Richard Iii and Looking for Richard Essays

Richard Iii and Looking for Richard Essays Richard Iii and Looking for Richard Essay Richard Iii and Looking for Richard Essay Context results in historical and topical info around a certain point in literary work. Every text promotes values import. For indiv. And groups. RIII Wanted to prove legitimacy of Queen E’s rule- ’validity of her claim to throne’ –Divine right Context: Relatively peaceful, S makes R a devil and usurper to legitimise Eliz. Claim to throne. People were aware of RIII Tudor’s overthrow of Platagenets, therefore play is dramatisation of actual events. Audience related to the values in the play-divine right, treatment and place of women, goodevil, religion. Nobles spoke in Iambic P, whilst servants spoke in rough prose, this was real, therefore made sense to the audience, everyone loved the theatre. â€Å"An honest tale speeds best, being plainly told† LFR grows from this, both demonstrate the intrinsic relationships between contexts and compositions of texts. King Richard III and Looking For Richard directly relate to historical and social contexts respectively, social drawing on historical’s challenge to the context in which it was written. Shakespeare’s play was crafted in a difficult time of political and religious adherence. Shakespeare’s portrayal of Richard focuses on his devilish and Machiavellian nature. Machiavelli’s The Prince teaches that an adept ruler should aim to achieve power at any cost. Richard is a Machiavel; he calls himself a devil, ‘Thus like the formal Vice, Iniquity, I moralise two meanings in one word. ’ LFR ‘While some key values are explored, many are unique t the 1990’s’ The film and it’s immediacy accessibility had replaced theatre, resulting in film. Ap’s perception was that cultural societal obstacles prevented US from coming to appreciate Shakespeare. Scholars have made S seem too difficult-actors have impression that they can’t perform as well as their Eng. Counterparts. AP’s juxtaposition of the two texts and their contexts provided political insights into both time periods, and the autocratic/democratic societies. Critical reflections of ideologies. He presented autocratic nature of Eliz. society and questions whether Shak. could be democratised. Values are materialism and economism.

How to Get Started on a Literature Review

How to Get Started on a Literature Review If you are an undergraduate or graduate student, there is a good chance that you will be asked to conduct at least one literature review during your coursework. A literature review is a paper, or a part of a larger research paper, that reviews the critical points of current knowledge on a particular topic. It includes substantive findings as well as theoretical and methodological contributions that others bring to the subject. Its ultimate goal is to bring the reader up to date with current literature on a topic and usually forms the basis for another goal, such as future research that needs to be done in the area or serves as part of a thesis or dissertation. A literature review should be unbiased and does not report any new or original work. Starting the process of conducting and writing a literature review can be overwhelming. Here are a few tips on how to get started that will hopefully make the process a little less daunting. Determine Your Topic When choosing a topic to research, it helps to have a clear understanding of what it is you want to research before setting out on your literature search. If you have a very broad and general topic, your literature search is likely to be very lengthy and time-consuming. For example, if your topic was simply â€Å"self-esteem among adolescents,† you will find hundreds of journal articles and it would be nearly impossible to read, comprehend, and summarize every one of them. If you refine the topic, however, to â€Å"adolescent self-esteem in relation to substance abuse,† you will narrow your search result significantly. It is also important not to be so narrow and specific to where you find fewer than a dozen or so related papers. Conduct Your Search One good place to start your literature search is online. Google Scholar is one resource that I think is a great place to start. Choose several keywords that relate to your topic and do a search using each term separately and in combination with each other. For example, if I searched for articles related to my topic above (adolescent self-esteem in relation to substance abuse), I would conduct a search for each of these words/phrases: adolescent self-esteem drug use, adolescent self-esteem drugs, adolescent self-esteem smoking, adolescent self-esteem tobacco, adolescent self-esteem cigarettes, adolescent self-esteem cigars, adolescent self-esteem chewing tobacco, adolescent self-esteem alcohol use, adolescent self-esteem drinking, adolescent self-esteem cocaine, etc. As you start the process you will find that there are dozens of possible search terms for you to use, no matter what your topic is. Some of the articles that you find will be available through Google Scholar or whichever search engine you choose. If the full article is not available via this route, your school library is a good place to turn. Most college or university libraries have access to most or all academic journals, many of which are available online. You will likely have to go through your school’s library website to access them. If you need help, contact someone at your school’s library for assistance. In addition to Google Scholar, check your school’s library website for other online databases that you could use to search for journal articles. Also, using the reference list from articles that you gather is another great way to find articles. Organize Your Results Now that you have all of your journal articles, it is time to organize them in a way that works for you so that you don’t get overwhelmed when you sit down to write the literature review. If you have them all organized in some fashion, this will make writing a lot easier. What may work for you is to organize my articles by category (one pile for articles related to drug use, one pile for those related to alcohol use, one pile for those related to smoking, etc.). Then, after you are done reading each article, summarize that article in a table that can be used for quick reference during the writing process. Below is an example of such a table. Begin Writing You should now be ready to begin writing the literature review. The guidelines for writing will likely be determined by your professor, mentor, or the journal you are submitting to if you are writing a manuscript for publication. Example of a Literature Grid Author(s) Journal, Year Subject/Keywords Sample Methodology Statistical Method Main Findings Finding Relevant to My Research Question Abernathy, Massad, and Dwyer Adolescence, 1995 Self-esteem, smoking 6,530 students; 3 waves (6th grade at w1, 9th grade at w3) Longitudinal questionnaire, 3 waves Logistic regression Among males, no association between smoking and self-esteem. Among females, low self-esteem in grade 6 led to greater risk of smoking in grade 9. Shows that self-esteem is a predictor of smoking in adolescent girls. Andrews and Duncan Journal of Behavioral Medicine, 1997 Self-esteem, marijuana use 435 adolescents 13-17 years old Questionnaires, 12-year longitudinal study (Global Self-worth subscale) Generalized estimating equations (GEE) Self-esteem mediated the relationship between academic motivation and marijuana use. Shows that decreases in self-esteem associated with increases in marijuana use.

Analysis of Henr'sy V life Essay Example | Topics and Well Written Essays - 1750 words

Analysis of Henr'sy V life - Essay Example Henry shows his military discipline in approving, without hesitation, the execution of Bardolph for stealing from a church: "We would have all such offenders so cut off". Yet there is no moment of compunction, no recognition of past ties between him and his Eastcheap companion, even though Fluellen makes a point of identifying Bardolph by his carbuncled complexion and nose "like a coal of fire". It is only retroactively linked with Henry's spontaneous and understandable anger over the massacre of the luggage attendants, an anger that then reaches excess in Henry's threat to cut more throats. If temperance is a cardinal virtue of the ruler, Henry has failed again. His behavior on the battlefield veers confusingly between coldblooded practicality and barely restrained fury. Henry is convinced that the course of the war is providentially arranged and that human intervention counts for little: "We are in God's hand, brother" ((Henry V (ed.), 1954, III. vi. 177) and "how thou pleasest, God, dispose the day!" (IV. iii. 133). Often, though, the dramatic context overlays Henry's religious assertions with irony. Henry determines that the campaign against the French "lies within the will of God," but only after declaring his intention to make the Dauphin pay dearly for his ill-advised gift of tennis balls. The favorable portrait of Henry is continually subject to ironic qualification without being totally undercut. Henry's possible chicanery or question the decency and fairness of his tactics modify the portrait of him as a hero without turning him into an antihero. Henry V is shown to us as a great leader, but not an infallible one." Henry Strong leadership shows imperialism that Shakespeare implies, requires cunning as... Henry has completely appropriated the persona of the soldier, calling it "A name that in my thoughts becomes me best". His threatening speech is thus predicated on a total divorce between the sensitive mortal who is bound to feel "pity" for violated women and butchered babies and the hardened military leader who would fatalistically let his soldiers run amok. If Henry actually allowed this brutality to take place, could he remain a respected ruler, full of "king-becoming graces"? Again there is a tenuous balance between the monarch's ruthlessness and "mercy." It is possible, though not certain, that the blood-chilling threats are merely a clever tactic to coerce surrender, so that once the Governor has capitulated Henry can "Use mercy to them all". There is a similar conflict between the King's "lenity" and "cruelty" toward an individual when Henry, while insisting on treating the French with respect and not stealing from their land because "the gentler gamester is the soonest winner ," nevertheless approves Bardolph's execution. He reveals no regret over the death of an old comrade for theft. The expedient military leader clearly cannot afford to be sentimental.

Leadership issues Essay Example | Topics and Well Written Essays - 2000 words

Leadership issues - Essay Example Today, the business world has become more competitive because of which basic leadership skills are important (Storey, 2013). A leader links the business stakeholders to one another as they play the major role in communication. This is why ineffective leadership can create many issues and problems for the organization; internally and externally. It is important to understand that leadership and management can be two entirely different concepts. Managers are the ones that authorize tasks to the employees who are in a lower position. Managers are usually at a higher position than leaders. Leaders are people among the employees who are appointed to lead a certain activity or event. In this competitive world, the skill required for a manager has to be inborn, while skills for leadership can be learnt with experience and practice. Leadership comes to play where management is not sufficient enough. Leadership without any issues can build, encourage and promote efficient organizational cultu re and success. Managers may not be leaders, but leaders are always managers as well (Hackman & Johnson, 2009). At many occasions, leadership can be problematic for the business. Leaders have responsibilities that have to be fulfilled if the business has to grow and prosper. Leadership issues may affect the employees, the stakeholders, the business activities and the customers directly or indirectly. Leadership is given to those people who are experienced and who can carry out the responsibilities efficiently without risking the business name and growth. Leadership issues can be many which will be assessed in this paper but it is important to know why leadership needs to be flawless. Efficient leadership leads to many consequences for the business. Effective leadership builds confident in the employees and subordinates. It is the leader’s job to motivate the employees and encourage them to work in teams and achieve their objectives. When the leaders support the employees, the y tend to be more productive and efficient. Leaders contribute in creating willingness among the employees to work hard and be productive. Efficient leaders also provide job satisfaction to the employees and team members. Leaders work in teams and their behavior and style effects the job satisfaction of the workers. A friendly and understanding leader would b able to manage the problems and employees efficiently. Activities can be organized if the leader understands his responsibilities and duties, employee morale will be increased at work, and coordination will bind the employees together towards one objective (Hackman & Johnson, 2009). Communication is seen as the most common problem among leaders and their subordinates in businesses. Efficient leaders ensure that they are carrying out effective communication to avoid issues. Ineffective communication can create many issues for the business internally and externally. Communication allows the employees to know and understand their jobs, the business strategies, goals and policies. Regular communication must take place through various modern methods of communication (Storey, 2013). Some businesses still use the traditional communication methods which can create issues and misunderstandings. Modern communication techniques include meetings, video calls, social networks, pagers, etc. Through communication, leaders can give prompt instructions and feedbacks to the employees. When leaders fail to communicate and respond to employee performances, issues tend to rise. Another issue is when

Was There a Blitz Spirit Essay Example for Free

Was There a Blitz Spirit Essay * During the Blitz, there was a lot of bombings and damage which caused upset to many people. However in England, to a large extent it is believed that there was a Blitz spirit. There were mottos such as ‘keep calm and carry on’ which told people not to worry about the Blitz and just continue with their normal lives. Blitz spirit, defined as whatever happens you’ll stick to something until the bitter end. However, to some extent people believed there was no such thing as a Blitz spirit, just something that was intended to keep people working. * * The blitz spirit was influential to many people in the UK during the Blitz. It made sure that people weren’t disheartened by the fact that they were bombed. It is believed that the Blitz spirit brought out the true colours of the British people and was a representation of endurance and defiance. Over the eight months of bombardment, people were exhausted from carrying gas masks, and feeling to shelters and underground stations, but overall no one really panicked and the spirit made people continue with their everyday lives. The Blitz spirit did exist and without it, people wouldn’t have lasted the 57 consecutive raids, and because of this they were few calls for surrender, high morale and committed workers. The Blitz spirit brought a sense of national unity to Britain and the increase in morale meant no one was scared of the German Luftwaffe. They also believed the cheap Anderson shelters plus the natural soil could protect them from the bombs. * * On the other hand, to a smaller extent there were some people that believed the raid of Britain was a difficult period which couldn’t be controlled. During the Blitz, it is said that there was a ‘Blitz spirit’ which brought high morale and continuation of work, but really there were strikes and a lot more anti-Semitism. People who were affected the worst by the Blitz were the working class population due to their positions of homes in relation to where they worked. They believed the government owed them because they were near factories, docks and in poorly built houses. The Germans targeting these areas because they knew these are the main places which would affect Britain the most. There were also some cruel people who took advantage of the situation in Britain. They thought they could gain through this crisis by exploiting this. â€Å"Bomb chasers† would track the location of bombings and then loot affected shops. Others charged people for the safety in the underground which was immoral. * In conclusion, although to some extent it could be argued that there wasn’t a Blitz spirit; there are more arguments for the statement. Due to the defiance and endurance of British people, it raised moral and helped people to fight through the 57 consecutive nights of raids. They kept of fighting and going to work. The motto ‘keep calm and carry on’ really defined the Blitz spirit and helped unify Britain. *

Korean Pollution :: essays research papers fc

Deadly particles are circulating within our air supply. They are â€Å"the most life threatening for of air pollution.† These are tiny particles of soot and other matter released from diesel engines in lorries, buses, and coaches. They are believed to have played a role in the premature deaths of 8,000 people. Other pollutants known as GMM’s are causing such damage. GMM’s are genetically modified micro-organisms. These micro-organisms are released from factories and laboratories and go into the atmosphere, and water supplies. They are most life threatening to elderly, and already ill people. (McCarthy 1) Large clouds of these particles were originally believed to originate in Britain, but studies show now that they may also originate in continental Europe. These large clouds drift across the English Channel, and into the North Sea., thus contaminating the sea. Some of the main pollutants are as follows: Benzene, 1,2-butadiene, carbon monoxide, nitrogen dioxide, a nd sulfur dioxide. There have been different goals set to lower the amount of these pollutants, however some aren’t expected to be decreased until 2008. In this time many lives may be lost prematurely. England, who is still believed to be the primary contributor of such toxins is planning to take action, but slowly, still maintaining that cleaning these pollutants is â€Å"unachievable, even if every engine on British roads was turned off.† We believe that this is more harmful than Britain realizes, and more action must be taken. Such pollutants may kill animals, and lower the food supply, especially fish in the North Sea. More time and money must be dedicated to the immediate removal of such contaminants, and new emissions standards should be set.

Eugene Onegin Comparison

Eugene Onegin The transformation from a novel in verse to an opera Although written in the early 1800s, Eugene Onegin, a novel in verse written by Alexander Pushkin, is still regarded as one of the most influential and beautifully written pieces of work to this day. As it shifted cultural norms, opened new discussions, gave way to new forms of writing, and introduced novel approaches that envisioned life in a different light, Eugene Onegin was revolutionary.With its central theme revolving around the conflict between dreams and reality, the novel in verse caught the attention of readers all over the world, with over thirteen translations written. As well, other artists have adapted the work and interpreted it through their own art forms, including a ballet by John Cranko in 1965, and the famous opera by Pyotr Ilyich Tchaikovsky, which opened in 1879.Tchaikovsky’s interpretation in particular gathered much success and worldwide recognition, arguably more than that of Pushkinâ⠂¬â„¢s novel. While the characters and the storyline are mainly preserved, Pushkin’s main characters – Lensky, Onegin, and Tatyana – become more multi-dimensional and relatable in Tchaikovsky’s opera. Because he was an artist in the romanticism era, Tchaikovsky adds his own inspiration to the novel when changing it to an opera, creating many noticeable distinctions between the two.Compared to the novel in verse, the operatic version of Eugene Onegin has various deviations due to Tchaikovsky’s romanticism and character bias, which include changes in the duel scene, the increased favouritism of certain characters by Tchaikovsky, and the absence of a narrator. Throughout the course of Pushkin’s novel in verse, there are four main parts of the storyline that grab the attention of the reader and create the plot. One of the four scenes is a duel between Onegin and his best friend Vladimir Lensky, after Lensky caught Onegin flirting shamelessly wit h his fiancee.This scene was considerably altered between both artworks, as there was a very strong difference in the portrayal of Onegin’s guilt in the novel and in the opera. In Pushkin’s novel Onegin is very remorseful and heartbroken after killing his best friend. The narrator notes: Deluged with instant cold, Onegin hastens to the youth, Looks, calls him†¦ vainly: He is no more. The youthful bard Has met with an untimely end! †¦ In the ache of the heart’s remorse, His hand squeezing the pistol, At Lensky Eugene looks. â€Å"well, what – he’s dead,† pronounced the neighbor [Zaretsky] Dead!†¦With this dreadful interjection Smitten, Onegin with a shudder Walks hence and calls his men. In this piece, it is evident that Onegin is deeply conflicted with the crime he had committed. Dealing with the death of his friend, Onegin leaves town to find peace of mind. In the opera, however, Tchaikovsky leaves little time for Onegin†™s mourning. In the novel, Zaretsky, a friend of Lensky who attended the duel, is the first to speak after the fight finishes. Contrary to the novel, instead of Zaretsky being the first to speak of the death, it is Onegin who brusquely asks â€Å"Is he dead? In most stagings of this opera, Onegin simply walks to Lenksy’s body as if to double-check his passing. As scholar Julia Torgovitskaya states, â€Å"Because in an opera it would be difficult to convey a considerable length of time passing [i. e. for Onegin to mourn Lensky’s death], Tchaikovsky allows the scene to end right after Lensky has fallen. † The result of this change of scene from the novel to the opera is highly profound. In Pushkin’s story, readers are able to sympathize with Onegin in understanding his regret.Readers turn to Onegin and Tatyana’s communion as the happy ending they yearn for in the face of Lenksy’s tragic death. In the opera, on the other hand, the audience b egins to demonize Onegin, and there is a negative incline and desire for Onegin and Tatyana to be together. This single scene, being different between the two art forms, changes the entire mood of the story and the attitudes the audience would have towards its characters. The changes of certain scenes also come from Tchaikovsky’s bias towards specific characters, which result in a different presentation of their personalities on stage.Tchaikovsky, being an advocate of romanticism, presents the characters of Tatyana and Lensky in a more compassionate and sensitive manner. The opera differs from the novel as certain characters are viewed in a much stronger light, and their prominence has shifted. For instance, the character of Tatyana, a young, shy but passionate woman, was highly recognized and loved by Tchaikovsky. Due to this, the letter scene, where Tatyana spends an entire night writing and confessing her love for Onegin, was more emphasized and intimate, leaving the audie nce touched by Tatyana’s courageousness.With the addition of music, this scene was the longest and most complex solo section of the opera, further establishing the deep bond Tchaikovsky had for the character of Tatyana. After working on the writing of the letter scene, Tchaikovsky wrote â€Å"Being completely immersed in composition, I so thoroughly identified myself with the image of Tatyana that she became for me like a living person, together with everything that surrounded her. I loved Tatyana, and was furiously indignant with Onegin who seemed to me a cold, heartless fop. † With this magnetism, there was a shift in directive depiction between the main characters.It is important to note that in this opera, much of Pushkin’s text is cut out due to length (for it takes longer to sing a verse than utter written words or phrases), but the scenes with Tatyana and Lensky remained largely unchanged. For example, the night before the duel, Lensky writes to his wife a love letter pouring his heart out, knowing he is to die the next day. In the opera, Tchaikovsky has Lensky sing the contents of this letter in a heartfelt aria. Although it is very moving and beautiful, it is very far from Pushkin’s character of Lensky.In Pushkin’s work, instead of praising Lensky for his poetic nature and optimism, the narrator indicates that his romantic idealism stands as the result of his lack of world experience and naivete: He did his best to hold back the cynical comments that came to his lips, reflecting to himself, ‘It’s stupid for me to spoil his momentary bliss – it’ll vanish soon enough without my help. Meanwhile let him live on the belief that the world’s a perfect place. Youth is a kind of fever, and we must forgive the young their fire and their delirium.Although the narrator in Pushkin’s novel ridiculed this youthful euphoria, Tchaikovsky encourages and emphasizes the tenderness radiating from Lenksy. Thus, there is a considerable amount of romanticism added to both plot and character in Tchaikovsky’s opera in comparison to Pushkin’s novel. Finally, the most controversial deviation of the opera from the novel in verse is the absence of a narrator. This results in a critical difference between the two art forms, as the narrator’s input, digressions and lessons are not present in the opera, thereby changing the story’s defining attributes.In the novel, the narrator serves many roles, one being a voice of sarcasm and ridicule towards the characters, showing them the irony in which they live their lives. When reading the novel, readers were unsure of whether to be sympathetic to some characters, for it was possible that the narrator would interrupt with sarcasm or mockery revealing that the characters were undeserving of compassion. In the opera, the role of the narrator is removed, resulting in a more straightforward version of Pushkin’s ta le, where the characters clearly either deserve sympathy in their troubles or do not.In the novel, there was no need for characters to introduce themselves, due to the presence of a narrator, but in the opera, there are characters that have to introduce themselves to the audience. This happens, for instance, in the dueling scene (scene 5) where Zaretsky introduces himself: I am a pedant where the class duel is concerned, And I am naturally methodical. I do not allow a man to be stretched out Any old way†¦ In this scene, Zaretsky has to speak of himself to Onegin before the duel, explaining who he is and why he is there.This is completely different from the novel, where the narrator explains everything without awkward dialogue: Zaretsky, once a reprobate, Gambler-in-chief, an intimate And sage of inns, a philanderer; Kind and sober, now, instead, Father of many, still unwed†¦ Many scholars, such as Richard Taruskin, argue that in this opera, â€Å"the music, quite simply, is the narrator. From the very first sung notes†¦ the music acts as a very busy and detached mediator of situations and feelings. † This can be seen through the different musical pieces that play for each character, which in turn contribute to the audience’s interpretation of the character.For instance, Tatyana received the most colourful and lyrically driven music, while Onegin sings less memorable lines with simpler orchestral accompaniment. Although, one should note that the musical accompaniment of the characters’ actions are also biased, as the music that plays is the music that reflects how Tchaikovsky views them. Tchaikovsky, in one way, creates a new narrator by deciding how the characters will appeal to the audience, using music as his tool. For example, Tchaikovsky views Onegin as incapable of having genuine feelings, and so the music attributed to him is less inspired than that attributed to Lensky.In addition, the narrator in Pushkin’s nov el constantly interrupts the progression of the novel, which creates a storyline where two things occur simultaneously. In the opera this effect is achieved in a less destructive manner, because as novelists must arrange things in a sequential order, â€Å"musicians can simultaneously present and comment without recourse to digression. † When an event or conversation is happening on its own, it can be accompanied by music that tells a different story; consequently, two conversations can take place at the same time.The music plays, in this way, a role similar to a narrator, as it feeds information to the reader as events unfold, and gives insight on the situations through melodic remedies. Therefore, in the transition from novel in verse to opera, Tchaikovsky dropped the character of the narrator, and used music as a tool of explaining the story. In conclusion, the conversion of Eugene Onegin from a novel in verse to an opera includes many various deviations from the overall p lot and character emphasis in the story. With Tchaikovsky’s affinity and bond with the characters of Tatyana and Lensky, he portrays Onegin as demonic and insignificant.With this affinity, he manipulates the original storyline with romanticism to fool the audience into sympathizing with Tatyana and Lensky, whereas Pushkin’s narrator is notorious for ridiculed them. Furthermore, Tchaikovsky takes advantage of the absence of a narrator, and uses music’s capacity for emotional influence to further implement his bias for Tatyana, Lensky and Onegin. The narrator in Pushkin’s novel serves as a source of information to provide the readers with context concerning the setting, characters and story line where as Tchaikovsky uses character dialogue to provide such information.Overall the changes between Pushkin’s Eugene Onegin and Tchaikovsky’s operatic telling of the story were controversial but allowed for two different expressions of the same story. These deviations can be attributed to Tchaikovsky’s affinity for romanticism and his preference for Tatyanna and Lensky in comparison to his strong dislike for Onegin. Nevertheless, both versions of Eugene Onegin are still regarded as powerful pieces of artwork. Despite their differences, however, both tales leaves their audiences craving for answers to their questions: what happens next? Bibliography Brown, David.Tchaikovsky, The Crisis Years, W. W Norton; New York and London, 1983 Debreczeny, Paul. Social Functions of Literature: Alexander Pushkin and Russian Culture. Stanford, CA: Stanford University Press, 1997. Doran, Molly. The Transformation of Pushkin’s Eugene Onegin into Tchaikovsky’s Opera. Bowling Green State University, Ohio. 2012. Eugene Onegin. Wikipedia; Wikimedia Foundation. 2013. < http://en. wikipedia. org/wiki/Eugene_Onegin>. Pushkin, Alexandr. Translated by Vladimir Nabokov. Eugene Onegin. Princeton University Press: Princeton, 1990. Pushkin , Alexandr. Translated by A. S. Kline. Eugene Onegin. 2009.Pushkin, Alexandr. Eugene Onegin & Other Stories, Wordsworth Editions Limited; London, 2005 Taruskin, Richard. Defining Russia Musically. Princeton University Press: Princeton, 1997. Tchaikovsky, Peter Ilyitch. Eugene Onegin in full score. Dover Publications, Inc. : New York, 1997. Tchaikovsky, Peter Ilyitch. Eugene Onegin. Decca Recording with Royal Opera House; Coven Garen. Torgovitskaya, Julia. Eugene Onegin’s Journey Through Time: An Analysis of the Meanin and Effect of Major Themes in Pushkin’s Novel In Verse, Tchaikovsky’s Opera, and Other Adaptations of the Work and Their Relevance to Today’s World.Tuft’s University. 2009. ——————————————– [ 1 ]. Torgovitskaya, Julia. Eugene Onegin’s Journey Through Time; Tufts University, 2009, page 5 [ 2 ]. Pushkin, Alexandr. Eugene Onegin & Other Stories, Wordsworth Editions Limited; London, 2005, page XXXVI [ 3 ]. Torgovitskaya, Julia. Eugene Onegin’s Journey Through Time; Tufts University, 2009, page 5 [ 4 ]. Pushkin, Alexandr. Translated by Vladimir Nabokov. Eugene Onegin, 241, [Chapter 6, Part XXXI]. [ 5 ]. Pushkin, Alexandr. Translated by Vladimir Nabokov. Eugene Onegin. 43. [Chapter 6, Part XXXV]. [ 6 ]. Torgovitskaya, J. Eugene Onegin’s Journey Through Time; Tufts University, 2009, page 27 [ 7 ]. Doran, Molly. The Transformation of Pushkin’s Eugene Onegin into Tchaikovsky’s Opera, Bowling Green State University, Ohio, 2012, page 23 [ 8 ]. Doran, Molly. The Transformation of Pushkin’s Eugene Onegin into Tchaikovsky’s Opera, Bowling Green State University, Ohio, 2012, page 43 [ 9 ]. Quoted in David Brown, Tchaikovsky, The Crisis Years, W. W Norton; New York and London, 1983, 143 [ 10 ]. Torgovitskaya, Julia.Eugene Onegin’s Journey Through Time; Tufts University, 2009, page 24 [ 11 ]. Pushkin, Alexandr. Eugene Onegin & Other Stories, Wordsworth Editions Limited; London, 2005, page 25(10-15) [ 12 ]. Tchaikovsky, P. Decca recording of Eugene Onegin, Royal Opera House, Coven Garden, scene 5 [ 13 ]. Pushkin, Alexandr. Eugene Onegin, translated by A. S. Kline, 2009, 128 [Chapter 6, stanza 4] [ 14 ]. Taruskin, Richard. Defining Russia Musically, Princeton University Press; Princeton, 1997, 53-54 [ 15 ]. Taruskin, Richard. Defining Russia Musically, Princeton University Press; Princeton, 1997, 54