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

2021 ◽  
Vol 101 ◽  
pp. 01006
Author(s):  
E. I. Kopteva
Keyword(s):  
Anton Chekhov ◽  
Dramatic Works ◽  
Literary Context ◽  
Experience Of Time ◽  
Cherry Orchard ◽  
Multiple Meanings ◽  
Queen Of Spades ◽  
Intertextual Connections ◽  
Boris Godunov ◽  
Semantic Expansion

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.

scholarly journals A Comparative Study of Modern Theatrical Technicalities in The Glass Menagerie and The Cherry Orchard

2021 ◽  
Vol 8 (2) ◽  
pp. 192-204
Author(s):  
Shokhan Rasool Ahmed
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
19Th Century ◽  
Anton Chekhov ◽  
Cherry Orchard ◽  
Glass Menagerie ◽  
Effective Use ◽  
Indirect Action ◽  
The Ideal ◽  
The Glass Menagerie

The nineteenth Century produced some of the most complex plays that today represent modern theatrical technicalities that differed in several ways from twentieth Century plays. In the twentieth Century, Tennessee Williams was acknowledged for the diversity of genres he covered in his plays, most of which focused on the dark aspects of human experience, which lent significant technicalities to his plays, most notably, The Glass Menagerie. Similarly, Anton Chekhov is a nineteenth Century playwright who developed plays that introduced several theatrical technicalities. He was renowned for portraying realism, a feature that characterised 19th Century theatre. Chekhov’s The Cherry Orchard is a play considered the landmark of modern theatrical technicalities. This study explores three ways in which Williams and Chekhov made The Glass Menagerie and Cherry Orchard respectively as landmarks of theatrical technicalities, i.e., the multiplicity of genres, effective use of indirect action and irony as theatrical conventions, and the integration and portrayal of nineteenth Century and twentieth Century realism. The research finds that while Williams employs a multiplicity of genres and the use of irony as the ideal theatrical conventions, Chekhov integrates all three elements to create modern theatrical technicalities that not only influence the audience's perception of the characters but also the playwright’s intention. This study is important for both undergraduate and postgraduate readers as it can enrich a reader’s thinking about different theatrical techniques and conventions used in both plays.

The Narratives about Isaiah and Their Relationship with 2 Kings and 2 Chronicles

2020 ◽  
pp. 94-110
Author(s):  
Shelley L. Birdsong
Keyword(s):  
Biblical Text ◽  
Complex Character ◽  
Before And After ◽  
Multiple Meanings ◽  
Intertextual Connections ◽  
Theological Message ◽  
Over Time

This chapter explores the narratives about King Hezekiah and the prophet Isaiah found in 2 Kgs 18–20, Isa 36–39, and 2 Chron 32. First it comments briefly on the historicity of Sennacherib’s invasion of Judah in 701 bce. Thereafter, it responds to the stalled source and redaction debate by putting forth an entirely new proposal for the development of these texts. Finally, it interprets each of the resulting prophet-king narratives in their own literary settings in order to stress how context reshapes meaning. In the book of Kings, Hezekiah is a complex character whose reign is tainted by his intertextual connections to other kings; he is part of the monarchy that ultimately failed to save its people from attack and eventual exile. In Isaiah, Hezekiah functions as a moral warning for returning exiles to maintain purity and heed the prophets. In Chronicles, Hezekiah is exalted—over and against the kings before and after him—as a divine devotee who prays faithfully and cares for God’s temple. In each book, the characters are formed around a unique theological message rather than historical veracity. Highlighting these differences undergirds the conception of the biblical text as a didactic rolling corpus that evolved over time and produced multiple meanings for each new setting. As such, it invites readers to update the narratives for their own contemporary contexts rather than simply search for historicity.

Der Kirschgarten (The Cherry Orchard) by Anton Chekhov

2020 ◽  
Vol 72 (2) ◽  
pp. 246-248
Author(s):  
Bryce Lease
Keyword(s):  
Anton Chekhov ◽  
Cherry Orchard

scholarly journals Scenery by M. V. Dobuzhinsky as a Version of Pushkin Studies

Literatūra ◽  
2020 ◽  
Vol 62 (2) ◽  
pp. 202-215
Author(s):  
Alexander Markov
Keyword(s):  
Russian Literature ◽  
Close Reading ◽  
Cultural Myth ◽  
Central Russia ◽  
Queen Of Spades ◽  
Eugene Onegin ◽  
Boris Godunov ◽  
Successes And Failures

The sets by M. V. Dobuzhinsky for the operas by Mussorgsky and Tchaikovsky based on Pushkin’s works represent an attempt to reconstruct Pushkin’s world and Pushkin’s attitude to history. The libretto required a stylization and standardization of scenography, but Dobuzhinsky continued to interpret the images of St. Petersburg and central Russia, correlating the plots of operas with a new national upsurge. Thus, the plot of The Queen of Spades was understood as part of Pushkin’s view on the successes and failures of the Petrine reforms, about the connection between adventurism and the imperial style, which corresponded to the general cultural myth of Petersburg but was supplemented by a number of observations on the Pushkin text. The plot of Boris Godunov was read not as a Russian story, but as a common one for countries inheriting the Polish-Lithuanian Commonwealth and Russia. The plot of Eugene Onegin was brought closer to the dacha plots of Russian literature, becoming part of the integrated image of a lost Russia. It is proved that Dobuzhinsky in his decisions followed not the structure of the libretto, but a close reading of Pushkin’s texts.

Byzantine ideas about the heavenly Kingdomand semiotics of the estate in modern Greekand Russian literature of the XVIII–XX centuries

2020 ◽  
pp. 272-287
Author(s):  
Lyudmila I. Shchegoleva ◽  
Keyword(s):  
Russian Literature ◽  
Anton Chekhov ◽  
Cultural Space ◽  
Xxth Century ◽  
Mikhail Bulgakov ◽  
Key Characteristics ◽  
Cherry Orchard ◽  
The Common ◽  
Eugene Onegin ◽  
The Master And Margarita

The article analyzes works of Byzantine, New Greek and Russian literature of the late XVIIIth — first half of the XXth century, belonging to the common cultural space of the Eastern Christian world: “The Life of St. Basil the Younger”, “Philotheou parerga” by Nikolaos Maurokordatos, “Pure Liza” by N.M. Karamzin, “Eugene Onegin” by Alexander Pushkin, “The Cherry Orchard” by Anton Chekhov, “The Master and Margarita” by Mikhail Bulgakov. It is revealed that in all works the story space is divided into two archetypal loci: “city” (Constantinople / Moscow / Petersburg / Paris) and “garden” (paradise garden / town estate / country estate). It is shown that the locus of “city” correlates with such concepts as “evil”, “lawlessness”, “danger”, “nonfreedom”, “aggression / mutilation / murder”, “sin”, “deception / betrayal / treachery”, and locus “garden” — with concepts of “good”, “legitimacy”, “security”, “freedom”, “love / friendship / benevolence”, “virtue”. It is proved that in each of the works it is possible to distinguish a common set of extremely generalized immutable features, going back to a single archetypal source. It is concluded that a certain number of key characteristics of the Russian estate of the XVIII — early XX century as regards their origin can be correlated with Greek-Byzantine sources.

scholarly journals Die verhouding tradisie-redaksie in gelykenisinterpretasie

1985 ◽  
Vol 41 (3) ◽  
Author(s):  
G. M.M. Pelser
Keyword(s):  
Focal Attention ◽  
Literary Context ◽  
Multiple Meanings ◽  
Historical Moment

The interrelationship between tradition and redaction in parable interpretation This paper investigates the legitimacy and possibility of isolating the parables from their holistic literary gospel-context for the purpose of hearing and understanding them from other possible angles. The conclusion reached is that the parables as aesthetic objects (Via) have a certain independence and that they contend with the gospels for the focal attention of the reader. As metaphors they are generative of multiple meanings and their 'meaning' cannot be one-sidedly forclosed in their present literary context or in some historical moment. When the parables are read as part and parcel of Ihe gospels as Hterary macro-Gestalten this holistic context, however, should not be ignored.

Kirsikkapuisto (The Cherry Orchard) by Anton Chekhov

2015 ◽  
Vol 67 (1) ◽  
pp. 113-115
Author(s):  
Wade Hollingshaus
Keyword(s):  
Anton Chekhov ◽  
Cherry Orchard

“HERE IS MY PLAN”. AN ARTISTIC DETAIL AND ITS ROLE IN THE FORMATION OF SEMANTICS OF THE TIME FLOW IN THE CHERRY ORCHARD BY CHEKHOV

2021 ◽  
pp. 53-64
Author(s):  
Elena A. Maryakhina ◽  
Keyword(s):  
Literary Text ◽  
Anton Chekhov ◽  
The Past ◽  
Time Flow ◽  
Close Analysis ◽  
The Future ◽  
Cherry Orchard

The article makes an attempt to evaluate the role that an artistic detail plays in the formation of meaning related to the concept of time in The Cherry Orchard by Anton Chekhov. The episode where Yermolai Lopakhin represents the contents of his plan is taken as a material for the analysis. The examination of the plan becomes very important if one uses it for interpretation of a vision of the future that the character suggests. The close analysis of the details included into the plan allows finding that Lopakhin’s image of future life contains some elements of the past or the recurrence of what already existed in the past. The linguistic and semantic repetitions and intersections for the sense bearing components of out-of-stage artistic details related to imaginary future and the details that exist in the stage and out-of-stage space of the present lead to the formation of certain motifs. The examination of the system of details in the context of the episode where Lopakhin describes his plan and in the context of the literary text of the play as a whole gives an opportunity to look from a new angle at the semantics of the time flow and at the ontological layer in the last Chekhov’s play

scholarly journals “THE CHERRY ORCHARD” BY ANTON CHEKHOV AND “THE ATONEMENT” BY IGNATY POTAPENKO: THE ARTISTIC INTERDEPENDENCE AND THE PLOT CORRESPONDENCE

2020 ◽  
pp. 153-158
Author(s):  
Irina Yu. Luchenetskaya-Burdina ◽  
Kseniya Ye. Poltevskaya
Keyword(s):  
Comparative Analysis ◽  
20Th Century ◽  
Anton Chekhov ◽  
Classical Drama ◽  
Thematic Unity ◽  
Cherry Orchard ◽  
Compositional Elements ◽  
New Drama

It is generally recognized that the dramaturgy of Anton Chekhov had a significant impact on the theatre of the 20th century. At the same time, the question of the writer’s role in the playwright’s work of the turn of the 19th–20th centuries has been little studied in literature. Ignaty Potapenko is one of the most popular writers of the 1890s and a friend of Anton Chekhov. The article presents a comparative analysis of the plays – “The Cherry Orchard” by Anton Chekhov and “The Atonement” by Ignaty Potapenko – in which the same topic is revealed: the old nobiliary manors destruction. The plot and the conflict as the elements of writer’s dramatic method are considered. The main motifs of the plays are analysed. It is noted that the conflict of Ignaty Potapenkoʼs play is psychological and traditional for classical drama. There is no conflict between characters in “The Cherry Orchard”. The conflict is philosophical. The role of the double-characters in both plays is considered. It is proved that both plays are united by the motif of foreboding disaster, catastrophe. It is proved that both plays are united by the motif of disaster and catastrophe premonition, existence of the internal and external plot. The ideological and thematic unity of the plays, the interconnection of some motifs, plot and compositional elements were discovered. It is shown that in the play by Ignaty Potapenko there are elements of both classical drama and the “new drama”.

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