By Donald Rayfield
Anton Chekhov's existence was once brief, extreme, and ruled through battles, either along with his dependents and with the tuberculosis that killed him at age forty-four. the conventional photograph of Chekhov is that of the confined artist torn among drugs and literature. yet Donald Rayfield's biography unearths the lifestyles lengthy hidden in the back of the noble facade. here's a guy able to either nice generosity towards needy peasants and vicious callousness towards fans and kin, a guy who craved with equivalent ardour the corporate of others and the solitude essential to create his paintings. in keeping with details from Chekhov information all through Russia, Rayfield's paintings has been hailed as a groundbreaking exam of the lifetime of a literary grasp. a brand new biography of the good writer and playwright.
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Extra resources for Anton Chekhov: A Life
In bicicletta da casa alla scuola in Unity Street, nel centro sto rico della città, Charles impiegava circa 15 minuti. L’edificio si trovava dietro l’angolo rispetto all’Hippodrome, il nuovo tea tro di varietà assai elegante, dove il giovane Cary Grant aveva ottenuto il suo primo lavoro come apprendista elettricista con l’incarico di collaborare al funzionamento dell’impianto di illu minazione, giusto poco dopo che Paul ebbe iniziato la scuola. Il palazzo in stile gotico edoardiano della scuola era stato inaugu rato nell’aprile del 1909, dopo che l’edificio precedente, ubicato nello stesso luogo, era andato distrutto per un incendio.
Indubbiamente sembrava plausibile che Felix impiegasse le sue capacità pratiche nel seguire un corso di studi che in teoria gli avrebbe garantito un impiego. Come Charles aveva probabilmente intuito, nel caso di Felix il per corso di studi per diventare medico lo avrebbe invece legato a sei costosi anni di formazione, con la remota prospettiva che i costi potessero essere coperti da lui solo con il conseguimento di una delle poche borse di studio per la facoltà di Medicina. 42 Nel settembre del 1918 Felix si stava preparando a iniziare l’ultimo anno del corso di ingegneria, che aveva trovato fatico so da portare avanti: aveva vivacchiato tra i peggiori della clas se.
Quelle lezioni venivano già impartite durante i corsi preliminari alla scuola di Bishop Road e mostravano a Paul come realizzare progetti per oggetti più complessi, sviluppando la sua capacità di visualiz zarli da angoli differenti. Nelle lezioni di “disegno geometrico” Dirac prendeva in considerazione cilindri e coni, e imparava co me vedere nella sua mente cosa accade quando questi vengono tagliati in sezioni ad angoli differenti e quindi come rappresen tarli in varie prospettive. Gli veniva anche insegnato a pensare in maniera geometrica a proposito di oggetti non statici ma in movimento; apprese, per esempio, come disegnare la traiettoria di un punto posto sulla superficie di un cerchio ideale che rotola lungo una linea retta, come un granello di polvere alla superfi cie di una ruota che gira lungo una strada.