By Radislav Lapushin
«Dew at the Grass»: The Poetics of Inbetweenness in Chekhov is the 1st accomplished and systematic research to target the poetic dimensions of Anton Chekhov’s prose and drama. utilizing the concept that of «inbetweenness», this booklet reconceptualizes the important features of Chekhov’s type, from his use of language to the origins of his creative worldview. Radislav Lapushin bargains a clean interpretive framework for the research of Chekhov’s person works and his œuvre as a whole.
Radislav Lapushin is Assistant Professor of Russian Literature on the college of North Carolina at Chapel Hill. He got his Ph.D. on the collage of Chicago. he's the writer of diverse scholarly courses on Chekhov, either in Russian and English, and of a number of volumes of poetry.
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Additional info for "Dew on the Grass": The Poetics of Inbetweenness in Chekhov
Simultaneously, the image of a “big elderly woman in black” recalls the description of the house as “a big stone” thrown on the grass. ” Furthermore, the “lowered blinds” are associated with the old woman’s “frowning” eyes. ” The question arises: what is real and what is imaginary here? When do we have literal “frowning” and when is it figurative? Or perhaps it is more appropriate to suggest that these opposing possibilities blend in such usages. As was the case with the old footman, a parallel is drawn between the old lady and the chairs.
V. Shalygina. Osiia Soroka’s essay “Как Чехов писал стихи,” though not a scholarly work, is engaging and revealing. 6. See the Bibliography for studies of Robert Louis Jackson, Savely Senderovich, Julie de Sherbinin, and Michael Finke. ” For a concise summary of this approach, see Finke and de Sherbinin, Chekhov the Immigrant (9–11). 7. For example, in his essay “Типизация героя и его надежда на спасение,” Matthias Freise draws a direct parallel between the image of the “tramp” from the short story “Dreams” and Jesus Christ (293–9).
Not accidentally, it is just its façade that is reminiscent of the theater. The description of water and rats that “froze as if by magic on the spot” (note the sound texture that distinguishes this phrase in the original: “по воле волшебства”) refers to the discourse style of the magic fairy tale. In this context, it is telling that upon leaving, the narrator characterizes the house as a “little kingdom of gilded boredom and sorrow” (маленькое царство позолоченной скуки и скорби, 308), suggesting thus a new potential interpretation of the house as a spellbound kingdom with a princess waiting for her savior, whose role is unsuccessfully played by the narrator.
"Dew on the Grass": The Poetics of Inbetweenness in Chekhov by Radislav Lapushin