Anton Chekhov Research Articles

Pushkin’s allusions in the comedy of A. P. Chekhov "The Cherry Orchard"

The study of Pushkin's allusions in the works of Anton Chekhov has been carried out for several decades. The relevance and novelty of this topic is associated with new observations and searches for intertextual connections, the expansion of the context of analysis, including in connection with the appeal to the dramatic works of the writer. This work considers the allusions from the works of A. Pushkin "The Queen of Spades", "Boris Godunov" and others, their role in the artistic whole of the comedy of A. P. Chekhov "The Cherry Orchard". The effectiveness of the approach which was outlined in the studies of R.G. Nazirov in the 1990s, as well as S.A. Kibalnik, M.V. Litovchenko and other domestic scientists is confirmed. Literary allusions resonate in Chekhov's artistic world, cumulatively marking a transitional stage of cultural and historical life and its personal comprehension. The intertextuality of Chekhov's works allows us to create an integral image of Russian culture: the semantic relations of allusions and reminiscences are combined with the multilayered symbolism of sound, hearing, gesture, touch - in general, the experience of time and the multiple meanings of words. The semantic "expansion" of Chekhov's play text leads not only to comparisons with Russian classics, but also to an open finale - a future literary context, implementing the "principle of plot uncertainty" and removing the uniqueness/truthfulness of any interpretation.

«Дома», или учебник для родителей Антона Чехова

In the paper one of Anton Chekhov’s works devoted to childhood, an 1887 short story <em>At Home</em>, falls under the scrutiny. Its action appears to be limited to a conversation between Bykovsky, the father who works as prosecutor for the circuit court, and Seryozha, the son who has been found smoking. Were it not for the main hero – the father – this short story would not have been placed as one of the exceptional pieces in Chekhov’s writings. Bykovsky comprehends the reality properly and his course of action is crowned with success, meaning the son stops smoking. His way of thinking reveals a deep understanding of children’s raising rules. Firstly, he is aware that a child has its own, separate world of thoughts and feelings. In this way, the father using his own words describes the phenomenon, which is now being investigated by the so-called Theory of Mind. Secondly, Bykovsky achieves success when he tells his son a fairy tale about the harmful effects of smoking. It apparently shows that he is conscious of the role of narration in the process of education, which is also an axiom in contemporary science. Therefore, it can be concluded that the short story <em>At Home</em> is a kind of an artistic “guide for parents”.

Moral Dilemmas and the Environment: The Hebrew Bible and the Literature of Industry

Moral dilemmas are central in the literary genre of protest against the effects of industry, particularly in Romantic literature and “Condition of England” novels. Writers from the time of the Industrial Revolution to the present – William Blake, Elizabeth Gaskell, Charles Dickens, Emile Zola, Henrik Ibsen, Anton Chekhov, T.S. Eliot and John Steinbeck – follow the Bible in presenting environmental pollution and calamity in moral terms, and as a consequence of human agency. Dire implications for the environment are equally evident in literature of national rivalry and the misanthropic tradition.

Slovak Translations of Russian Literature in Recent Years

The article is mainly devoted to the recent publications of translated Russian literature in Slovakia. In the first part of the article the situation of the 1990s which followed the decline of state management in editorial policy lasted from 1948 till 1989 is discussed. The influence of economic factors on book market turned most of the publishing houses to Western European and American literature. Thus in the last decade of the twentieth century mainly russian classics (Alexander Pushkin, Anton Chekhov, etc.) and the texts that could not be issuied until 1989 (Alexander Solzhenitsyn, Iosif Brodsky, “Doctor Zhivago” by Boris Pasternak) were published. The situation changed only in the new millennium, which was inspired by the phenomenon of the new generation of readers whom the available translations of russian literature were no longer suffucient, especially since they did not encounter the old ideologized approach to the selection of texts. Thanks to this, in recent years, Russian literature, including the most modern – Eugene Vodolaskin, Guzel Yakhina, etc., – again has managed to occupy the place in the Slovak cultural space that rightfully belongs to it.

Place, Space and Identity in Modern Drama: Analysis of Four Selected Plays

Individual’s identity has always been expressed by abstract terms like culture, beliefs, religion, values etc. In this paper, I argue that modern playwrights show that the generations of the modern era tend to identify more with place, a concrete entity, than they do with the traditional constitutive elements of identity since these abstractions started to lose their glamour and value in an age marked by tremendous advancement in technology and materialism. With the modern generations increasingly associating themselves with place, an identity crisis has emerged since place is contingent to economic and social factors i.e. is not as stable as culture or religion. The vulnerability of modern identity turns it into a notion in flux, with no fixed or clear-cut boundaries. Thus, modern age people may live with multilayered identity or swing between two or more identities. Place, with whatever experience is practiced in it, remains the hinge on which modern identity revolves. To show that the phenomenon is a global one, the paper studies four plays representing different cultures and spheres—Anton Chekov’s The Cherry Orchard, Arthur Miller’s Death of a Salesman, William Saroyan’s The Time of Your Life, and Wakako Yamuchi’s And the Soul Shall Dance.

“People Eat Their Dinner, Just Eat Their Dinner…”: Food Discourse in Anton Chekhov’s The Three Sisters and Beth Henley’s Crimes of the Heart

Abstract The essay sets out to explore the functions of food discourse in the plays Three Sisters by Anton Chekhov and Crimes of the Heart by Beth Henley. Based on the critically established continuity between the two plays, the essay looks at the ways the dramatists capitalize on food imagery to achieve their artistic goals. It seemed logical to discuss the alimentary practices within the framework of everyday life studies (Edmund Husserl, Alfred Schütz, Fernand Braudel, Bernhard Waldenfels and others), moved to the forefront of literary scholarship by the anthropological turn in the humanities. Enhanced by a semiotic approach, this perspective enables one to understand food products and consumption manners as performing a variety of functions in each play. Most obviously, they are instrumental in creating the illusion of “everydayness” vital for new drama. Then, for Chekhov, food comes to epitomize the spiritless materiality of contemporary life, while in Henley’s play it is predominantly used, in accordance with the play’s feminist agenda, as a grotesque substitute for the lack of human affection. Relying upon the fundamental cultural distinction between everyday and non-everyday makes it possible to compare representations of festive occasions in the two plays seen through the gastronomical lens of “eating together.” Despite substantial differences, the emphases on alimentary practices in the plays serve to realize the inexhaustible dramatic potential inherent in the minutiae of quotidian life.

Pains and Pangs in Anton Chekhov’s Story Vanka

The present paper explores and analyses pains and pangs in Anton Chekhov’s Story Vanka by the means of critical discourse analysis for pedagogical purpose. The study paper was carried out by using secondary resources. In Vanka, with his simplicity and minuteness of details, Chekhov reveals his sense of man's inhumanity to man. Poverty, widely discussed in Marxist ideologies, is a curse to majority of school age children. The school age child Vanka is not exception anyway.

Time category in Anton Chekhov’s deep poetics

The paper suggests that the birth of an artwork (artistic world, image) as an open dynamic system can be described through the axiomatics of the theory of metabolic time. Alexander Levich’s theory of metabolic time and Nikolai Kozyrev’s theory of generated time flows, describing universal laws of the birth of the new, allow for the rethinking of the main categories of literature and aesthetics (time, space, traditions, rhythm, psychology of creativity and perception, etc.). The paper takes the rhythmic fractal as a natural referential unit of time in literature, as well as the analogue of the generating fluent in arts. The first part of the paper introduces Chekhov’s “depth poetics” through a body of research, addressing the problems of artistic creativity and the genesis of an artistic work as a new integral space–time unit. The second part of the paper brings “depth poetics” into a larger theoretical context: the theory of artistic creativity by Gej (Hudozhestvennost’ literatury. Poetika. Stil’. [The artistic quality in literature. Poetics. Style], Nauka Publ., Moscow, 1975) and the theory of metabolic time by Alexander Levich. The final part of the paper, “Rhythmic fractals,” draws the conclusion concerning the perspective of studying the wave nature of “generating fluent.” Using Chekhov’s play The Cherry Orchard as an illustrative example, the rhythmic fractal—“the sound of a burst string”—is considered. In Kozyrev’s formulation, it is the “compression of the flow.” The rhythmic source itself (standard fluent) is beyond the limits of the play and can only be found through an in-depth analysis of the neo-mythological structure of the Hamlet–Macbeth code.

“Uprooted:” Anton Chekhov’s Influence on Frank O’Connor

Abstract Thus far perhaps the most acclaimed Irish practitioner of the short story, Frank O’Connor, attributes a lasting influence to Russian author Anton Chekhov when he considers the direction that the modern Irish short story was to take in the twentieth century. In The Lonely Voice: A Study of the Short Story (1963), O’Connor emphasized two particular themes in Chekhov’s short fiction that influenced his own stories: on the one hand, a preoccupation with loneliness; on the other, a belief that venial sin, or the adoption of a false personality, was “far more destructive” than mortal sin itself. In other writings, he expressed an interest in narrative technique and structure as he found them in Chekhov’s stories. The article explores O’Connor’s “Uprooted” from his collection Crab Apple Jelly (1944), a story about displaced intellectuals. My reading illustrates how the Irish writer was not only adopting Chekhov’s themes but was also experimenting with Chekhov’s character types and narrative techniques, particularly as found in the Russian author’s story “The Lady with the Dog.” At the same time, O’Connor developed a distinctly individual technique of his own within the Irish realist/naturalist short story tradition, making a lasting impact on the art of the modern Irish short story. Unlike his displaced Irish characters in “Uprooted,” he prefers to remain faithful to this tradition.

Ajitesh Bandyopadhyay, Nandikar, and the World: Staging World Literature in Bengali

Through an analysis of the Begali playwright, director and actor, Ajitesh Bandyopadhyay's adaptaton of Anton Chekhov's The Dangers of Tobacco as Tamakhu Sheboner Opokarita, this essay analyzes a translation practice in Bengali theater known as rupantor. Unlike anubaad (Bengali for translation), rupantor implies a departure from the original. The basis for these departures is explained through Walter Benjaminâ’s idea of “translatability”. Ajitesh Bandyopadhyay introduced his own realist acting style to Bengali audiences who were accustomed to seeing heightened melodramas. By veering away from long melodramas which favored a single actor, rupantor enabled a more democratic environment where new communities of performances and spectators were formed. These communities include both the makers, who, collectively, started the group theatre movement from the 1950s, and the audiences. They could be located around new theater houses such as Muktangan Rangalaya, and as reading publics who read a variety of new theater journals such as Theatre edited by Samik Bandyopadhyay and Pabitra Sarkar. In the larger discussion on world literature, this paper argues that the world always manifests in a local space. Decolonization in Indian theater has so far been described through the “theater of roots” movement. Here, I argue that “rupantor” of major dramas of the world inaugurated a new way of decolonizing the Bengali stage.

경화된 감정의 위험성과 정서 조율의 중요성: 안톤 체호프의 단편 ｢관리의 죽음｣, ｢드라마｣를 통해

경화된 감정의 위험성과 정서 조율의 중요성: 안톤 체호프의 단편 ｢관리의 죽음｣, ｢드라마｣를 통해

Image and linguistic personality of the teacher (based on short stories by Anton Chekhov)

The main purpose of this article is to introduce readers to the linguistic embodiment of the teacher’s image in the short stories by A.P. Chekhov. In recent decades the linguistic personality of the characters of artistic works has often become the subject of thorough linguistic and literary analysis. A.P. Chekhov, being the master of humorous stories, aims at introducing certain features typical only for the images of characters representing various professions but at the same time corresponding to the genre of the work itself. Attention to details, many artistic features are the hallmark of this writer’s work. A.P. Chekhov works through each image at all levels: structural, semantic and linguistic (thesaurus). That is why Chekhov’s works arouse research interest among both literary critics and linguists. The linguistic personality of the teacher in Chekhov’s stories is formed in accordance with the tasks that the writer sets at the time of the creation of the work (for example, a humorous short story, memoirs, etc.). Analysis of the character’s speech characteristics, the verbal portrait of the character allows us to identify the distinctive features of Chekhov’s language and form an idea of the writer as a thinker and researcher of the native language. Working on the semantic level of the linguistic personality allows to reflect on the moral and ethical potential of the characters of Anton Chekhov’s stories.

THE MAIN CHARACTER INNER CONFLICT ELEMENT IN DRAMA MANUSCRIPT NYANYIAN ANGSA CREATION BY ANTON CHEKOV AND THE IMPLICATIONS TOWARD LITERATURE TEACHING

Abstract: The inner conflict element which happen to main character in the drama script nyanyian angsa creation by Anton Chekov. The research method which using for analysis the script is qualitative method that description analysis. Research focus internal conflict element in drama script nyanyian angsa creation by Anton Chekov with subject focus element Id >< Ego, Id >< Eros and Superego >< Thanatos. The research instruments analyze scene that have an element of inner conflict in the script nyanyian angsa creation by Anton Chekov. To get the results the writer using presentation table from the element of inner conflict that accumulated. The impact of implications for students, the students must be directly involved actively in literary learning activities that is drama script in the school. The student also required to understand the contents of the drama script very well. To improve literature learning that is drama script, students must improve own learning method outside of school hours, for example be part of theatre extracurricular activities. This is intended so that the ability of students can be channel properly. Key words: inner conflict, drama script, literature teaching.

MEANS OF EXPRESSION OF EMOTIONS IN A.P. CHEKHOV’s WORKS

The article is devoted to the study of the means of expression of emotions in the works of Anton Chekhov. Language means and ways of expressing emotions in the poetics of Anton Chekhov are highlighted that optimize the rhythmic-intonation structure of poetic speech, filling it with content and aesthetic information. The article observes the author’s preferences in the choice of certain means and approaches to emotional, feature intensification, all of which are meant to convey stylistic information and stylistic effect; the dominating method is defined. Features of the language and stylistic manner of the writer in the expression of emotions are characterized.

Dr. Faustus ve ‘‘Kunduracı ve İblis’’: Metinlerarası Bir Yaklaşım Örneği

Her edebi eser kendinden önce yazılmış eserlere atıfta bulunur veya belirgin izler taşır. Bu izler ve çağrışımların incelendiği edebiyat alanı olan ‘‘Metinlerarasılık’’, 1960 yıllarında Rus Biçimciler Mihail Bakhtin, Julia Kristeva, Roland Barthes ve Gerard Genette gibi ünlü kuramcılar tarafından geliştirilmiştir. Edebi eserlerde karşılaştığımız sarmal yapı ve öncel eserlerden izler, okuyucuların dikkatini çekmekte ve metinlere yeni metaforik (eğretilme) anlamlar kazandırır. Günümüzde dünya edebiyatlarında önemli yeri olan eserlerin birçoğu, daha önceki dönemlerde ele alınmış eserleri çağrıştırabilir. Bu çalışmanın amacı, metinlerarasılık kavramı çerçevesinde, öncül metinlerin yeni metinlere nasıl ilham kaynağı olduğunu göstermektir. Bu bağlamda, öncül metin olarak Christopher Marlowe’un The Tragical History of Dr. Faustus (1604) ve ana metin olarak Anton Chekhov’un ‘‘Kunduracı ve İblis’’ (‘‘The Shoemaker and the Devil’’) (1888) hikâyesi bir metinlerarasılık örneği olarak karşılaştırmalı olarak incelenmiştir.

War is (not) Our Home. Andrei Konchalovsky’s House of Fools (Dom Durakov, 2002) as a Russian Literary and Cultural Archive

The article focuses on the film House of Fools (Dom Durakov, 2002) of Andrei Konchalovsky, who is one of the most recognized contemporary Russian directors. The selected work is analyzed from the point of view of its intertextual relationships with Russian literary texts and cultural phenomena. The motif of the train, the paradigm of jurodivyj and the reference to the artistic worlds of acclaimed Russian writers (Anton Chekhov, Fyodor Dostoyevsky, Leo Tolstoy, Ivan Vyrypaev) are among the main parallels which are discussed in the publication. The eclectic nature of the film allows treating it as a cultural archive founded on the storage capacity of the cultural memory. In the context of war, the sphere of art and the imagined can be seen as the most stable reality.

FEMINISM STUDY OF THE MALE CHARACTER PERSPECTIVE IN THE ORANG KASAR SCRIPT BY ANTON CHEKOV

<p><em>The purpose of this research is to describe (1) the form of feminism based on the perspective of the main male character; (2) strategies of male main characters in implementing feminism towards female main characters; (3) failure of the perspective of the main male characters in interpreting feminism. This research uses a feminism approach. The method in this research is descriptive analysis method. The source of the research data is the text of Orang Kasar by Anton Chekov. The data in this study are excerpts of dialogue in the text of Orang Kasar by Anton Chekov. The results of the study are as follows (1) the form of feminism based on the perspective of male figures found the thoughts and actions of men who reject the existence of women's character; the necessity of overall equality of mindset, speech, and deeds between men and women; and there are no restrictions on talks between men and women; (2) the strategy of male main characters in carrying out feminism towards female main characters, namely through the thought of male feminism which considers no boundaries in any case with women such as bluffing, arguing, and inviting dueling with women who actually have no mastery about that; (3) Misperception of men in interpreting feminism causes feelings of falling in love with men towards men towards men towards women which causes the perspective of male feminism to no longer be the main thing and accept any error for applying feminism according to male perspective.</em><em></em></p>

The First of Three Sins of Anton Chekhov (Tobacco Products in Writer-Physician’s Letters)

The First of Three Sins of Anton Chekhov (Tobacco Products in Writer-Physician’s Letters)

Social support and public health promotion in ‘The man in a box’

Abstract In this short reflection, a story by Anton Chekhov is used to analyze the link between public health promotion and social support. Social support is important in overcoming mental health problems. However, social support might not always understand the problems someone has, or the person with mental health problems might not be able to express the problems he/she has. Public health promotion is important, because it helps family, friends and colleagues of people with mental health problems understand those problems, and helps those people with mental health problems express themselves toward family, friends and colleagues. This idea is illustrated by using the main character in a story by Anton Chekhov, who is presented as someone without any social support: he cannot express himself toward the townspeople, nor do the townspeople understand him. This short reflection ends with a reminder of the importance of public health promotion, to create understanding for mental health and thus increase access to social support.

웃음과 울음 표현을 중심으로 체호프 작품에서의 의사소통 고찰

초록·키워드 목차 오류제보하기 This study aims to explore the meaning and role of laughter and crying in the communication process among the nonverbal expressions in Chekhov"s works. As a means of nonverbal communication, we first examine the type, function, and role of laughter and crying and analyze the meaning and features of both of these nonverbal expressions in Chekhov"s works. Laughter and crying, like other nonverbal acts of communication, are a means of reflecting one"s psychological or emotional state and expressing one"s thoughts and attitudes. The author made use of verbs that represent various stages and intensity of laughter and crying according to the context of communication and showed more clearly the feelings and emotional expressions of the characters. In human communication, nonverbal behavior accounts for more than verbal behavior and is important in conveying any message. In this regard, active multidisciplinary research on nonverbal communication is required. #비언어적 의사소통(nonverbal communication) #안톤 체호프(Anton Chekhov) #웃음(laughter) #울음(crying) 1. 서론2. 이론적 배경3. 체호프 작품 속에 나타난 비언어적 의사소통 수단으로서 웃음과 울음의 의미 분석4. 결론참고문헌