"Dew on the Grass": The Poetics of Inbetweenness in Chekhov by Radislav Lapushin

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 e-book reconceptualizes the significant elements of Chekhov’s sort, from his use of language to the origins of his creative worldview. Radislav Lapushin deals 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 obtained his Ph.D. on the collage of Chicago. he's the writer of diverse scholarly guides on Chekhov, either in Russian and English, and of numerous volumes of poetry.

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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 e-book reconceptualizes the significant elements of Chekhov’s sort, from his use of language to the origins of his creative worldview. Radislav Lapushin deals 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 obtained his Ph.D. on the collage of Chicago. he's the writer of diverse scholarly guides on Chekhov, either in Russian and English, and of numerous volumes of poetry.

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Additional resources for "Dew on the Grass": The Poetics of Inbetweenness in Chekhov

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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).

Associated with the opposition between upper and lower strata, the staircase signifies both their separation and the possibility of their union. It turns out that the “narrowness” of the staircase may be comprehended also as beneficial by way of its association with the image of the “narrow gate” from the Gospel (“For narrow is the gate, and straitened the way, that leadeth unto life, and few are they that find it,” Matthew 7: 14); or, if one recalls Pushkin’s paraphrase of this image at the end of his late poem “Странник” (“The Pilgrim”): Спасенья верный путь и тесные врата (The true path and narrow gate of salvation, The Concept of Inbetweenness and the Poetry of Chekhov’s Prose ...

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). 8. This dynamic aspect differentiates inbetweenness from “ambiguity” and “indeterminacy,” the terms frequently applied to Chekhov’s work.

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