Download «Dew on the Grass»: The Poetics of Inbetweenness in Chekhov by Chekhov, Anton Pavlovich; Lapushin, Radislav; Chekhov, Anton PDF

By Chekhov, Anton Pavlovich; Lapushin, Radislav; Chekhov, Anton Pavlovich

«Dew at the Grass»: The Poetics of Inbetweenness in Chekhov is the 1st complete and systematic examine to target the poetic dimensions of Anton Chekhov’s prose and drama. utilizing the concept that of «inbetweenness», this e-book reconceptualizes the relevant elements of Chekhov’s sort, from his use of language to the origins of his inventive worldview. Radislav Lapushin deals a clean interpretive framework for the research of Chekhov’s person works and his œuvre as an entire

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Additional info for «Dew on the Grass»: The Poetics of Inbetweenness in Chekhov

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An even more extensive multitude of possible allusions occurs when we move to intertextual parallels with other writers. The transparency of dew is a convenient metaphor for the infinite openness of Chekhov’s word, its capacity, and, simultaneously, elusiveness. Recall, for instance, Lermontov’s poem “Когда волнуется желтеющая нива…” (“When the yellowing cornfield sways”) with its image of the silvery lily-of-the-valley “sprinkled with fragrant dew” (росой обрызганный душистой). Lermontov’s “mysterious saga” murmured by the icy spring relates to Chekhov’s “mysterious detail”: the appearance of the watchman.

To place these attributives next to each other means to revive each of them by such a juxtaposition and, consequently, to create a new, quasi-oxymoronic, unity, in which the opposite concepts (the literal–the figurative, the dry–the wet) appear as inherently bordering on each other. ” “The Clouds that Shrouded the Sky”: Transformation by Sound Ни у кого—этих звуков изгибы… И никогда—этот говор валов… No one has these graceful turns of sound… And never this talking noise of waves… Osip Mandelshtam, “Batiushkov” Amidst the Shades of Meaning: The Immediate Textual Context ...

The Concept of Inbetweenness and the Poetry of Chekhov’s Prose ... 21 Can we trace an equivalent semantic intensity of the word in his lesser narratives, thereby demonstrating it as a fundamental feature of Chekhov’s poetics? To answer this question, I turn to the story “A Trivial Incident” (“Пустой случай,” 1886)—definitely not one of Chekhov’s most remarkable. Written at the time of his gradual transition from humorous magazines to serious periodicals, it has received little critical attention and has rarely been anthologized.

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