Resultaten voor 'anton chekhov'

1. Anton Chekhov

Anton Chekhov. Earliest Stories: Chekhov's Complete Collected Works, vol. 1

“The best of these pieces hints at the greatness to come… He could see the wretchedness of life from a young age, and never stopped trying to overcome it.” —Anna Aslanyan, Times Literary Supplement “This ambitious collection… will wake up readers of English to something Russian readers already knew: even hiding behind the pseudonym of Antosha Chekhonte, the Moscow medical student was a giddy master of short stories.” —Bob Blaisdell, Russian life “What links should we seek between an author's early and late work anyway? The man who conjured Uncle Vanya was once a coltish 20-year-old. The trajectory from the inky youth from this book to the titan we know from the plays might be the most Chekhovian theme of all.”  —Sara Wheeler, The Spectator “Anton Chekhov: Earliest Stories offers the first comprehensive translation in English… And it is supremely juvenile in the best way.”  —Viv Groskop, The Guardian "Absurd, zany, mordant and melodramatic - these stories are full of surprises, and are the perfect antidote for anyone who still thinks of Chekhov as gloomy.”  —Geraldine James, actress “Chekhov’s early stories are his spring—touching, turbulent, full of vitality, with bursts of sunlight, mischievous winds, and an ironic kaleidoscope of Russian faces. His gray, twilight, aching autumn is still ahead, so rejoice in springtime Chekhov! —Vladimir Sorokin, author ”This international, invigorating, and in many ways utopian translation project brings a wealth of voices, tones and nuances to Chekhov’s early stories.“ —Sasha Dugdale, poet, playwright and translator “In this groundbreaking edition of Chekhov’s earliest publications (1880-1882), Rosamund Bartlett makes available in English the full complement of stories, sketches, and humoresques included in volume 1 of the definitive scholarly edition of his work.  Given that most English-language collections of Chekhov’s prose feature his later, more widely known stories, this volume provides an invaluable resource for scholars, writers, and general readers alike. This alone would have been enough.  But in her astute introduction Bartlett also provides a riveting discussion of how the history of publication and republication of individual works, combined with the serial revisions and rewritings undertaken by Chekhov himself and compounded by the eventual compilation and recompilation of an authorized Collected Works, which grew (in the years after Chekhov’s death) from the original ten to an eventual twenty-two volumes, vastly complicate the matter of dating and chronology.  Add to the proliferation of versions in Russian the further complications introduced by serial translations of this or that story in this or that version tagged with this or that date—and, as it turns out, even the scholarly thirty-volume edition contributes to this chronological jumble.  In this context, earliness itself merits scrutiny. All of the above makes an irrefutable argument for the significance of Bartlett’s project—but so do the stunning translations.  The volume’s fifty-eight stories have been brought into English by a collaborative of eighty-three translators from nine countries.  Each began working on a single text, then went on to participate in a recursive process of “crowd translation.”  The work proceeded so collaboratively and the process ultimately proved so productive that the results are credited to the collective as a whole.  The English versions are thus beautifully coherent—yet they are also stylistically divergent, as demanded by Chekhov’s take-offs on a stunning range of speech acts and genres: letters, testimony, statistical tables, speeches, catalogues, excerpts, almanacs, and more.  The stories themselves are quite wonderful, and these new translations represent a tremendous achievement. Finally, Bartlett’s editorial apparatus deftly makes sense when clarification is required or a private joke needs explaining.  She has shrewdly placed immediate sense-making notes at the bottom of the page, with more extensive background information at the end of the volume; the format itself makes the book both maximally accessible and a great pleasure to read.”  —Cathy Popkin, Jesse and George Siegel Professor in the Humanities, Department of Slavic Languages, Columbia University “What a gift to readers of Chekhov: the most comprehensive edition of his earliest fiction in English! Assembled through the collaborative efforts of more than eighty translators, this remarkable volume is an outstanding collective achievement. Chekhov’s early creations reveal a side that may surprise those who know only his mature works: irreverent, versatile, brimming with raw energy, and often uproariously funny. Read together, they offer a fresh insight into how the future master of subtle understatement was finding his voice. Kudos to the indefatigable Rosamund Bartlett and her tireless team of translators for bringing this treasure to light. For any lover of Chekhov, this book overflows with delights, discoveries, and revelations. A second volume, please!” —Radislav Lapushin, Associate Professor, the University of North Carolina at Chapel Hill “Chekhov’s Earliest Stories:  Stories, Novellas, Humoresques 1880-1882, edited by Rosamund Bartlett and Elena Michajlowska, is a landmark publication. The perennial, deep engagement with Chekhov has burgeoned in recent decades: adaptations of his works abound. Is there any other writer, except perhaps Shakespeare, who continuously reinvents the world the way Chekhov does? Yet many of his early works have never been translated into English, and this is the first complete translation of all his very earliest stores, accompanied by helpful annotations. Bartlett, a foremost English translator-scholarworldwide, has written a groundbreaking introduction brimming with vital new information and insight. She and her distinguished colleague Michajlowska have assembled a dazzling international team of 83 translators to give us this uniquely precious collection. Chekhov virtually leaps off the pages in these often absurd, edgy, funny but always keenly observed earliest works.”  —Robin Feuer Miller, Edytha Macy Gross Professor of Humanities, Professor of Russian and Comparative Literature, Brandeis University “This is the definitive English text of Chekhov beginnings, the best window we have into the first three years of his career. If Chekhov had known, in his early twenties, that the half-baked pieces he was sending out to cheap periodicals would one day be treated with such consummate editorial care, in a volume culled from the collective international work of almost a hundred translators and scholars, he would likely have been delighted, amused, and mortified. And so are we, reading him at his most unguarded.” —Yuri Corrigan, Associate Professor of Russian and Comparative Literature, Boston University

1. Anton Chekhov

Anton Chekhov. Earliest Stories: Chekhov's Complete Collected Works, vol. 1

“The best of these pieces hints at the greatness to come… He could see the wretchedness of life from a young age, and never stopped trying to overcome it.” —Anna Aslanyan, Times Literary Supplement “This ambitious collection… will wake up readers of English to something Russian readers already knew: even hiding behind the pseudonym of Antosha Chekhonte, the Moscow medical student was a giddy master of short stories.” —Bob Blaisdell, Russian life “What links should we seek between an author's early and late work anyway? The man who conjured Uncle Vanya was once a coltish 20-year-old. The trajectory from the inky youth from this book to the titan we know from the plays might be the most Chekhovian theme of all.”  —Sara Wheeler, The Spectator “Anton Chekhov: Earliest Stories offers the first comprehensive translation in English… And it is supremely juvenile in the best way.”  —Viv Groskop, The Guardian "Absurd, zany, mordant and melodramatic - these stories are full of surprises, and are the perfect antidote for anyone who still thinks of Chekhov as gloomy.”  —Geraldine James, actress “Chekhov’s early stories are his spring—touching, turbulent, full of vitality, with bursts of sunlight, mischievous winds, and an ironic kaleidoscope of Russian faces. His gray, twilight, aching autumn is still ahead, so rejoice in springtime Chekhov! —Vladimir Sorokin, author ”This international, invigorating, and in many ways utopian translation project brings a wealth of voices, tones and nuances to Chekhov’s early stories.“ —Sasha Dugdale, poet, playwright and translator “In this groundbreaking edition of Chekhov’s earliest publications (1880-1882), Rosamund Bartlett makes available in English the full complement of stories, sketches, and humoresques included in volume 1 of the definitive scholarly edition of his work.  Given that most English-language collections of Chekhov’s prose feature his later, more widely known stories, this volume provides an invaluable resource for scholars, writers, and general readers alike. This alone would have been enough.  But in her astute introduction Bartlett also provides a riveting discussion of how the history of publication and republication of individual works, combined with the serial revisions and rewritings undertaken by Chekhov himself and compounded by the eventual compilation and recompilation of an authorized Collected Works, which grew (in the years after Chekhov’s death) from the original ten to an eventual twenty-two volumes, vastly complicate the matter of dating and chronology.  Add to the proliferation of versions in Russian the further complications introduced by serial translations of this or that story in this or that version tagged with this or that date—and, as it turns out, even the scholarly thirty-volume edition contributes to this chronological jumble.  In this context, earliness itself merits scrutiny. All of the above makes an irrefutable argument for the significance of Bartlett’s project—but so do the stunning translations.  The volume’s fifty-eight stories have been brought into English by a collaborative of eighty-three translators from nine countries.  Each began working on a single text, then went on to participate in a recursive process of “crowd translation.”  The work proceeded so collaboratively and the process ultimately proved so productive that the results are credited to the collective as a whole.  The English versions are thus beautifully coherent—yet they are also stylistically divergent, as demanded by Chekhov’s take-offs on a stunning range of speech acts and genres: letters, testimony, statistical tables, speeches, catalogues, excerpts, almanacs, and more.  The stories themselves are quite wonderful, and these new translations represent a tremendous achievement. Finally, Bartlett’s editorial apparatus deftly makes sense when clarification is required or a private joke needs explaining.  She has shrewdly placed immediate sense-making notes at the bottom of the page, with more extensive background information at the end of the volume; the format itself makes the book both maximally accessible and a great pleasure to read.”  —Cathy Popkin, Jesse and George Siegel Professor in the Humanities, Department of Slavic Languages, Columbia University “What a gift to readers of Chekhov: the most comprehensive edition of his earliest fiction in English! Assembled through the collaborative efforts of more than eighty translators, this remarkable volume is an outstanding collective achievement. Chekhov’s early creations reveal a side that may surprise those who know only his mature works: irreverent, versatile, brimming with raw energy, and often uproariously funny. Read together, they offer a fresh insight into how the future master of subtle understatement was finding his voice. Kudos to the indefatigable Rosamund Bartlett and her tireless team of translators for bringing this treasure to light. For any lover of Chekhov, this book overflows with delights, discoveries, and revelations. A second volume, please!” —Radislav Lapushin, Associate Professor, the University of North Carolina at Chapel Hill “Chekhov’s Earliest Stories:  Stories, Novellas, Humoresques 1880-1882, edited by Rosamund Bartlett and Elena Michajlowska, is a landmark publication. The perennial, deep engagement with Chekhov has burgeoned in recent decades: adaptations of his works abound. Is there any other writer, except perhaps Shakespeare, who continuously reinvents the world the way Chekhov does? Yet many of his early works have never been translated into English, and this is the first complete translation of all his very earliest stores, accompanied by helpful annotations. Bartlett, a foremost English translator-scholarworldwide, has written a groundbreaking introduction brimming with vital new information and insight. She and her distinguished colleague Michajlowska have assembled a dazzling international team of 83 translators to give us this uniquely precious collection. Chekhov virtually leaps off the pages in these often absurd, edgy, funny but always keenly observed earliest works.”  —Robin Feuer Miller, Edytha Macy Gross Professor of Humanities, Professor of Russian and Comparative Literature, Brandeis University “This is the definitive English text of Chekhov beginnings, the best window we have into the first three years of his career. If Chekhov had known, in his early twenties, that the half-baked pieces he was sending out to cheap periodicals would one day be treated with such consummate editorial care, in a volume culled from the collective international work of almost a hundred translators and scholars, he would likely have been delighted, amused, and mortified. And so are we, reading him at his most unguarded.” —Yuri Corrigan, Associate Professor of Russian and Comparative Literature, Boston University

1. Anton Chekhov

Five Great Short Stories Anton Chekhov

1. Anton Chekhov

Five Great Short Stories Anton Chekhov

1. Anton Chekhov

Chekhov on Writing

Anton Chekhov born January 29 1860, Taganrog, Russia – died July 1904, Badenweiler, (Germany) was a Russian playwright and master of the modern short story. He was a literary artist of laconic precision who probed below the surface of life, laying bare the secret motives of his characters. Chekhov’s best plays and short stories lack complex plots and neat solutions. Concentrating on apparent trivialities, they create a special kind of atmosphere, sometimes termed haunting or lyrical. He is known for the principle in drama called Chekhov’s Gun, which asserts that every element introduced in a story should be necessary to the plot, and he frequently illustrated the principle by using a gun as an example of an essential element. Chekhov described the Russian life of his time using a deceptively simple technique devoid of obtrusive literary devices, and he is regarded as the outstanding representative of the late 19th-century Russian realist school.

1. Anton Chekhov

My Life