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The Modern Short Story: A Critical Survey, pp. If at times it walked badly it could at least be said to be walking by itself; if it did not walk far it could also be said that vast continents are not explored in a day. It needs little perception to note the main defects of the American short story from Poe to Crane.
It was often raw, facile, journalistic, prosy, cheap; it was unexperimental, and, except in rare instances, unpoetical.
It was all these things, and much more; so that beside the European not English short story of the same day it appears to suffer from one huge and common defect. In Europe, on the other hand, culture rose readily and naturally to the top of artistic life like so much cream.
By contrast with the saloon-bar back-cloths of Bret Harte, the Bowery of Crane, the embittered etchings of Bierce, the literary life and output of Europe appeared richly civilized, smooth, and settled.
In America the writers of the day appear to suffer from a certain common, and quite natural, bewilderment; half their continent is undeveloped, much unexplored; they have not found their feet, and they give the natural impression of needing not only a pen but a compass in their hands.
The literature of that America is amateurish, unorganized, still in its working clothes; that of Europe is civilized, centralized, well dressed. Under these circumstances it would be strange if Europe had not something to offer, in the short-story as well as in literature generally, that America did not and could not possess.
It would be surprising indeed if it had not produced at least one short-story writer greater than Poe or O. It did in fact produce several; but from many distinguished names two stand out as the pillars of the entire structure of the modern short story: Guy de Maupassant, born inand Anton Pavlovitch Tchehov, born ten years later.
During recent years it has become the fashion to divide both exponents and devotees of the short story into two camps, Maupassant fans on the one side, Tchehovites on the other.
To some, Maupassant's stories leave a nasty taste in the mouth; to others Tchehov's are unintelligible. To some the Maupassant method of story-telling is the method par excellence; to others there is nothing like Tchehov. This sort of faction even found an exponent in Mr.
Free russian culture papers, essays, and research papers. Jean Antoine Houdon, the preeminent sculptor of the French Enlightenment, was primarily known for his portraiture, a specialization that brought him fame among his contemporaries and posterity alike, despite a lack of parallel achievement on the more monumental scale. Richard Stites, Passion and Perception: Essays on Russian Culture (DC: New Academia Publishing, ) in Studies in Russian and Soviet Cinema 5/3(): “Lev Kuleshev Hyped Up“ Review Article of Kuleshov’s “Engineer Prite’s Project ()” and.
Somerset Maugham, who devoted a large part of a preface to extolling Maupassant at the expense of Tchehov, for no other reason apparently than that he had found in Maupassant a more natural model and master.
Odd as it may seem to the adherent of these two schools, there are many readers, as well as writers, by whom Tchehov and Maupassant are held in equal affection and esteem. Among these I like to number myself.
For me Tchehov has had many lessons; but it is significant to note that I learned none of them until I had learned others from Maupassant. I recall a period when both were held for hours under the microscope; and in consequence I have never had any sympathy with the mind that is enthusiastic for one but impatient of the other.The next grouping comprises a diverse set of essays related to Russian Popular Culture, which he conceived as seed with more to follow.
The final set corresponds to . A pioneer of Russian design Vladimir Tatlin is a representative of Russian Realism. He left home when he was fifteen and served on the shipboard. When he became a painter, he often represented sailors in his pictures Art and culture in Russia after Revolution was a .
Passion and Perception: Essays on Russian Culture [Richard Stites] on regardbouddhiste.com *FREE* shipping on qualifying offers. This collection of Stitesiana includes twenty-nine essays on Russian culture, which the author desired to be collected and published in a single volume.
This collection represents the bulk of twenty years of scholarship. Buy Passion and Perception: Essays on Russian Culture by Richard Stites (ISBN: ) from Amazon's Book Store.
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The Romantic movement’s emphasis on subjective emotional experience and passion directly challenged Enlightenment ideals, especially those concerning the rationalization of religion and the mechanistic worldview associated with the rise of science.