia Stepanovna, the ‘Russian Lucretia,' to the evercheerful soldier Lopakhin, to the family of Mikhail and Dunyasha Koshevoy as a symbol of recovery of the nation divided by the civil war, to the Gaev family as a premonition of the fate awaiting peasant Russia. Such allusions allow for treatment of Sholokhov's novels as a trilogy about the tragedies of the Russian people in the first half of the 20th c.
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Donchenko, Nataliia, and Nataliia Sokolenko. "Formation and Development of the Main Principles of M. Chekhov's Theater System in the Context of Changing the Actor's World Perception." Bulletin of Kyiv National University of Culture and Arts. Series in Stage Art 3, no. 2 (2020): 138–50. https://doi.org/10.31866/2616-759x.3.2.2020.219278.
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The purpose of the work is to analyze the formation and development of the main principles of M. Chekhov’s theatrical system in the context of changing the actor’s worldview of theatrical art. Investigate the theatrical and pedagogical system M. Chekhov as one of the world’s leading theatrical practices, as a synthesis of complex complementary and mutually enriching intercultural processes; to determine the artist’s influence on the reform of the European and American schools of acting art. The research methodology is based on the use of the following scientific approaches: cognitive - for in-depth study of the diversity of M. Chekhov’s creative activity as the author of the unique acting “Chekhov’s System”; cultural is to compare and confront historical, pedagogical and art components in the activities of M. Chekhov; analytical is to identify the basic principles of the methodology of acting skills of M. Chekhov. Scientific novelty. The acting and directing activity of M. Chekhov in the context of features of preparation actor’s technique and development of own method of production harmonization have been investigated; the specifics of innovative concepts of M. Chekhov’s theatrical directing methods have been determined; the influence of the master’s directing activity on the development of modern world theatrical practice in the context of the worldview of the actor has been characterized. Conclusions. M. Chekhov’s activities were aimed at creating a new theater, both literally and figuratively, using techniques developed through teaching and experiments. The study of Mikhail Chekhov’s methodology in the context of the specifics of modern acting training allows us to note that the attitude to the creative and pedagogical heritage of M. Chekhov is special, as recognized professional actors for more than half a century consider his method the foundation for further creative research, and the exercises developed for acting training are the basis of their own technique.
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Visalon, Ioana. "Mihail Cehov sau Calea discipolului revoltat." Analele Universităţii „Dunărea de Jos” din Galaţi. Fascicula XXV,CercetARTE / The Annals of ”Dunarea de Jos” of Galati. Fascicle XXV, ARTSResearch 6 (July 13, 2023): 47–57. https://doi.org/10.35219/cercetarte.2022.06.
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This article analyzes the ways in which the own artistic researches and biography had shaped the pedagogical method of Michael Chekhov. "The most brilliant of my students" in Stanislavski's words, Mikhail/Michael Chekhov, the grandson of the great playwright, is one of the most important acting school creators of the 20th century. He trained or influenced some of the most brilliant american theater pedagogues and actors, including Stella Adler, Mala Powers, Gregory Peck, Gary Cooper, Yull Brynner, Clint Eastwood, Anthony Quinn or Marilyn Monroe. His theatrical research aimed to provide an acting technique that would stimulate access to imagination, without appealing to the actor's personal affective memory - the main tool in Stanislavskian pedagogy.
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Rayfield, Donald, and Patrick Miles. "Mikhail Gromov: Chekhov Scholar and Critic. An Essay in Cultural Difference." Modern Language Review 99, no. 3 (2004): 847. http://dx.doi.org/10.2307/3739100.
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Белова, А. В. "ALEXANDER CHEKHOV - EDITOR." Актуальные вопросы современной филологии и журналистики, no. 1(52) (April 22, 2024): 109–14. http://dx.doi.org/10.36622/2587-9510.2024.44.73.019.
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Статья посвящена исследованию творчества Александра Чехова, писателя, публициста и автора мемуаров об А.П. Чехове, старшего брата Антона Павловича Чехова, на примере его редакторской работы в журналах «Слепец», «Пожарный», «Вестник Российского общества покровительства животным». Отражение личного элемента в произведениях — это то, чем зачастую отличался слог беллетристических произведений Александра Чехова. Об этом не раз ему указывал Антон Павлович Чехов. Думается, что и редакторская работа именно в этих изданиях не обошлась без влияния «личного элемента», который проявился у Александра Павловича в следствиие жизненных обстоятельств, которые ему пришлось пережить в своей жизни: внезапная слепота, а также репортерская работа с выездом на городские пожары и другие происшествия, и их последующими описаниями. Для исследования в данной статье используются материалы писем Ал.П. Чехова к его брату Антону Павловичу с 1875-1904 гг., а также воспоминания отца Павла Егоровича Чехова и сына Михаила ПавловичаАлександровича Чехова. Приведенные в тексте статьи отрывки писем, которые имеют явный отсыл к жизни Александра Павловича Чехова, призваны подтвердить точку зрения автора статьи о том, что возможно, выбор именно этих изданий (по крайней мере именно двух: «Слепец» и «Пожарный») редактор Александр Чехов сделал несознательно, невольно, но в этой невольности прослеживается ассоциативная связь с его личным жизненным опытом. The article is devoted to the study of the work of Alexander Chekhov, a writer, publicist and author of memoirs about A.P. Chekhov, the elder brother of Anton Pavlovich Chekhov, on the example of his editorial work in the magazines "Slepets", "Fireman", "Bulletin of the Russian Society for the Protection of Animals". The reflection of the personal element in the works is what often distinguished the style of the fictional works of Alexander Chekhov. Anton Pavlovich Chekhov pointed this out to him more than once.It seems that the work in these publications was not without the influence of the “personal element”, which manifested itself in Alexander Pavlovich as a result of the life circumstances that he had to endure: sudden blindness, as well as reporter work with a trip to city fires and other incidents, and their subsequent descriptions. For research in this article, materials from the letters of Al.P. Chekhov to his brother Anton Pavlovich from 1875-1904, as well as the memoirs of his father Pavel Yegorovich Chekhov and brother Mikhail Pavlovich Chekhov. The excerpts of letters cited in the text of the article, which have a clear reference to the life of Alexander Pavlovich Chekhov, are intended to confirm the point of view of the author of the article that it is possible that the choice of these particular publications (at least two: "Slepets" and "Fireman") editor Alexander Chekhov did it unconsciously, involuntarily, but in this involuntariness there is an associative connection with his personal life experience.
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Siqueira, Elton Soares. "Ombela: uma cena ancorada no imaginário africano." Revista Aspas 7, no. 1 (2017): 126. http://dx.doi.org/10.11606/issn.2238-3999.v7i1p126-137.
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Este trabalho tem como objetivo central investigar os procedimentos estéticos e metodológicos que, no espetáculo Ombela, do grupo pernambucano O Poste Soluções Luminosas, contribuíram para expressar na cena a ancestralidade africana. Considerando que o grupo em foco pesquisa as contribuições de Mikhail Chekhov e de Eugenio Barba para a realização de um teatro físico, tomaremos os dois autores como referências teóricas de nosso trabalho, a fim de compreender em que medida o teatro físico é, em Ombela, um recurso teórico-metodológico eficaz para a construção de uma cena de matriz africana. A pesquisa contou com anotações feitas a cada apresentação do espetáculo assistida, além de entrevistas com o grupo.
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Kolchanov, Vladimir V. "On the origins of the crowd scenes in the novel “The Master and Margarita” by Mikhail Bulgakov." Vestnik of Kostroma State University 27, no. 2 (2021): 137–42. http://dx.doi.org/10.34216/1998-0817-2021-27-2-137-142.
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The article deals with the roots of the crowd scenes in “The Master and Margarita” by Mikhail Bulgakov, focusing on such motifs of the novel as death's head hawkmoth and theatrical motifs. The origins of the crowd scenes in Mikhail Bulgakov’s literary work are all connected with the mentioned three motifs. The researcher uses information from the little-known literary, historical, and cultural sources. These include, firstly, the occult works of the Fin de siècle writers, such as novels “The Gloomy House Mystery” and “The New Power” written by the “Criminal Novel Master” Aleksandr Tsehanovich (1862-1896); the play “The Fair God” by David Aizman (who has been justly called “Chekhov of the Jews”) (1860-1922); the story “The Succubus” written by the Belgian writer Antoine Louis Camille Lemonnier. “A House in a Delirium” by a German prose writer W.Hollander. Second, these include literary work by a Soviet writer: story “The Condemned” by Mikhail Kozakov. Third, an important role belongs to sketches from the “The Red Panorama” journal: “The Footsteps Leading Westward” by Jānis Larri, “Travelling from Resort to Resort: Yalta” by D. Gorodinskiy. The plots and details of the named works had a great influence on Mikhail Bulgakov and inspired him while writing such chapters of the novel as “Never Talk with Strangers”, “The Seventh Proof”, “The Chase”, “Praise Be to the Rooster”, “News from Yalta”, “Black Magic and Its Exposure”, “Nikanor Ivanovich’s Dream”, “The Great Ball at Satan's” and some fragments of the auxiliary plot connected with the figure of Pontius Pilate.
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Rayfield, Donald. "Mikhail Gromov: Chekhov Scholar and Critic. An Essay in Cultural Difference by Patrick Miles (review)." Modern Language Review 98, no. 3 (2003): 847. http://dx.doi.org/10.1353/mlr.2003.a827227.
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Rayfield, Donald. "Mikhail Gromov: Chekhov Scholar and Critic. An Essay in Cultural Difference by Patrick Miles (review)." Modern Language Review 99, no. 3 (2004): 847. http://dx.doi.org/10.1353/mlr.2004.a826876.
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Festic, Fatima. "Lermontov’s ‘The Dream’, Chekhov’s ‘Dreams’: at the Brink of Life and Death." southern semiotic review 2021 i, no. 14 (2021): 1–17. http://dx.doi.org/10.33234/ssr.14.1.
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This text offers a comparative analysis of a lyric poem, The Dream (1841) by Mikhail Yurievich Lermontov and a short story, Dreams (1886) by Anton Pavlovich Chekhov, two major Russian authors embedded in the rigid Russian imperial structures. I examine their dream concepts and figurations, and their representations of various structures that permeate the human existence and human experience of the empire, as well as their poetic irony that comes as their brink. Further, I elucidate the meaning and function of the poetics and aesthetics of the written dream in the societal and political reality of life. The texts is outlined with the paradigmatic Shakespeare’s words from “The Tempest:” “We are such stuff as dreams are made on, and our little life is rounded with a sleep”.
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Shroma, Natalja. "Appropriation of Classic Literature as an Ideological Issue: The Experience of Mikhail Chekhov Riga Russian Theatre." Zeszyty Cyrylo-Metodiańskie 13 (December 19, 2024): 187–207. https://doi.org/10.17951/zcm.2024.13.187-207.
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In the present article, the issue of art, including literature as well as theatre, and ideology is analysed based on archival materials of Mikhail Chekhov Riga Russian Theatre from 1921 to 2023. The repertoire policy of the theatre at all stages of its existence took into account the ideological potential of classic writers and their ability to initiate the discussion of current political, ideological, and social issues. It was manifested in the selection of the authors (in their acceptance or rejection) and specific works for dramatization. The paper focuses on the stage adaptations of the prose of Ivan Turgenev, whose creative heritage has a wide range of ideological interpretations. Moreover, the article discusses the procedures of transformation of the source texts that allow successful reception of a classic text.
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Ozer, Saiana. "Gogol’s Vestmental Term “Shinel (The Overcoat)” as “Daguerreotype” of Mediocrity." SHS Web of Conferences 50 (2018): 01125. http://dx.doi.org/10.1051/shsconf/20185001125.
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In the first half of the 19th century, the theme of ‘a small’ man, an ordinary and inconspicuous person, appeared in the literature. Different writers described the daily unremarkable life of mediocre people in detail. Such writers as Anton Chekhov, Alexander Kuprin, Maxim Gorky, Leonid Andreyev, Fyodor Sologub, Arkady Averchenko, Konstantin Trenyov, Ivan Shmelyov, Semyon Yushkevich, etc. dwelled later on the same topic. Under the guise of criticism of philistine life, Mikhail Zoshchenko, Mikhail Bulgakov, Vladimir Voinovich continued the tradition of “the small man’s menology” during the era of socialist realism. Despite numerous literary attempts to describe small men’s expectations, “The Shinel (Overcoat)” by Nikolai Gogol undoubtedly is the cornerstone of those works. Fyodor Dostoyevsky stated, “We all come out from Gogol’s ‘Overcoat’.” Literary critics are fascinated by this story because of its scale, multi-layered conception, hidden spirituality and a prophetic encoded message. Characteristics of the protagonist change from positive to completely opposite, depending on the ideological mood of the reader. The only thing that can scare any sensible person is the rebellion of a small wrathful man who becomes merciless. The offended person easily turns from a harmless creature into a scoundrel, destroying everything to achieve his ephemeral goal.
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Ozer, Saiana. "Gogol’s Vestmental Term “Shinel (The Overcoat)” as “Daguerreotype” of Mediocrity." SHS Web of Conferences 50 (2018): 01239. http://dx.doi.org/10.1051/shsconf/20185001239.
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In the first half of the 19th century, the theme of ‘a small’ man, an ordinary and inconspicuous person, appeared in the literature. Different writers described the daily unremarkable life of mediocre people in detail. Such writers as Anton Chekhov, Alexander Kuprin, Maxim Gorky, Leonid Andreyev, Fyodor Sologub, Arkady Averchenko, Konstantin Trenyov, Ivan Shmelyov, Semyon Yushkevich, etc. dwelled later on the same topic. Under the guise of criticism of philistine life, Mikhail Zoshchenko, Mikhail Bulgakov, Vladimir Voinovich continued the tradition of “the small man’s menology” during the era of socialist realism. Despite numerous literary attempts to describe small men’s expectations, “The Shinel (Overcoat)” by Nikolai Gogol undoubtedly is the cornerstone of those works. Fyodor Dostoyevsky stated, “We all come out from Gogol’s ‘Overcoat’.” Literary critics are fascinated by this story because of its scale, multi-layered conception, hidden spirituality and a prophetic encoded message. Characteristics of the protagonist change from positive to completely opposite, depending on the ideological mood of the reader. The only thing that can scare any sensible person is the rebellion of a small wrathful man who becomes merciless. The offended person easily turns from a harmless creature into a scoundrel, destroying everything to achieve his ephemeral goal.
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Kirillov, Andrei. "Michael Chekhov and the Search for the ‘Ideal’ Theatre." New Theatre Quarterly 22, no. 3 (2006): 227–34. http://dx.doi.org/10.1017/s0266464x06000431.
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In a keynote address delivered at the Michael Chekhov symposium ‘Theatre of the Future?’, held at Dartington Hall in November 2005, Andrei Kirillov argued that Chekhov’s ideas have not yet been fully assimilated, pointing out that merely to follow his exercises without understanding their connection to the actor’s imagination and meditative as well as spiritual dimensions is to fail fully to understand him. Andrei Kirillov is a researcher and Assistant Chair at the Theatre Department of the Russian Institute of the History of the Arts. His numerous publications on the history and theory of Russian theatre include Michael Chekhov: the Path of the Actor, co-edited with Bella Merlin (2005), and Teatr Mikhaila Chekhova: Russkoye Akterskoye Iskusstvo XX veca (The Theatre of Michael Chekhov: the Art of Russian Acting in the Twentieth Century, 1993). Bella Merlin originally enhanced the English-language version of this lecture, and with the author’s approval it has been further edited by NTQ for publication.
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Leach, Robert. "When he touches your heart... ‐the revolutionary theatre of Vsevolod Meyerhold and the development of Mikhail Chekhov." Contemporary Theatre Review 7, no. 1 (1997): 65–83. http://dx.doi.org/10.1080/10486809708568447.
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Lounsbery, Anne. "Dostoevskii's Geography: Centers, Peripheries, and Networks inDemons." Slavic Review 66, no. 2 (2007): 211–29. http://dx.doi.org/10.2307/20060218.
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Demonstakes an infamous real-life Moscow event (the “Nechaev Affair“) and moves it to a nameless provincial city. What can this geographic shift tell us about both Fedor Dostoevskii's novel and the particular vision of Russian geographic space that informs it? Anne Lounsbery argues thatDemons’representation of the provinces responds to a certain imaginary geography of Russia, one that can locate meaning only in acenter.The ideological implications of this geography are played out in Dostoevskii's representation of the railroad as a sinister and ever-widening network extending across a blank landscape. The interlocking rail lines “covering Russia like a spider web” reflect the provincial revolutionaries’ paranoid political vision as well as their inability to see themselves as anything but tiny points on this network, insignificant without the web's power to connect them to a hub of meaning. Lounsbery relates Dostoevskii's geographic vision to patterns that structure the representation of Russian space in works by many nineteenth-century writers, including Nikolai Gogol', Mikhail Saltykov-Shchedrin, and Anton Chekhov.
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Parina, Elena. "A Welsh Award-Winning Novel on Russia: Petrograd by Wiliam Owen Roberts." Studia Celto-Slavica 6 (2012): 91–99. http://dx.doi.org/10.54586/wxsi4066.
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In our paper we present the novel Petrograd by the Welsh author Wiliam Owen Roberts, written in Welsh. Winner of the Wales Book of the Year 2009 award, this substantial 544-page volume is the first part of a trilogy dedicated to the fates of Russian well-to-do families in years previous and following the revolutionary year 1917. Taking his inspiration from Mikhail Bulgakov’s The White Guard, as well as the works of Anton Chekhov, Maxim Gorkij and Alexi Tolstoj, the Welsh author writes full of sympathy about those who lose their normal way of life, his main characters being three adolescents. In our paper we discuss both the surface features of the novel, e.g. the Russian names the writer gives to his characters, as well as the main elements which make this novel so interesting for Wales and Russia, including the importance of the First World War and its consequences for both countries.
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Glushkova, Maria, and Elena Vasilevich. "Análise do conto “A dama do cachorrinho”. Paralelos entre as relações autor-personagem em Mikhail Bakhtin e Antón Tchékhov." Bakhtiniana: Revista de Estudos do Discurso 17, no. 4 (2022): 75–103. http://dx.doi.org/10.1590/2176-4573p54981.
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RESUMO Os primeiros trabalhos de Bakhtin apontam as origens de sua teoria. O ineditismo deste artigo, então, consiste em comparar os trabalhos iniciais de Bakhtin, mais precisamente o ensaio “O autor e a personagem na atividade estética”, escrito nos anos 1920, com as visões de Tchékhov sobre a relação autor - personagem - leitor. Isso porque consideramos Tchékhov não apenas escritor, mas também teórico da criação verbal, o que mostraremos com trechos das suas cartas. Assim, o artigo apresenta uma análise do conto “A dama do cachorrinho”, de Anton Tchékhov, e a tese de que Tchékhov teve, já a partir do título, a intenção de relacionar o seu conto com o romance A dama das camélias, de Alexandre Dumas Filho.
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Stepanova, Alla. "Narrative strategies in the stories by Vladimir Nabokov in the 1920s." World of the Russian Word, no. 1 (2023): 47–54. http://dx.doi.org/10.21638/spbu30.2023.106.
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The author argues that the features of the narrative structure in the stories by Vladimir Nabokov have repeatedly become the subject of researchers’ attention, both literary critics and linguists. Scholars have highlighted some features specific to the modernist narrative in the analyzes of particular Nabokov works and in the scholarly articles devoted to Nabokov in general. One of the most prominent feature is the uncertainty of the “deictic modus of the text” (Mikhail Dymarsky). However, in the early Nabokov works, when his individual style was just being formed, one can find examples of a consistently sustained traditional narrative. The material for this study was Nabokovʼs stories of the 1920s: this period accounts for almost half of the short stories he created; in addition, the instability of the authorʼs preferences when choosing narrative strategies attracts researcher’s attention. The fundamental differences between these strategies, their incompatibility, and their orientation toward solving mutually exclusive problems become more noticeable when comparing early Nabokov prose and the works by Anton Chekhov, a writer whose creative method evolved within the framework of the traditional narrative. So, along with all sorts of ways to violate the usual conditions of communication with the reader, Nabokov also uses the types of narration explored by Alexandre Chudakov on Chekhovʼs material. In other words, in the early stories, Nabokov actively masters the experience of his recent predecessors and looks for ways to overcome traditional narrative forms; in this sense, the arsenal of his artistic devices is more diverse than that of his predecessors. The results of the study allow to formulate a question about the plot conditionality of certain narrative devices in Nabokovʼs stories and, more broadly, in his prose.
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Zaslavsky, Olga. "« Петербург » Андрея Белого на московской сцене в постановке Сергея Голомазова". Chroniques slaves 4, № 1 (2008): 163–72. http://dx.doi.org/10.3406/chros.2008.927.
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Andrei Bely’s Peterburg on Moscow Stage : Sergey Golomazov's Production." In this paper, I examine Sergey Golomazov's production of Andrey Bely's Peterburg, set on the stage of the Gogol theater in Moscow from 1998 to 2004. The paper, based on the actual production and on the study of the materials that cover the only other significant production of the play the Bely-Mikhail Chekhov production of 1925 -juxtaposes the recent Golomazov production with its original predecessor. My major point in this paper is that in his approach to the staging of the play, Golomazov borrows the elements of farce from Bely's stage adaptation of the novel, his play Gibel Senatora. At the same time, in his overall approach, Golomazov, who wrote the script for his contemporary production, stays closer to the novel Peterburg by trying to expose the ambivalent nature of the father-son conflict and the moral underpinnings of the novel. I also quote from several sources to demonstrate the reception of both productions, which was mostly negative in the Russia of the 1920's and decidedly positive in contemporary Russia. For my secondary sources, I have relied mostly on Russian and American literary criticism and on my personal interview with Sergey Golomazov, currently the artistic director of the Malaya Bronnaya Theater.
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Senelick, Laurence. "Mikhail Chekhov as Actor, Director and Teacher. By Lendley C. Black. Ann Arbor, Michigan: UMI Research Press, 1987. Pp. xiv + 116. $39·95." Theatre Research International 13, no. 3 (1988): 295–97. http://dx.doi.org/10.1017/s0307883300005976.
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Mariakhina, Elena A. "“HOW DID I HAPPEN TO BE HERE?” SPACE OF LOST IDENTITY IN “THREE SISTERS” BY ANTON CHEKHOV AND “THE BLACK SNOWSTORM” BY ANASTASIA BUKREEVA." RSUH/RGGU Bulletin. "Literary Theory. Linguistics. Cultural Studies" Series, no. 3 (2023): 34–44. http://dx.doi.org/10.28995/2686-7249-2023-3-34-44.
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In the article, we make an attempt to study the interaction between the problematics of literary space and character’s identity in a dramaturgical work on the material of the plays “Three Sisters” by Anton Chekhov and “The Black Snowstorm” by Anastasia Bukreeva. The analysis is based on certain statements of chronotope theory developed by Mikhail Bakhtin. The paper considers the motif structure that in a certain way forms the literary space, in particular, the motifs of higher place and lower place, certain characteristics of the organization of space and time, such as isolation, “corpuscularity”, and cyclicity. An analysis is made of the complex interconnection between the place and the way of the characters’ self-determination, which is associated both with the structure of space and with the way the character perceives this space and himself within its boundaries. The nature of dramaturgy defines how the stage and off-stage spaces are organized, and the exploration of the significance of the off-stage chronotope may provide an additional perspective to navigating the character’s inner live determined by his perception of the place of acting. The purpose of this paper is to compare the approaches of the two playwrights to the existential aspects of literary space, as well as the problematics of the connection of a person’s identity with the world in which he finds himself for some reason.
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Tamazyan, V. A. "Pronouns functioning in the objectification of the linguistic personality of M. Poloznev (based on the story by A.P. Chekhov “My Life”)." Neophilology 11, no. 2 (2025): 440–51. https://doi.org/10.20310/2587-6953-2025-11-2-440-451.
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INTRODUCTION. The anthropological paradigm of modern scientific knowledge actualizes the study of language in close connection with a specific carrier, that is, a linguistic personality. This fact determines the scientific problem of the research, which consists in addressing the study of “linguistic personality” integrative concept in relation to the character of a work of art. The goal of the study is to analyze the functioning of pronouns (indicative words) in the structure of the linguistic personality of a fiction text character.MATERIALS AND METHODS. The material of the study is the text of A.P. Chekhov’s story “My Life”, based on the analysis of which the study of the linguistic personality of Mikhail Poloznev is carried out. The paper uses continuous sampling, comparison, description, juxtaposition methods as well as the statistical method. The object of the study is indicating words (pronouns), which are studied from their functional load position at all levels of the structure of the linguistic personality of the character. Based on the continuous sampling method, the total number of pronouns (indicative words) in the individual lexicon of M. Poloznev is identified, and their functioning at all levels of the linguistic personality is analyzed.RESULTS AND DISCUSSION. The functioning of 90 indicative words (pronouns) with a total of 3603 uses in the individual lexicon of M. Poloznev is analyzed and described, which allowed us to draw a number of conclusions about the specifics of the character’s linguistic personality.CONCLUSION. Conclusions are formulated that pronouns (indicative words) act as a means of objectifying world-modeling categories in the structure of the character’s linguistic personality, and their syntagmatic connections with conceptually significant units of the individual lexicon form an idea of the world picture of the protagonist.
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Kuryanov, S. O., and A. I. Pirozhenko. "Narrative strategies in Mikhail Elizarov's collection of short prose “We Went Out for a Smoke for 17 Years”." Vestnik of North-Eastern Federal University 21, no. 3 (2024): 119–26. https://doi.org/10.25587/2222-5404-2024-21-3-119-126.
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The article is devoted to the narrative features of Mikhail Elizarov's collection of short prose "We Went Out for a Smoke for 17 Years". The aim of article is to show the originality of the author's narrative strategy in the works placed in the book. The novelty of the study lies in the fact that it attempts a holistic literary analysis of the collection from the point of view of the author's narrative strategies. In order to achieve the set goal, the structural method and the method of intertextual analysis are used in the work. In Elizarov, in comparison with other contemporary Russian writers, intertext acquires greater weight. The unreliability of the narrator also becomes an important part of the poetics of the collection. In Yelizarov's stories, the narrator combines the traits of the biographical author, the narrator, and the narrator. A large part of the book is occupied, on the one hand, by far from reality fiction, on the other hand, by documentaryism. Elizarov creates a strong link with the literary tradition of the past: one can trace the intersections with A. P. Chekhov; there is an obvious connection with the works of Nikolai Gogol, Alexander Pushkin, as well as with the novel "The Sun of the Dead" by I. S. Shmelyov. The book is not so much a collection as a separate work, in which it is possible to identify a single course of the plot, with retrospection and a view from the future, a single hero / storyteller / narrator / author. At the same time, the method of narration changes from story to story. A special place in the book is given to binary oppositions, which often turn out to be the centre of a particular story. The opposition "past / present" runs through the whole book, the author develops the opposition "East / West", the opposition "native / native" becomes important, and through the opposition "intellectual / common man" the narrator tries to find out who he is and what his place in the global world is. The connection with the literary tradition of the past, reflected in the principles of narration, in the themes, conflicts and images of the collection, allows both the book and the personality of the writer to become an important link in the literary process.
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Belov, Nikita. "New data about Andrei Chokhov: commemorative and onomastic aspects." Vspomogatel'nye istoricheskie distsipliny, no. 43 (4) (2024): 8. https://doi.org/10.7868/s0130086524040012.
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The life of the famous foundry worker Andrei Chokhov († 1629) is known primarily through his works: cannons and bells, as well as through the documents of the Cannon Bureau (Pushkarskij prikaz) that accompanied their production. There are no biographical data about Chokhov: not only his origin, but even the names of his parents are unknown. The oldest Synodikon 1575 of the sacristy of Trinity-St. Sergius Monastery provides new information. In this text under 1614 is placed a memorial entry: “The family of bell and cannon master Andrei Chokhov”. The record consists of two male and two female names. There is reason to believe that Andrew’s grandfather, grandmother, father and mother are recorded in the Synodikon. Chokhov’s contribution to the Trinity-St. Sergius Monastery may have been in uenced by his receipt of new state commissions and a steady salary in the rst year of Tsar Mikhail Romanov’s reign. Additional information about Andrei Chokhov and his family is provided by analysing the master’s family name. He himself was referred to as both Chokhov and Chekhov. According to the hypothesis of E. L. Nemirovsky, it is a patronym derived from the non-Christian name Chokh, Cheh. Developing the scientist’s observations, it should be pointed out that these names in the 16th century were typical for the lands of Western Russia under Lithuanian rule and, on the contrary, were not found on the territory of the Moscow state. On this basis it can be assumed that Andrei Chokhov’s family came from the West Russian region/
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Kesdekian, Mesrop. "Mikhail Chekhov as Actor, Director, and Teacher. By Lendley C. Black. Theater and Dramatic Studies, no. 43. Ann Arbor, Mich.: UMI, 1987. xiv, 116 pp. $39.95, cloth." Slavic Review 48, no. 1 (1989): 139–40. http://dx.doi.org/10.2307/2498724.
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Kozlov, Alexey E. "Dmitry Grigorovich: “Who is to Blame?”, text prep. and comment. by A.E. Kozlov." Literary Fact, no. 24 (2022): 152–68. http://dx.doi.org/10.22455/2541-8297-2022-24-152-168.
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The publication was prepared for the 200th anniversary of Dmitry Grigorovich, who was a contemporary of Turgenev, Tolstoy and Dostoevsky and whose literary and journalistic heritage still requires commentary and research reflection. The article presents an unfinished essay by Dmitry Grigorovich “Who is to blame?” Probably Grigorovich worked on the essay for the last ten years of his life, but the question posed in the essay remained unresolved. Grigorovich turns to the analysis of xenophobia. In the exposition of the essay, relying on his own observations and emotions, he writes about nationalism. Speaking about the external attributes of the nation, explaining his childhood and youthful fears, the writer is the most tendentious: he describes irrational phobias, trying to argue his right not only not to accept others, but also to be afraid of the appearance of representatives of other peoples. This part of the work ends with a discussion about the stereotypes that people have in relation to different nations. The main part of the essay refutes the preliminary judgments made earlier: it is devoted to the history of a Jewish master from Vilna and an executive Baltic official Gaberbir. Unlike Fjodor Dostoevsky, who formulated his position on this matter in the “Diary of a Writer,” Mikhail Katkov and Konstantin Pobedonostsev, who pursued a tendentious nationalist line in periodicals, Dmitry Grigorovich refuses to reach a verdict, although he raises a question that cannot be answered on the pages of his work. Moreover, the issue that bothered the writer was resolved by Anton Chekhov, who managed to translate Russian literature into a universal dimension. The essay is published in accordance with the rules of modern spelling and punctuation; occasional errors are corrected.
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Razumova, Nina E. "Another "returned" name. New book: Anton Chekhov and his critic Mikhail Menshikov: Correspondence. Diaries. Memory lane. Articles / Comp. articles, ed. texts, notes. A. S. Melikova. Moscow: Russian Way, 2005." Sibirskiy filologicheskiy zhurnal, no. 3 (September 1, 2006): 99–102. http://dx.doi.org/10.17223/18137083/16/11.
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Shevtsov, N. V., and M. D. Krynzhina. "Contribution of Alexey Suvorin and His Newspaper Novoye Vremya into Russian Culture of the Second Half of 19th – Early 20th Century’." Concept: philosophy, religion, culture 5, no. 3 (2021): 137–47. http://dx.doi.org/10.24833/2541-8831-2021-3-19-137-147.
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Novoye Vremya (The New Time) newspaper was considered as the leading daily periodical of the pre-revolutionary Russia. In 1876, Aleksey Suvorin, an outstanding Russian publisher and literary figure, became its owner and chief editor. He turned the newspaper into a source of information, which seriously influenced the public opinion in Russia. Novoye Vremya provoked constant interest among readers of all social levels. It was popular both among high-ranking government officials and people without any ranks, conservatives and liberals, people with higher education and those who did not even graduate a gymnasium. Newspaper stories were apprehensible not only for educated people but for any common person. Young and old, men and women liked Novoye Vremya. It had never forced its opinion and suggested the readers to make personal judgement through its reports. Suvorin managed to form the audience that valued the newspaper and believed in it. Not only Novoye Vremya stood out for its excellent materials on politics, economy, and non-fiction. In its reviews the newspaper gave a fair evaluation of the Russian authors’ works. Moreover, it became famous with the literary works of the top writers, the classics of Russian literature. Therefore, it is not by accident that the author of this article pays special attention to the cooperation between Novoye Vremya and the most known Russian writers of the second half of the 19th century and early 20th century. Thanks to Suvorin, the talent of Anton Chekhov, who started publishing his works in the newspaper under a different name, opened up. Novoye Vremya published the stories which were later included into his collection In the Twilight. Here he also published his famous novella The Duel. Despite the fact that Novoye Vremya was considered to be a newspaper rather than a literary magazine, it worked together with such writers as Leo Tolstoy, Nikolay Nekrasov, Nikolay Leskov, Mikhail Saltykov-Shchedrin, for whom the newspaper was not only a serious periodical but also a source of education and knowledge. In Soviet times the directive was to forget about Suvorin. And when they did remember, they certainly wrote about him as a reactionary, chauvinist, notorious monarchist. And if another major pre-revolutionary publisher I.D. Sytin was recognized by the Soviet government, although he lost his printing house and real estate, then Suvorin was in disgrace.
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Gordon, Mel. "The Castle Awakens: Mikhail Chekhov's 1931 Occult Fantasy." Performing Arts Journal 17, no. 1 (1995): 110. http://dx.doi.org/10.2307/3245704.
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Carnicke, Sharon Marie, and Liisa Biukling. "Pis'ma Mikhaila Chekhova Mstislavu Dobuzhinskomu (gody emigratsii, 1938-1951)." Slavic and East European Journal 38, no. 4 (1994): 698. http://dx.doi.org/10.2307/308432.
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Shishkin, Andrey G., and Olga O. Morozova. "Art in the Age of Globalisation: Dialogue of Cultures (Ural Opera Ballet Theatre’s Production of the Opera Tri Sestry)." Changing Societies & Personalities 4, no. 4 (2020): 476. http://dx.doi.org/10.15826/csp.2020.4.4.112.
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The article explores the dialogics of art and the role of art as a tool of dialogue between cultures on the example of the Ural Opera Ballet Theatre’s recent stage production of the opera Tri Sestry (Three Sisters), which demonstrates a successful interaction between different cultural traditions.Interpreting Chekhov’s play from a late 20th century perspective, Hungarian composer Peter Eötvös presented new responses to the questions that tormented the play’s characters one hundred years ago. In his work, which blends French and German avant-garde techniques with structural elements drawn from film narrative and the Japanese Noh theatre tradition, he added a radically new dimension to Chekhov’s play. As a result, he was able to open up latent meanings the play within the great time space proposed by the Russian philosopher Mikhail Bakhtin. In turn, Christopher Alden (USA), the Artistic Director of the Ural Opera Ballet production, merged voices from different artistic traditions into a new contemporary musical image.
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Коршунова, Евгения Александровна. "MOSCOW AS A TEXT IN THE WORKS BY SERGEI N. DURYLIN: AUDIO AND VISUAL ASPECTS." ΠΡΑΞΗMΑ. Journal of Visual Semiotics, no. 3(25) (September 18, 2020): 72–86. http://dx.doi.org/10.23951/2312-7899-2020-3-72-86.
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В данной статье исследуются проблемы поэтики «московского текста» в творчестве С. Н. Дурылина (1887–1954) на материале записок «В родном углу» (1928–1939), созданных в томской ссылке, и стихотворения из «московского цикла» «А. Р. Артём» (1926), публикуемого впервые. Кроме традиционного подхода, используемого литературоведами, который предлагает рассматривать городское пространство как текст, в статье используется полидисциплинарный визуально-антропологический подход, рассматривающий город как визуально-коммуникативный текст и культурно-коммуникативную среду. Это обусловлено особенностями поэтики данных произведений писателя. Именно аудиовизуальный код позволяет наиболее адекватно рассмотреть «городское пространство» в названных произведениях Дурылина как наиболее репрезентативных для рассмотрения этой темы. Стихотворение Дурылина «А. Р. Артём» выполняет роль микромодели «московского текста», содержит основные аудиовизуальные семиотические «знаки» «городского пространства» (образ тишины, на фоне которой изображается «звучащий мир» московского дома и его обитатели: А. Р. Артём, А. П. Чехов, кот). Это подчёркивает важность антропологического аспекта в формировании модели «московского текста», ведь персонажи, а не объекты культуры или локусы являются носителями «московского духа». В ходе анализа предпринята попытка определить место записок «В родному углу», ранее не анализированных литературоведами, в литературном процессе эпохи. Наряду с другими московскими текстами: романом о Москве А. Белого, стихами М. И. Цветаевой, «Счастливой Москвой» А. П. Платонова, «московскими» произведениями М. А. Булгакова, И. С. Шмелёва – Дурылин пытается создать свой инвариант «московского мифа». Дурылин, отходя от построения традиционного сюжета, создаёт и изображает именно те образы столицы (тихая, златоглавая, великорусская), которые обрели почти мифологический статус, выразили её неповторимый и вневременной лик, имеющий для писателя зачастую и национальное значение и, нужно думать, указали читателю определённый ракурс прочтения записок, составляющих ядро «московского текста» Дурылина. Писатель выделяет три важнейших концепта, представляющих лик Москвы: душа Москвы – третьего Рима (дореволюционная Москва) – растворяется в историческом пореволюционном втором Вавилоне и становится невидимой, Москвой-Китежем, городом, который должен воскреснуть. Важно также, что Дурылин представляет свой метатекст о городе прежде всего как о человеческом способе присутствия в бытии и, следовательно, о пространстве как о культурном измерении бытия. При этом он представляет сакральный архетип соборности как культурообразующий. Пытаясь создать объективную картину, автор уделяет внимание и свидетельствам иностранцев Герберта Уэллса, Эмиля Верхарна и других. The article analyzes the problems of the poetic style of the “Moscow text” in the works of Sergei N. Durylin (1887–1954) based on the notes V Rodnom Uglu [Hometown. The Life of Old Moscow] (1928–1939) written in the Tomsk exile and the poem from the “Moscow cycle” “A. R. Artyom” (1926), which is being published for the first time. Aside from the traditional approach used by literary scholars, which proposes to consider urban space as a text, the article uses a multidisciplinary visual-anthropological approach, which considers a city as a visual-communicative text and a cultural-communicative environment. This is relevant due to both a new surge of interest in urban issues and due to the peculiarities of the poetic style of the writer’s works. It is the audiovisual code that makes it possible to most adequately consider the “urban space” in Durylin’s mentioned works as the most representative for considering this topic. Durylin’s poem “A. R. Artem” serves as the micro-model of the “Moscow text”. It contains the main audiovisual semiotic “signs” of “urban space” (the image of silence, on the background of which the “sounding world” of the Moscow house and its inhabitants are depicted: Alexander R. Artyom, Anton P. Chekhov, the cat). This emphasizes the importance of the anthropological aspect in the formation of the “Moscow text” model because characters, not cultural objects or loci, are bearers of the “Moscow spirit”. In the course of the analysis, an attempt was made to determine the place of the notes V Rodnom Uglu, which had not been previously analyzed by literary scholars, in the literary process of the era. Along with other Moscow texts, a novel about Moscow by Andrei Bely, poems by Marina I. Tsvetaeva, Happy Moscow by Andrei Platonov, “Moscow” works by Mikhail A. Bulgakov and Ivan S. Shmelyov, Durylin is trying to create his own invariant of the “Moscow myth”. Diverging from the construction of the traditional plot, Durylin creates and depicts the images of the capital (quiet, golden-domed, Great Russian) which acquired an almost mythological status for the writer, expressed Moscow’s unique and timeless face, which is almost always of national significance for the writer, and, one must think, showed the reader a certain perspective on reading the notes that make up the core of Durylin’s “Moscow text”. The writer identifies three important concepts that represent Moscow’s face: the soul of Moscow, the third Rome, dissolved in the historical post-revolutionary second Babylon, became the invisible Moscow-Kitezh, a city that should rise again. It is also important that Durylin presents his supertext about the city primarily as a “human way of being in existence” and, therefore, about space as a cultural dimension of being. Along with this, he presents the sacred archetype of sobornost as culture-forming. Trying to create an objective picture, the author pays attention to the testimonies of foreigners Herbert Wells, Émile Verhaeren, and others.
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Stepanova, S. Ye. "PROFESSIONAL AND DOMESTIC: COGNITIVE INFLUENCE IN PICTURES AND ECHO PICTURES OF THE WORLD." Opera in linguistica ukrainiana, no. 29 (November 9, 2022): 285–91. http://dx.doi.org/10.18524/2414-0627.2022.29.262413.
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The purpose of this research is to identify the ways and mechanisms of the influence of professional discourse on the formation and development of professional language pictures of the world, as well as the formation of echo-pictures of the world of people close to these specialists based on their language picture of the world. The object of the study is the speech of the tailor Emmanuel Solovey and his wife Rosa – the main characters of Vera Inber’s story “Solovey and Rosa”; Olga Plemyannikova and men close to her of various professions – characters in Anton Chekhov’s story “Sweetheart”; a young novice doctor from Mikhail Bulgakov’s autobiographical story “Towel with a rooster”. The result of our observations allows us to draw a number of conclusions. Professional pictures of the world develop with the improvement of the skills of their carriers and have a direct influence on the formation of language pictures of the world of specialists in a certain field of knowledge or craft, and indirect influence through professional echo pictures of the world and language pictures of the world of people who surround these specialists: family members, friends. These influences are reflected in the speech of specialists and family members, other people close to them in various language means. Most often, such influences are evidenced by group or individual comparative turns, idioms, metaphors, metonymies, synonyms, antonyms, personifications that reflect the professional knowledge and skills of the speaker, as well as his family members and close friends.
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Markova, M. V. "Golubkov, A., Ershova, I. and Chekalov, K., eds. (2021). Ad virum illustrem: In honour of Mikhail Leonidovich Andreev’s 70th birthday: A festschrift. Moscow: Delo. (In Russ.)." Voprosy literatury, no. 1 (April 5, 2022): 276–81. http://dx.doi.org/10.31425/0042-8795-2022-1-276-281.
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The review considers the festschrift celebrating the 70th birthday of the scholar M. Andreev. His colleagues and followers have co-authored a summary of his scholarship that showcases the body of knowledge of the contemporary humanities, where Andreev’s achievements feature prominently. The division of the monograph into sections entitled ‘The Theatre and the Theatrical,’ ‘Italy and Italian Studies,’ ‘Translation and Translators: Practice and Theory,’ and ‘The Poetics of Text’ is inspired by the academic interests of the renowned scholar — the book’s dedicatee, with whom every contributor engages, directly or indirectly, in an intellectual dialogue. The festschrift shows exceptional thematic diversity and richness, and covers purely theoretical as well as practical aspects of scholarly research. For example, the section on translation contains both theoretical studies and actual translations — in poetry and prose, from the Italian, English and French languages — supplied with detailed notes.
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Moschkovich, Diego. "‘Everything Now is Lost’: Stanislavsky’s Last Class at the Opera-Dramatic Studio." New Theatre Quarterly 39, no. 2 (2023): 85–91. http://dx.doi.org/10.1017/s0266464x23000039.
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On 22 May 1938, Stanislavsky gathered his group of eleven assistant-pedagogues at the Opera-Dramatic Studio for a last collective class. The Studio was already free for the summer vacation after the tumultuous first show of Chekhov’s Three Sisters, opened only to a small number of guests a week before. Mikhail Kedrov had rehearsed the performance with the students for the preceding three years, and it was doomed to become the first public presentation of the so-called ‘method of physical actions’. Nevertheless, the presentation brought nothing more than doubts about the work done, and Stanislavsky felt compelled to call upon the pedagogues to understand what had happened. After briefly presenting his opinion of the work that had been shown, he started to elaborate on the technical and artistic achievements of the Studio. Stanislavsky began his talk in its stenographic transcript (File No. 21179 in the Stanislavsky Fund of the Moscow Art Theatre Museum Archives) with: ‘Everything now is lost. The technique and all the rest. I don’t see any foundation … any more. You should now start by the critique of the method I have been experimenting on.’ This article analyzes Stanislavsky’s documented talk, showing that he was not convinced that he had a new methodology, let alone one that synthesized his life-long theatre experiments. It seeks to present evidence that both the Physical Action and Active Analysis methodologies derived from Stanislavsky’s thought post mortem were developed only as two possible paths from his experiments, but were not the telos of his thought.
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"Chekhov, Mikhail. Anton Chekhov: A Brother's Memoir (review)." Slavonic and East European Review 89, no. 3 (2011): 524–25. http://dx.doi.org/10.1353/see.2011.0083.
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"Steamer “Tsar Mikhail Fedorovich” / “Anton Chekhov” / “Krasnaya Zvezda”." Propaganda in the World and Local Conflicts 10, no. 2 (2023). http://dx.doi.org/10.13187/pwlc.2023.2.87.
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Belobrovtseva, Irina, and Aurika Meimre. "Sõdadevaheline vene emigratsioon suures ilmas ja väikeses Eesti / Interwar Russian Emigration in the Larger World and "Little Estonia"." Methis. Studia humaniora Estonica 12, no. 15 (2017). http://dx.doi.org/10.7592/methis.v12i15.12114.
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Teesid: Oktoobrirevolutsiooni järgne vene emigratsioon, mida teaduskirjanduses traditsiooniliselt nimeta takse esimeseks laineks, valgus mööda ilma laiali ning oli seninägematult arvukas, haarates kaasa miljoneid endise Tsaari-Venemaa elanikke. Sellele nähtusele on pühendatud tuhandeid humanitaartea duslikke, sotsioloogilisi, politoloogilisi jm uurimusi, mis kajastavad vene eksiilkultuuri eri tahke. Vene emigratsioon puudutas ka Eestit ning enamik käsitletud ilmingutest olid otseselt seotud siinse vene kogukonnaga, ent kohati väga erineva tähendusega. Käesoleva artikli eesmärk on lühidalt kirjeldada vene emigratsiooni sotsiaalset ja demograafilist struktuuri, selle keskusi, emigrantide rolli oma ja võõra kultuuri säilitamisel, põlvkondadevahelist aspekti, eelkõige kirjanduselus, ning haridusküsimusi. Lähemalt on käsitletud vene emigrantide rolli Eesti kultuuris muu maailma taustal. SU M M A R Y After the October Revolution a mass of emigrants, all citizens of the former Tsarist Russia dispersed in the world. In the scholarly literature this dispersal of upwards of a million people has come to be referred to as the first wave of Russian emigration. Thousands of scholarly articles from the humanities, sociology, political science and other disciplines have been devoted to various aspects of Russian exile culture: descriptions of exile cultural centres (including Paris, Berlin, Constantinople, Brazil, and the USA); various cultural phenomena (literature, film, theatre, fashion, journalism, art, etc.). As was true of the large part of Europe, the Russian emigration impacted Estonia, as it did across the rest of Europe; however, the fate of the Russian community in Estonia had strikingly original features. Some of these derived principally from Estonia’s position as a border state, as well as from the fact that even in the days of the Russian Empire, over 40000 Russians resided in Estonia. Theoretically, this should have made it easier for Russian emigrants to assimilate to Estonian conditions (for example, Russian schools existed from an earlier period, along with the requisite complement of teachers; Russian-language journalism existed, etc.). However, in reality, most of the promoters of local Russian culture emerged from among the emigrants, new settlers in Estonia.The purpose of this article is briefly to describe the social and demographic structure of the Russian emigration (military personnel will be treated separately) and the question of their legalization, which was solved in 1921 by the renowned Norwegian explorer Fridtjof Nansen. At his initiative, the Intergovernmental Conference of the representatives of 34 nations that met in Geneva adopted the designation refugee, which for the time being only referred to stateless people of Russian origin. The legitimation of these people as refugees was contingent on the acceptance of a statute confirming the use of a heretofore nonexistent International identity document, the so-called Nansen Certificate. This certificate enabled Russian emigrants to claim refugee status in several nations, which included the attribution of rights and freedoms equal to those of citizens of these nations. Approximately 450 000 Nansen Certificates were issued over a period of several years.The article contains brief descriptions of centres of exile, the circumstances and chronology of their foundation, the perceived role of emigrants in the preservation of their own culture and a culture foreign to them. The intergenerational conflict that occurred in cultural, in particular literary life is discussed. Among other topics considered are issues concerning publication, journalistic activity, and educational activities; a brief consideration is given to the positions of different nations on the support and preservation of Russian-language education. A very important influence on Russian emigration was Vladimir Lenin’s so-called „gift“— the expulsion of over 200 scholars from Soviet Russia in the year 1921.A special place is accorded in this article to the role of Russian emigrants in Estonian culture, including the role played by Russian cultural figures (scholars, military personnel, artists, etc.) in building up the young Estonian Republic. The most active participation of Russians was occasioned by the creation of Estonia’s own legal system. In addition, Russians participated in organizing the Estonian postal system and local transportation. The role of Russian emigrants in the development of the educational system of the Estonian Republic is also significant. The article describes the leadership provided by the local Russian community, particularly in the establishment in 1924 of the tradition of Russian cultural festivals, which was then disseminated globally in Russian exile culture.Brief consideration is given to local Russian culture and its importance in the development of Estonian culture. The most important facet of this was the Estonian ballet, born of Russian traditions and experience. Reportedly the first professional ballet troupe was assembled in Tallinn in 1918 by Sessy Smironina-Sevun, but the first actual ballet was performed in 1922, premiering with Coppelia, choreographed by the Moscow Bolshoi Ballet prima ballerina Viktorina Krieger, who played the lead role, and was later to be the artistic director of the Estonia ballet. In 1919, Jevgenia Litvinova, a former ballerina from the Maria Theatre, founded the first ballet studio in Tallinn.Another topic addressed in the article is local publishing and literary activity in the Russian language. Besides Russian publishing houses (Bibliofiil, Koltso, Alfa, Russkaja Kniga), Estonian-language publishing houses printed Russian-language books, textbooks, magazines and newspapers. Up to the year 1940, 91 publishing houses in Estonia printed Russian-language material, many of them only a few Russian books. In addition to publication activities, literary circles were active at different times. Among them was the Revel Literary Circle, founded in 1898, the oldest and most unusual gathering place for educated people. Poets’ workshops in Tallinn and Tartu were among the more interesting societies in Estonia, aimed more specifically at poets of the younger generation. Members of the Tallinn workshop created their own almanac, „Nov“, and published a magazine, Polevõje Tsvetõ.All of these phenomena and problems must be situated in the context of the larger world. The Russian emigration is far from being merely a unique phenomenon of life and work outside of the homeland; indeed, it exerted a strong influence on the culture, scholarship, and literature of the countries of settlement. Among the greatest achievements of 20th century humanity are the works of Nobel laureate and writer Ivan Bunin, prose writer Vladimir Nabokov, artists Marc Chagall, Konstantin Korovin, Aleksander Benois, and Vassily Kandinsky; the theories of Noble laureate, physicist and chemist Ilya Prigogine; the works of composers Sergei Rachmaninoff, and Igor Stravinsky; actor and theatre director Mikhail Chekhov; constructor Igor Sikorsky; chemist Vladimir Ipatjev. No less important in Estonian culture were poet Igor Severjanin, architect Aleksander Vladovski, representatives of Russian classical ballet (Tamara Beck, Jevgenia Litvinova); artists Anatoli Kaigorodov, Nikolai Kalmakov, and Andrei Jegorov.