The article examines and analyzes the market of oilseeds, which is a variety and a hybrid of sunflower, rape, soybean. It is determined that selection and seed production play an important role in improving the efficiency of the domestic agrarian sector. The domestic seed industry has the potential for growth, which can be realized only through a scientific approach and specialization in the production of seeds. It is established that there are quite significant differences between the stages of seed creation (...) and priorities in state scientific institutions and private seed companies. Differences are due to strategic development plans and the financial mechanism of operational activities. Prospects are the need for fundamental changes aimed at strengthening the organizational and scientific provision of the industry, identifying new priorities for the development of the seed industry to create the final product in the form of selection innovation. (shrink)

This article is devoted to the consideration of a number of stage projects by Chinese directors, in which the work of the writer Anton Pavlovich Chekhov is reinterpreted. Analysis of such productions and projects as the international drama festival "Chekhov Forever" in 2004, a hybrid work based on Chekhov's story "Three Sisters" and Beckett's novel "Waiting for Godot" by Lin Zhaohua in 1998 and 2018, a double performance by Stan Lai based on the works "I take You (...) by the Hand" by Carol Rocamora and "The Seagull" Chekhov 2014, etc. It allows us to trace innovative approaches to reading Chekhov's works in the context of the life of modern Chinese society. These works cause a great resonance not only in the professional environment, but also among the mass audience, who invariably penetrates the depth of Chekhov's images, the subtlest shades of emotional experiences; the Chinese audience finds themselves close to the problems, hopes and aspirations of the heroes, brilliantly transferred to the actual socio-cultural environment of China, always topical and recognizable. The scientific novelty of the article is connected with the fact that the nature of mastering the creativity of the Russian playwright in the theater of the East is a fairly new and at the same time promising topic for research. The conclusions and results of the study can become the basis for further studies of the specifics of the adaptation of foreign dramaturgy in the national theatrical tradition on the example of other countries and regions. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Discover the Unknown Chekhov in Your ESL ClassroomNinah Beliavsky (bio)I was born in Moscow, ate aladushki, and listened to my mother read Chekhov in Russian. Kashtanka, a tale about a young, ginger-colored pup who gets lost, made me cry. And when I read about the death of Ivan Dmitrich Kreepikov, in The Death of a Civil Servant, I did not know whether to laugh or to cry. (...) The poor civil servant was sitting and watching an opera in a theater when all of a sudden he sneezed and spattered an old gentlemen, General Shpitzalov, in front of him. Now, as Chekhov writes, sneezing is not prohibited to any one or in any place; peasants sneeze, and even the chiefs of police sneeze. But, you see, the poor civil servant, being very much rank-conscious, could no longer live with himself after committing such a misconduct. He apologized profusely and went home, and without taking off his uniform, he lay down on the sofa, and... died.And what about Van'ka Zhukov, an orphan boy of nine apprenticed to a shoemaker who is being beaten and overworked. He writes a letter to his grandfather on Christmas Eve, begging him for the dear Lord's sake to take him away from his misery. After scratching his head and thinking for a moment, he dips his pen in ink and addresses his envelope: "The Village. To Grand Dad." He then dashes out into the street and pushes his precious letter through the opening of the postbox...The second part of my childhood I spent in Jerusalem; there I ate falafel with humus, was obsessed with perfecting the pronunciation of the Hebrew guttural "r," and read Miriam Yalan Shtekelis's children's poetry, which was filled with magical objects that laughed and cried. By the time I was in high school I was living in Milwaukee, eating fries and ice cream sundaes and reading O. Henry.The literature that one comes in contact with during childhood and young [End Page 101] adulthood is often deeply engraved on a person's psyche. It is similar to an adult craving sweets because of the psychological association with her childhood and a safe and protected environment. We tend to think back to the "good old days" because we find comfort in our past. Today, as an adult, a wife, and a mother, I often find refuge in my childhood memories. And, like most people, much of what I encounter and read today I tend to associate with my past. If I come across a story that I heard in my childhood, as I search for something new and amusing to give to my college English-as-a-Second-Language (ESL) students, I try to incorporate it into my curriculum. A few years ago I came across the story The Necklace by Guy de Mappassant and immediately recalled reading it in my adolescence. This story brought back the warm memories of home that I felt would be understood and identified with by my foreign students. Today, this story is one of my students' favorites. By using stories from my own past, I feel that I can bring to my class discussions a unique perspective—my own recollections and feelings and an interpretation not only academic in nature but also personal. Often, my international students will recall hearing or reading some of the same stories (that I bring to class) in their childhood, in their native tongues, and thus these stories will not seem out of context anymore because there will be a sense of connection.I teach ESL to college students—reading and writing at the intermediate and advanced levels. Aside from following the standard curriculum of using grammar and writing textbooks, I bring to my ESL classes music, opera, art, young adult novels by American writers, and short stories by both international and American writers. For instance, my students enjoy reading O. Henry's "The Christmas Present," "The Last Leaf," and "The Two Thanksgiving Day Gentlemen." These stories are about real people—just like my students—they are about everyday events, they are humorous and tragic in nature, and they have an unexpected twist... (shrink)

The contemporary brain disorders debate echoes a century-long conflict between two different approaches to mental suffering: one that relies on natural sciences and another drawing from the arts and humanities. We review contemporary neuroimaging studies and find that neither side has won. The study of mental differences needsboththe sciences and the arts and humanities. To help develop an approach mindful of both, we turn to physician-writer Anton Chekhov’s story “A Nervous Breakdown.” We review the value of the arts and (...) humanities as a coequal partner with natural sciences in the creation of a robust mental health humanities. (shrink)

Anton Tchekhov (Creation from the void)--The gift of prophecy.--Penultimate words.--The theory of knowledge.--Books of Shestov (p. xxv-xxvi).

In lieu of an abstract, here is a brief excerpt of the content:Discover the Unknown Chekhov in Your ESL ClassroomNinah Beliavsky (bio)I was born in Moscow, ate aladushki, and listened to my mother read Chekhov in Russian. Kashtanka, a tale about a young, ginger-colored pup who gets lost, made me cry. And when I read about the death of Ivan Dmitrich Kreepikov, in The Death of a Civil Servant, I did not know whether to laugh or to cry. (...) The poor civil servant was sitting and watching an opera in a theater when all of a sudden he sneezed and spattered an old gentlemen, General Shpitzalov, in front of him. Now, as Chekhov writes, sneezing is not prohibited to any one or in any place; peasants sneeze, and even the chiefs of police sneeze. But, you see, the poor civil servant, being very much rank-conscious, could no longer live with himself after committing such a misconduct. He apologized profusely and went home, and without taking off his uniform, he lay down on the sofa, and... died.And what about Van'ka Zhukov, an orphan boy of nine apprenticed to a shoemaker who is being beaten and overworked. He writes a letter to his grandfather on Christmas Eve, begging him for the dear Lord's sake to take him away from his misery. After scratching his head and thinking for a moment, he dips his pen in ink and addresses his envelope: "The Village. To Grand Dad." He then dashes out into the street and pushes his precious letter through the opening of the postbox...The second part of my childhood I spent in Jerusalem; there I ate falafel with humus, was obsessed with perfecting the pronunciation of the Hebrew guttural "r," and read Miriam Yalan Shtekelis's children's poetry, which was filled with magical objects that laughed and cried. By the time I was in high school I was living in Milwaukee, eating fries and ice cream sundaes and reading O. Henry.The literature that one comes in contact with during childhood and young [End Page 101] adulthood is often deeply engraved on a person's psyche. It is similar to an adult craving sweets because of the psychological association with her childhood and a safe and protected environment. We tend to think back to the "good old days" because we find comfort in our past. Today, as an adult, a wife, and a mother, I often find refuge in my childhood memories. And, like most people, much of what I encounter and read today I tend to associate with my past. If I come across a story that I heard in my childhood, as I search for something new and amusing to give to my college English-as-a-Second-Language (ESL) students, I try to incorporate it into my curriculum. A few years ago I came across the story The Necklace by Guy de Mappassant and immediately recalled reading it in my adolescence. This story brought back the warm memories of home that I felt would be understood and identified with by my foreign students. Today, this story is one of my students' favorites. By using stories from my own past, I feel that I can bring to my class discussions a unique perspective—my own recollections and feelings and an interpretation not only academic in nature but also personal. Often, my international students will recall hearing or reading some of the same stories (that I bring to class) in their childhood, in their native tongues, and thus these stories will not seem out of context anymore because there will be a sense of connection.I teach ESL to college students—reading and writing at the intermediate and advanced levels. Aside from following the standard curriculum of using grammar and writing textbooks, I bring to my ESL classes music, opera, art, young adult novels by American writers, and short stories by both international and American writers. For instance, my students enjoy reading O. Henry's "The Christmas Present," "The Last Leaf," and "The Two Thanksgiving Day Gentlemen." These stories are about real people—just like my students—they are about everyday events, they are humorous and tragic in nature, and they have an unexpected twist... (shrink)

The paper suggests that the birth of an artwork 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. 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 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 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. (shrink)

I specify the grounds for Derek Parfit's hypothetical friendship with Chekhov: in short (!), common ground as pioneers in the use of short fiction.

The analysis of the play "The Seagull" undertaken in the article is based on an unusual assumption. Chekhov's phrase is known that "after writing a story, you should cross out its beginning and end." What if we apply this "formula" to the dramatic works of Anton Pavlovich and assume that when finishing the plays, Chekhov "left out some part of the text"? The analysis of the "Seagull" is performed directly by the classic tool of directors – the method (...) of effective analysis. The work involved a wide range of facts about the social and everyday realities of the Russian Empire of the late XIX - early XX century. The choice of the play "The Seagull" is due to two reasons. Firstly, it is one of Chekhov's most famous and popular dramas. Interest in it has not waned for many decades, neither the audience nor the directors. Secondly, it is believed that the "Seagull" is read inside and out, and working with it is a challenge for the researcher. The analysis of "The Seagull" allows us to state that Chekhov's formula about "crossing out the beginning and the end" of the story is also applicable to his plays. Moreover, this "crossing out" is made taking into account the principles of classical drama. As a result, the reader is faced with the fact that the "Seagull" can be read in at least two – almost opposite in meaning – ways. The results obtained during the analysis, firstly, give grounds to assume that the case of the "Seagull" is not an isolated one, and Chekhov resorted to similar techniques in his other dramas. Secondly, to conclude that the "dramatic mechanism" of The Seagull is not just an attribute of the author's voice, but actually the path of evolution of classical drama proposed by Chekhov. (shrink)

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. (shrink)

This chapter aims to establish the relation between contemporary VJing and the works of Anton Chekhov and Aeschylus through the philosophical thoughts of Gilles Deleuze and Félix Guattari. It examines the way in which theatre and performance can incline themselves towards a wider distribution of difference in life and argues that the VJing event is a democratising performance-form that engages in combat with the normative configurations of image-culture. It argues that it is more important to evaluate the role of (...) performance in directly adding to, or diminishing, life as lived than to evaluate it in terms of the success or failure of its representation of life. (shrink)

Die späten Erzählungen Cechovs werden nicht als ein Korpus dem großen Roman des Realismus gegenübergestellt. Wenige der Erzählungen werden ausgewählt, jede von ihnen wird gesondert untersucht. Die einzelne Miniatur wird gelesen, als wäre sie allein ein Roman. Die Öffnungen und Ausfaltungen der Miniaturen sind über eine Modifizierung und Integration strukturalistischer Narratologie vermittelt. Die Interpretationen der künstlerischen Welt en miniature beziehen die Intertextualitäten ein, die Cechovs Erzählungen darstellen. Die wissenschaftlichen Nacherzählungen wollen der narrativen Poetik des späten Cechov auf die Spur kommen, (...) und sie könnten zu einer diachronen Semiotik der russischen Erzählkunst beitragen. (shrink)

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. (shrink)

What is it like to experience rapture? For philosopher Christopher Hamilton, it is a loss of self that is also a return to self—an overflowing and emptying out of the self that also nourishes and fills the self. In this inviting book, he reflects on the nature of rapture and its crucial yet unacknowledged place in our lives. Hamilton explores moments of rapture in everyday existence and aesthetic experience, tracing its disruptive power and illuminating its philosophical significance. Rapture is found (...) in sexual love and other forms of intense physical experience, such as Philippe Petit’s nerve-defying wire walk between the Twin Towers. Hamilton also locates it in quieter but equally joyous moments, such as contemplating a work of art or the natural world. He considers a range of examples in philosophy and culture—Nietzsche and Weil, Woolf and Chekhov, the extremes of experience in Werner Herzog’s films—as well as aspects of ordinary life, from illness to gardening. Conversational and evocative, this book calls on us to ask how we might make ourselves more open to experiences of rapturous joy and freedom. (shrink)

Arthur Miller is one of the most important and enduring playwrights of the last fifty years. This new edition of The Theater Essays has been expanded by nearly fifty percent to include his most significant articles and interviews since the book's initial publication in 1978. Within these pages Miller discusses the roots of modern drama, the nature of tragedy, and the state of contemporary theater; offers illuminating observations on Ibsen, Strindberg, Chekhov, O'Neill, and Williams; probes the different approaches and (...) attitudes toward theater in Russia, China, and at home; and, of course, provides valuable insights into his own vast dramatic corpus. For this edition the literary chronology and cast and production information have been updated, and an extensive new bibliography has been added. The Theater Essays confirms Arthur Miller's standing as a brilliant, eloquent commentator on drama and culture. No one interested in theater should be without this definitive collection. (shrink)

The question of the Russian man – his past, present and future – is the central one in the philosophy of history. Unfortunately, at present this area of philosophy is not suffciently developed in Russia. Partly the reason for this situation is the lack of understanding by researchers of the role played by Russian classical literature and its philosophizing writers in historiosophy. The Hunting Sketches, a collection of short stories by I.S. Turgenev, is a work still undervalued, not fully considered (...) not only in details but also in general meanings. And this is understandable because it is the frst systematic encyclopedia of Russian worldview, which is not envisaged by the literary genre. To a certain extent, Turgenev’s line is continued by I. Goncharov, L. Tolstoy, F. Dostoevsky, A. Chekhov. This article examines the philosophical nature of The Hunting Sketches, its structure and content. According to author’s opinion, stories can be divided into ten groups according to their dominant meanings. Thus, in The Hunting Sketches the main Russian types are depicted: “natural man,” rational, submissive, cunning, honest, sensitive, passionate, poetic, homeless, suffering, calmly accepting death, imbued with the immensity of the world. In the image and the comments of the wandering protagonist, Ivan Turgenev reveals his own philosophical credo, which he defnes as a moderate liberalism – freedom of thought and action, without prejudice to others. (shrink)

This paper analyzes the creative interaction between Ivan Bunin and Lev Shestov. After providing constructive feedback on observations and reflections from the preceding scholarly literature on the subject the author argues that the main point of convergence between the writer and the philosopher is their works on Leo Tolstoy. The study includes a textual analysis of the elements of Shestovian discourse that were discovered in Bunin’s essay The Liberation of Tolstoy. The author argues that the ending of The Liberation of (...) Tolstoy can be understood only in the context of existentialist discourse. Bunin's objections to the Shestov's view of Chekhov’s creative work have been studied in detail. In general, Bunin does not appear to be a “disciple” of Shestov, as he is engaged in a philosophical dialogue with him on equal terms. Existentialism is the closest philosophical tradition to Bunin’s thought than any others that arose in the twentieth century. (shrink)

The stories we tell in our attempt to make sense of the world, our myths and religion, literature and philosophy, science and art, are the comforting vehicles we use to transmit ideas of order. But beneath the quest for order lies the uneasy dread of fundamental disorder. True chaos is hard to imagine and even harder to represent, especially without some recourse to the familiar coherency of order. In this book, Martin Meisel considers the long effort to conjure, depict, and (...) rationalize extreme disorder, with all the passions, excitements, and compromises the act has provoked. In seven chapters--"Shaping Chaos," "Nothing and Something," "Number," "Carnival," "War," "Energy," and "Entropy"--Meisel builds a rough history from major social, psychological, and cosmological turning points in the imagining of chaos. He uses examples from literature, philosophy, painting, graphic art, science, linguistics, music, and film, particularly exploring the remarkable shift in the eighteenth and nineteenth centuries from conceiving of chaos as disruptive to celebrating its liberating and energizing potential. Discussions of Sophocles, Plato, Lucretius, Calderon, Milton, Haydn, Blake, Faraday, Chekhov, Faulkner, Wells, and Beckett, among others, are matched with incisive readings of art by Brueghel, Rubens, Goya, Turner, Dix, Dada and the futurists. Meisel addresses the revolution in mapping energy and entropy and the manifold impact of thermodynamics. Known for his pathbreaking studies of literature, drama, and the visual arts, Meisel uses this chaotic frame to elaborate on larger concerns of purpose, mortality, meaning, and mind. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.1 (2004) 23-34 [Access article in PDF] Mind Ahead of the Tone:Integration of Technique and Imagination in Vocal Training at Tanglewood Summer Institute Svetlana Nikitina The use of the body and the mind at the same time is one of the most fascinating things and magic things about music. 1The purpose, indeed the sole purpose, of training for the profession of singing is to (...) improve the connection between the imagination and the sounds that eventually issue from the singer's mouth. 2The utmost goal of art is achieving unity between form and content, the subjective idea and the medium, technique and imagination. Success and livelihood of dancers, actors, and musicians depends on their ability to translate mental ideas into bodily actions and, at its height, merge technical bodily and mental wisdom so seamlessly that we would forget the path that led to it.What is this path? How do individual singers mesh, melt, and marry the technical rigor coming from years of musical training and their ability to imagine and express themselves with those tools? How is the unity betweentechnique and imagination achieved and experienced? And, what is the pedagogy that could support the connection? These are the core questions that guided the study.The goal here is not to propose a conclusive theory of connection, biological or psychological. My hope is to open the curtain for discussion of what is generally considered an "undiscussable" topic in art and music education books because it deals with what is thought of as implicit knowledge that no one could or should teach. Through my observation of Phyllis Curtin's classroom and conversations with her students, some general thoughts and principles of building unity between the technical and artistic selves of a singer emerged. I would like to share those insights and strategies.While this essay does not offer simplistic how-to strategies of fostering creative synergy, it also does not suggest that the connection just happens, [End Page 23] regardless of whether we think or teach about it. What it aspires to do is create a space for thinking about the complexity of integrative experienceand ways in which bridge-building could be facilitated. As such, it could offer insights to both beginning vocalists and voice teachers, as well as be of interest to a broader range of educators and public concerned with core issues on the integrative nature of arts education. Method To serve the goal of presenting complex experiences of creative artists, Ichose to combine analytical and descriptive elements in my research method. Building an analytical argument about the ways integration between imagination and technique could be achieved and supported, I tried to stay close to student stories of connection and disconnection, employing a qualitative rather than a quantitative method of inquiry. This takes the form of large amounts of direct interview data and personal vignettes, from which I traced general patterns of meaning. Research Context A very brief and in no way exhaustive survey of literature on voice education points to a large volume of text spent on training vocal technique. Breath control, charts depicting the larynx and the thyro-arytenoid muscle at work far outnumber chapters on interpretation or "The Work of Imagination" in musical education literature. 3There are precious few books, however, that do not keep the technical and the mental concerns separate, and give the work of imagination an explicit and central role in training of performing artists. Two of those books, Thomas Hemsley's Singing and Imagination and Michael Chekhov's On the Technique of Acting, have not fallen in my lap by chance. 4 Curtin referred to them several times in her classes as books of "singular" resonance to her own singing and teaching.Chekhov's book conceptualizes the basic processes that are involved in the actor's work on character development. These processes include extensive work on the text and its interpretation (understanding, living the text, and essentializing it in performance), in parallel with developing the body... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.1 (2004) 23-34 [Access article in PDF] Mind Ahead of the Tone:Integration of Technique and Imagination in Vocal Training at Tanglewood Summer Institute Svetlana Nikitina The use of the body and the mind at the same time is one of the most fascinating things and magic things about music. 1The purpose, indeed the sole purpose, of training for the profession of singing is to (...) improve the connection between the imagination and the sounds that eventually issue from the singer's mouth. 2The utmost goal of art is achieving unity between form and content, the subjective idea and the medium, technique and imagination. Success and livelihood of dancers, actors, and musicians depends on their ability to translate mental ideas into bodily actions and, at its height, merge technical bodily and mental wisdom so seamlessly that we would forget the path that led to it.What is this path? How do individual singers mesh, melt, and marry the technical rigor coming from years of musical training and their ability to imagine and express themselves with those tools? How is the unity betweentechnique and imagination achieved and experienced? And, what is the pedagogy that could support the connection? These are the core questions that guided the study.The goal here is not to propose a conclusive theory of connection, biological or psychological. My hope is to open the curtain for discussion of what is generally considered an "undiscussable" topic in art and music education books because it deals with what is thought of as implicit knowledge that no one could or should teach. Through my observation of Phyllis Curtin's classroom and conversations with her students, some general thoughts and principles of building unity between the technical and artistic selves of a singer emerged. I would like to share those insights and strategies.While this essay does not offer simplistic how-to strategies of fostering creative synergy, it also does not suggest that the connection just happens, [End Page 23] regardless of whether we think or teach about it. What it aspires to do is create a space for thinking about the complexity of integrative experienceand ways in which bridge-building could be facilitated. As such, it could offer insights to both beginning vocalists and voice teachers, as well as be of interest to a broader range of educators and public concerned with core issues on the integrative nature of arts education. Method To serve the goal of presenting complex experiences of creative artists, Ichose to combine analytical and descriptive elements in my research method. Building an analytical argument about the ways integration between imagination and technique could be achieved and supported, I tried to stay close to student stories of connection and disconnection, employing a qualitative rather than a quantitative method of inquiry. This takes the form of large amounts of direct interview data and personal vignettes, from which I traced general patterns of meaning. Research Context A very brief and in no way exhaustive survey of literature on voice education points to a large volume of text spent on training vocal technique. Breath control, charts depicting the larynx and the thyro-arytenoid muscle at work far outnumber chapters on interpretation or "The Work of Imagination" in musical education literature. 3There are precious few books, however, that do not keep the technical and the mental concerns separate, and give the work of imagination an explicit and central role in training of performing artists. Two of those books, Thomas Hemsley's Singing and Imagination and Michael Chekhov's On the Technique of Acting, have not fallen in my lap by chance. 4 Curtin referred to them several times in her classes as books of "singular" resonance to her own singing and teaching.Chekhov's book conceptualizes the basic processes that are involved in the actor's work on character development. These processes include extensive work on the text and its interpretation (understanding, living the text, and essentializing it in performance), in parallel with developing the body... (shrink)

What is it for a situation to be worse or better for someone? This paper considers an answer to that question which draws on a distinction implicit in a work of Chekhov between a happy and a worthwhile life. It examines the implications of that answer for recent debates about equality, outlining the virtues of a virtues-based egalitarianism.

I have enjoyed reading fiction since I was young, and until I was twenty-eight I believed that I could write it myself. Then I read a novel by [Michel] Tournier and changed my mind. Imperceptibly, great changes have taken place in fiction. The difference between modern fiction and classical fiction is as great as the difference between the car and the horse-drawn cart. The finest of the modern novels cannot be read ten lines at a glance. Let me cite an (...) example, so that my readers can come to share my point of view. The first sentence of Marguerite Duras's novel The Lover is "I was already old." Innumerable vicissitudes are contained in that phrase. If you read on carefully, you will discover that more or less every sentence is written like that, and my views on modem novels were formulated by reference to The Lover. The great modern novels always contain a lot of information and are extremely elegantly written, delighting those who read them and scaring those who would like to write fiction. Of the classic writers, only the Russian Chekhov occasionally writes in this way, but by no means all his works command reverence. I have to confess that modern novelists used to shock me greatly. The novel by Tournier that I read, called Death and the Maiden, was only the first of a series of shocks. (shrink)

The article deals with the little-studied but actual problem of loneliness of an outstanding creative personality as a consequence of stereotypical understanding of his works and activity. The cultural and philosophical meaning of Ivan Turgenev’s motif of loneliness is that he was a lone creator, recognized by Russian critics and historians of literature only in the context of the activities of other recognized great writers: Pushkin, Gogol, Dostoevsky, Tolstoy, Chekhov. The problem of loneliness is revealed through the paradoxical statement (...) by Turgenev on the question about strange loners and aggressive crowd. The paper presents the loneliness of I.S. Turgenev as a rejection of the understandable and normality among the non-understandable and weirdness. In Russian literatury critical and historico-cultural tradition, during the discussion of Russian classics, the general opinion has been formed: Turgenev is apparently non-Russian author, moreover he is not a classic writer indeed. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Pleasure of the PlayDeborah KnightThe Pleasure of the Play, by Bert O. States; 226 pp. Ithaca: Cornell University Press, 1994, $34.50, cloth, $12.95, paper.I am an Aristotelian about narrative structure. This is not always a fashionable position, and in some company I know just what to expect: a pop deconstructivist dressing down by those who assume that I must have simply missed the point of poststructuralism and (...) postmodernism. Surely, the nay-sayers claim, no one believes in beginnings, middles, and ends anymore—certainly not since Godard taught us that we don’t need to put them in that order. Isn’t it just obvious (they continue) that we must reject the ideology of wholeness and unity, and opt instead for fragmentation, or self-reflexivity, or other violations of Aristotelian form? And there is no mistaking that, in some quarters, notions like mimesis and catharsis haven’t received much good press lately.But there are still kindred Aristotelians, and Bert O. States is one. His The Pleasure of the Play takes the Poetics as its pivotal text and sets in motion around it a lively discussion of plays from, yes, Oedipus Rex to The Real Inspector Hound, stopping along the way to consider Shakespeare, Chekhov, Brecht, Handke (among others), before concluding with an essay on Samuel Beckett’s Catastrophe, a play dedicated to Václav Havel. States adopts an open rather than a closed view of what the Poetics has to say about tragedy, expanding the discussion well beyond tragedy itself, out toward drama and, indeed, comedy. But he is clearly unwilling to go as far as another group of Aristotelians, notably Paul Ricoeur, Alasdair MacIntyre, and Jerome Bruner, who treat narrative as a mode of actual lived existence. States’s objective is to show the continued vitality of the Poetics, especially in terms of what it can tell us about drama in cultural contexts much removed from the one which offered Aristotle his range of primary textual material. [End Page 272]To be clear, then, States doesn’t claim to be doing either Poetics “scholarship” or exegesis. Indeed, this book is not what one might typically think of as a philosophical examination of the Poetics. Anyone looking for such a thing would do well to consult the excellent but unmistakably philosophical Essays on Aristotle’s Poetics, edited by Amélie Oksenberg Rorty. States is doing something else here. Like Aristotle, he is showing how dramatic structures work.The book is engaging. It features wonderfully turned phrases, examples that immediately illuminate a point, and nicely interwoven references to a range of theorists and philosophers who only rarely are found in each other’s company, for example: Richard Boyd, Martin Heidegger, Douglas Hofstadter, Wolfgang Iser, Maurice Merleau-Ponty, Francis Sparshott, Tzvetan Todorov. Some of States’s more delightful examples might offend Aristotle purists. Hard cheese to them. Consider how States uses Roland Barthes’s analysis of the newspaper feature story, or fait divers, to illuminate the structure of the great dramatic plots. In States’s examples—GENERAL SACRIFICES DAUGHTER IN WEDDING CEREMONY (Iphigenia at Aulis) or WIFE FORCED INTO ADULTERY BY HUSBAND, MOTHER, PRIEST (Mandragola) or, to use Aristotle’s own example, MAN’S STATUE AVENGES HIS MURDER (pp. 67-68)—what each mock headline captures is the peculiar, often ironic, internal logic of drama. For States, this peculiar logic is characterized by events which are simultaneously improbable, unthinkable, unanticipatable, yet—given the unfolding course of actions—uncannily probable after all.Central to understanding this internal logic is the Aristotelian notion of peripety, the critical “divulging event” (p. 49) which turns out to be just the reverse of what one intended (as for example Oedipus killing his father and marrying his mother). Where Aristotle seems to treat peripety as a mere plot device, States considers it “a principle of plot development.” Thus, the status of peripety as a crucial dramatic plot device is “really a symptom” of its more basic function (p. 86). Peripety as a principle of plot development helps to show why it makes little sense to claim that what narratives imitate is “reality”—peripety is just what “open life” lacks (p... (shrink)

This work is a "prolegomena to the study of evil," the beginning of a more ambitious project designated by the author an "ideational critique of society." Such an endeavor would include a "rhetoric that grasps the structures of consciousness, the phenomenology of history, and the dramaturgy of contemporary scenes." The bulk of the present study constitutes an essay in phenomenological sociology. Each of the seven deadly sins is insightfully described in terms of its dominant features as well as in relation (...) to and distinction from allied or similar phenomena. Significantly, the presiding intellectual presences are as often Homer, Augustine, Gregory the Great, and Aquinas as more contemporary ones such as Simmel, Marx, Weber, and Freud. The scope and sensitivity of the author is further manifested in his illuminating use of literary figures including Dante, Shakespeare, Chekhov, and Artaud. Lyman maintains that "sin has been neglected by sociology" and views this work as a first step in remedying such neglect. At the outset he states that he is not offering a way out of or elimination of evil nor the promise of good. Fortunately, much of the book and in particular its concluding chapter serves as at least a strong qualification of this posture. Though holding out no hope for redemption or a final release from sin and evil, Lyman’s effort would seem to have a commendable melioristic aim. He is concerned, however, to avoid what is for him the besetting sin of contemporary sociology—the attempt to present a sociological blueprint for earthly happiness. Lyman would like to see sociology respect "the social visions that the reason of ordinary people produces," while neither applauding nor opposing them. "The sociological task would then be to describe the processes of social architectonics, and not to build the new society in advance of them." It is evident that Lyman wishes to avoid explaining away sin or reducing it to psychological or societal deviance but it would have been helpful to have had some suggestion of his ontology or metaphysics of sin. The "reality" of sin and evil remains unclarified throughout these analyses. The citations from Homer, Augustine, Gregory the Great, Dante, and other such figures are presented without irony or condescension. Now it may be possible to distill psychological and sociological insights from these thinkers while rejecting or ignoring their theological dimensions. To do so, however, involves a process of abstraction and a contextualism which hardly leaves the phenomena as presented by these thinkers untouched and unchanged. Hence, it would seem that some justification for the "sin" character of these actions in their contemporary milieu is called for. Lyman hints that he is unhappy with the neutralization of sin resulting from contemporary social science. What is not clear is whether he rejects the naturalistic assumptions which undergird and indeed make inevitable such neutralizing interpretations. The background assumption of Lyman’s study is a Nietzschean-like "sociology of the absurd" which presupposes "a world that is ultimately and essentially without meaning" but is made meaningful "by the actions and beliefs of the people who participate in it." This is, of course, a radically different world than the one within which the sin-evil language emerged and gave this language its depth and significance. One aspect of Lyman’s continuing task, therefore, would be to show how it is possible to speak meaningfully of sin and evil when the belief in a transcendent which constituted these phenomena in their classical modes is absent. Nietzsche’s challenge must be faced: after the "death of God" we can still speak of "good and bad" but can we any longer speak of "good and evil"?—E.F. (shrink)