“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

Author(s):  
Elena A. Maryakhina ◽  

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

2019 ◽  
Vol 10 (5) ◽  
pp. 10731079
Author(s):  
Yueting Chen

Characters are precisely aware of time in heterogeneous visions in Chekhov’s last play The Cherry Orchard in 1904. This play has an obvious flow of time sense of nostalgia, realistic practical mind and eager thrust for the future manifesting in assorted roles. The industrious characters Dunyasha, Varya and Lopakhin check their watches regularly, presenting their alertness to time in the industrial age's. The older characters weep for their age and witness the weather’s changes from May to October. Players value the same things in largely variant ways mostly according to the experience, age, class and gender ect.. Therefore, because of various personal aspirations, characters are living in their individual timelines as Lyubov’s yearning for the past, Dunyasha, Yasha and Trofimoff’s eager for the future, Firs’ nostalgia and imprisonment at the present and Lopakhin’s integrated past, current and future time view. Although characters have their particular time view, Chekhov in The Cherry Orchard embodies a prime time view that if the characters fail to come to terms with the nature of the flow of time, they would be living in fragmented visions and thus failed in fully experiencing the life.


2015 ◽  
pp. 55-59
Author(s):  
Yen-Chi Wu

How does time flow? One might simply answer: from the past to the present and to the future. Indeed, this is perhaps the most common conception of time, which is based on linear progression. In fact, such a conception is so common that one rarely thinks of other possibilities of the temporal movement. When we uncritically apply this idea to history, however, we miss out on the complex flows within culture. Conventional historicism relies on this linear temporality and perceives history as a “progress” from the primitive to the pre-modern and to the modern. In this regard, lifestyles and practices in the past are simply superseded and “improved” by more progressive modern conditions. The linear conception of time may be innocuous in itself, but conventional historicism has unwittingly created a modern myth in progress, including the dichotomy between tradition and modernity. With the notion of progress, tradition is relegated as ...


2022 ◽  
Vol 10 (1) ◽  
pp. 34-38
Author(s):  
Dr. Keshav Raj Chalise

The question of the relation between the history and the literature is a central question of historicism and new historicism. Literature is not possible without the influence of the time; past or present. The depiction of the past is the picture of history in the text, and the portrayal of present becomes the history in the future, hence the literary text is not free from the history in any way. Furthermore, some tests intentionally present the history, not as exactly as the history, but as the interpretation of the history, hence the mode of new historical way of understanding the text. Yogesh Raj's Ranahar provides the lost history of Malla dynasty, primarily the history of the last Malla king, Ranajit. The book is not a pure imagination, neither is it a pure history, but it has the combination of the historical facts and his imagination. Reading this novel, as a fiction, just as pure imagination is an injustice to the veiled part of its history. With the background of the history of Bhaktapur, this article examines the novel Ranahar from historical and new historical perspective on how literature has become a medium to reveal the lost history, the textuality of history.


Author(s):  
Erling E. Guldbrandsen

What is time? What is the relationship between music and time? Does time flow towards us from the future to the past, or do we move through time from the past to the future? Is there even such a thing as the “passage of time”, or is that a just another metaphorical construction? “The now” in human short-term memory lasts for approximately 3–5 seconds. In this article, the topic is how the consciousness can construct, experience and maintain coherence in longer-term occurrences, for example, a musical composition lasting 20–30 minutes. The article suggests that the form of these musical compositions is perhaps structured analogously with the long-term memory’s own hierarchical divisions and mode of operation in the human mind. The article discusses the connection between overview (hors-temps, meaning outside time) and process (durée, meaning duration) in the listening experience. To be able to follow a long-lasting musical form, be it in performance or in musical listening, one needs to be both “in” the time-flow and outside of it at the same time. Hence, since “presence” and “distance” are clearly different perspectives, they form a paradoxical relation of being both contradictory and mutually interdependent. The interplay between musical detail, overview and direction is relevant to the concept of Fernhören, coined by Heinrich Schenker and Wilhelm Furtwängler. Since music needs to unfold during time, a large-scale musical work cannot be seen merely as an object (Sein, or being) but is also a process of constant re-shaping and change (Werden, or becoming) in the workings of perception, memory and expectation in the listening experience.


2021 ◽  
Author(s):  
Kastytis Rudokas

Abstract. This short argument paper elaborates the argument of retrocausality in human cultural-civilizational continuum based on the concept of bidirectional time flow. The first chapter presents the bidirectional time flow idea and explains it. The second chapter presents and explains the theoretical scheme of retrocausality, demonstrating the total singularity - the noosphere - as the final perceived stage in cultural-civilizational human development as the super-set to current linear time based human existence, which could transparently perceive and manipulate both directions of temporal flows of our lived continuum. The conclusion is made that retrocausality is possible due perception model allowing to grasp the past and the future as open sequences within given temporal and spatial boundaries.


1980 ◽  
Vol 25 (3) ◽  
pp. 230-231
Author(s):  
MARCEL KINSBOURNE
Keyword(s):  
The Past ◽  

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