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• Chekhov in New York: the Functions of Frame in Louis Malle's "Vanya on 42nd Street" (1994)

  10 p.

  Olga Dzhumailo

  Views:

  193

  This paper focuses on Luis Malle’s creative adaptation of Chekhov’s “Uncle Vanya”. The frame location of "Vanya on 42nd street" is not only documentary evidence and a sign of admiration for the actors' ensemble, creating the spirit of live improvisation in the unfinished theatrical production by Andre Gregory. It is argued that the film is far from being another spectacular 're-citing' of Chekhov's ‘transcultural capital’. A set of framing elements foregrounds Chekhov's art in general and the way he represents Vanya’s stoic endurance in particular as resonating with the living experience of a person of any culture in whatever language (Russian, English, Bengali, theatrical, cinematic, etc.) holds general validity. Among leitmotifs which interconnect the frame and the drama performance within the film there are also those of kinship, unselfish  friendship and true involvement in life as an ongoing rehearsal and improvisation on an inescapable life project that is never successful.

• “Hungarian Subject Matter” in Chekhov (The Short Story The Unnecessary Victory)

  Tatyana Ilyuhina

  Views:

  186

  The paper considers “The unnecessary victory” as one of the notable works of the earliest stage of Chekhov’s creativity. The Hungarian theme of the story, inspired by the novels of Mór Jókai translated into Russian, and its plot, related to the traditions of the European career novel, address a wide audience. The young writer plays along with this reader with exotic narrative elements and delineates the difference between serious and marginal literature. This hoax, together with other skits of those years, reveals the young writer’s view of literary pursuits as an exciting game in which the main expectation is to be truthful and graceful. The same goals, according to Chekhov, characterize literature in general, regardless of the field of its competence and of the readership coverage.

• Biblical parallels in Chekhov’s short story Murder

  Kata Juracsek

  Views:

  46

  The paper explores biblical allusions in Anton Pavlovich Chekhov’s short story Murder. It aims not merely to identify certain biblical themes, but, through an analysis of Chekhov’s text and its biblical parallels, to attempt to provide a deeper understanding of the main character’s changing worldview (a question interpreted by researchers in different, often conflicting ways). The paper also points to motivic and semantic connections between the biblical text and the internal struggle of faith that affects Chekhov’s heroes. On one hand, two Old Testament stories from the Book of Genesis are examined: the fratricide of Abel by his brother Cain, and Jacob acquiring first-born status and the paternal blessing instead of his brother Esau, as well as Jacob’s struggle with the angel. On the other hand, certain sections of the New Testament Gospel according to Matthew are explored, as referenced in Murder, which point to two groups of ideas: the argument between Jesus and the Pharisees concerning proper religious practice and the true essence of faith, and Jesus’s allegory about the camel, as well as his words on murder, which both ratify and amend the Ten Commandments. Through the prism of these references, Yakov’s (and also Matvey’s) internal journeys are interpreted as a shift between the law of the Old Testament and the teachings of the New Testament.