Chekhov Conference

[pjs]

Wait a minute! Lillian Hellman has no ethics.  I assume the title of the
paper is ironical.

Peter Scotto

On Mon, 10 May 2004, Joe Andrew wrote:

> Date: Mon, 10 May 2004 09:55:05 +0100
> From: Joe Andrew <j.m.andrew at LANG.KEELE.AC.UK>
> Reply-To: Slavic & East European Languages and Literature list
>     <SEELANGS at LISTSERV.CUNY.EDU>
> To: SEELANGS at LISTSERV.CUNY.EDU
> Subject: [SEELANGS] Chekhov Conference
>
> Dear SEELANGers
>
> I am pleased to announce a forthcoming conference on Chekhov.
> Dates and speakers as listed below.
>
> The Neo-Formalists’ 2004 Conference ‘One Hundred Years of Chekhov’ will be
> held at Mansfield College, Oxford, from 13-15 September 2004. Below is a
> list of speakers who have now confirmed their paper titles.
>
> Further details and booking forms will be made available in June/July.
> Please address any queries to the organisers – Robert Reid and Joe Andrew.
>
> Joe Andrew (Keele), ‘"A Room of One’s Own": Narrative, Gender and Space in
> The Fiancée, in Relation to The Boarding School Girl
>
> Carol Adlam (Exeter), ‘Anton Chekhov and Lillian Hellman: Form and Ethics’
>
> Tatiana Alenkina (Moscow), ‘Peculiarities of the Reception of The Seagull
> in the English-Speaking World’
>
> Joost van Baak (Groningen), ‘Chekhov’s Fictional Mansions: A Narrative
> Perspective’
>
> Rosamund Bartlett (Durham), ‘Dots, Commas, Colons: the Point of Chekhov's
> Punctuation’.
>
> Birgit Beumers (Bristol), ‘The Chopping of the Cherry Orchard:
> Stanislavsky or Chekhov?’
>
> Kjeld Bjornager (Denmark), "Uncle Vanya: The Masculine Triangle"
>
> Leon Burnett (Essex), ‘The English Chekhov’
>
> Eric de Haard (Amsterdam), ‘Chekhov’s Numbers Game: The Flying Islands as
> Pastiche of Jules Verne’
>
> Ros Dixon (Galway), ‘"Ne goni menia!": Anatolii Efros’s Production of
> Three Sisters, 1967’
>
> Justin Doherty (Dublin), ‘Chekhov’s Representation of Nature in His Later
> Stories’
>
> Andrzej Dudek (Krakow), ‘The Motif of Insanity in Chekhov’s Works:
> Literary Functions and Anthropological Connotations’
>
> Richard Freeborn, ‘Residency and Absurdity in Chekhov’s The Seagull’
>
> Harai Golomb (Tel-Aviv),‘The Whole at the Expense of Its Parts: Chekhov as
> Structuralists’ Paradise’
>
> Jane Gary Harris (Pittsburg), ‘Image Criticism Revisited: Chekhov’s
> Reception in the Early 20th Century Russian Women’s Periodical Press’
>
> Ulrike Lentz (Surrey), ‘Typification of Western Europeans: Chekhov’s
> Foreign Governesses and Tutors’
>
> Henrietta Mondry (Canterbury, NZ), "Peasant Women’s Sexualities in Chekhov
> and Gleb Uspensky"
>
> Richard Peace, ‘From Titles to Endings: Rothchild’s Violin’
>
> Michael Pursglove, ‘Grigorovich’s Migrants: A Source for Chekhov’s
> Steppe?’
>
> Robert Reid (Keele),  ‘“Kakie zhe tut nasmeshki?” The Death of a Civil
> Servant: More or Less a Parody’
>
> Joseph Sherman (Oxford), ‘Chekhov and the Jews’
>
> Olga Sobolev (London), ‘Chekhov’s Plays on the Russian Screen’
>
> Olga Tabachnikova (Bath), ‘Chekhov through the Eyes of Lev Shestov:
> Justice or Distortion? Continuing the Polemics’
>
> Willem Weststeijn (Amsterdam), "The Description of Character in Chekhov’s
> Stories"
>
> Claire Whitehead (St Andrews), ‘Playing at Detectives: Parody in Chekhov’s
> Shvedskaia spichka’
>
> Kevin Windle (ANU), ‘Three Irish Sisters: Brian Friel’s Version of
> Chekhov's Play for the Irish Stage’
>
> Please contact me for further details.
>
> Joe
>
> ----------------------
> Joe Andrew
> j.m.andrew at lang.keele.ac.uk
>
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