Further Reading
Egri, Péter. "The Short Story in the Drama: Chekhov and O'Neill." Acta Litteraria Academiae Scientiarum Hungaricae Tomus 20, Nos. 1-2 (1978): 3-28.
Examines structural affinities between the short story and dramatic forms, using examples from the one-act plays of Chekhov and Eugene O'Neill.
Hagan, John. "The Tragic Sense in Chekhov's Earliest Stories." Criticism: A Quarterly for Literature and the Arts VII, No. 1 (Winter 1965): 52-80.
Offers a critical defense of Chekhov's early short fiction, arguing: "Many of Chekhov's early stories which appear at first glance to be no more than light-hearted jeux d'esprits turn out on closer inspection to be connected with themes of considerable significance."
Hahn, Beverly. Chekhov: A Study of the Major Stories and Plays. Cambridge: Cambridge University Press, 1977, 350 p.
Provides an overview of Chekhov's work in several genres. Hahn comments: "Chekhov is an author who must be seen whole if he is to be properly understood at all; and seeing him whole involves not merely tracing his development through the short stories, the novellas and finally the plays, but feeling what it is that he achieves, positively, with each new turn."
Katsell, Jerome H. "Character Change in Cexov's Short Stories." Slavic and East European Journal 18, No. 4 (Winter 1974): 377-83.
Argues that although Cchekhov "failed to write a novel, he still managed during his mature period (1888-1903) to incorporate in his stories character change and development, the normal province of the novel."
Klitko, Anatoli. "Chekhov and Twentieth-Century Literature and Art." Soviet Literature 1 (1980): 143-48.
Examines Chekhov's influence on Soviet short stories of the 1960s and 1970s.
Martin, David. "Figurative Language and Concretism in Chechov's Short Stories." Russian Literature VIII-II (March 1980): 125-49.
Detects a tendency in Chekhov's style in which "often complex abstract ideas are made the more readily assimilable to the reader by being reduced to physical terms which will easily impress themselves upon his imagination."
O'Toole, L. M. "Structure and Style in the Short Story: Chekhov's Student." The Slavonic and East European Review XLIX, No. 114 (January 1971): 45-67.
Provides "a framework for the structural analysis of the short-story form" and illustrates how "this framework works by applying it to a short story by Chekhov."
Pritchett, V. S. Chekhov: A Spirit Set Free. London: Hodder & Stoughton, 1988, 235 p.
Offers a biographical and critical examination of Chekhov's works, with an emphasis upon his short fiction. Pritchett comments: "[Chekhov's] genius, in my opinion, lies above all in his creative gifts as a writer of short stories."
Rossbacher, Peter. "Nature and the Quest for Meaning in Chekhov's Stories." The Russian Review: An American Quarterly Devoted to Russia 24, No. 4 (October 1965): 387-92.
Argues that "the Chekhovian character is thirsting for full life against the background of his inability to attain it."
Additional coverage of Chekhov's life and career is contained in the following sources published by Gale Research: Contemporary Authors, Vols. 104, 124; Discovering Authors; Discovering Authors: British; Discovering Authors: Canadian', Discovering Authors: Dramatist Module', Discovering Authors: Most-Studied Authors Module; Short Story Criticism, Vol. 2; Something About the Author, Vol. 90; Twentieth-Century Literary Criticism, Vols. 3, 10, 31, 55; and World Literature Criticism.
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