Teleology of A. P. Chekhov’s Story “My Life” (Theme and Thematical Motifs)

Purpose. The study is devoted to main thematical motifs of Chekhov’s story “My Life”. The correspondence between them reveals thematical integrity of the story. Teleology, the philosofical and conceptual aim of literary creative work, gets its manifestation by means of thematic unity. Results. The hero of the story, Misail Poloznev, breaks off relations with his narrow-minded father, an untalented civil architect. Gentry son, Misail would not choose some respectable job and prefers to work as a house-painter. He declares the importance of manual labor, so he feels like a social outcast in the town. The first leading motif of the story is a labor necessity. Another house-painter, Redka, shares its opinion. His credo is no lie, no deceive, technical skills. True and untrue way of living is the next important motif in the plot and thematical structure of the story. It realizes in two subjects: Masha Dolzhikova’s slogan “Everything is being past through” and Doctor Blagovo’s theory of progress indifferent to ethic goals of self-perfection. Misail Polosnev, on contrary, is sure that “nothing gets past through without a trace”, that a man is responsible on his deeds. The motif of life as a play is a derivate of the responsibility motif. Masha plays in life like an actress. She and Dr. Dolzhikov are completely egoistic, so Misail’s father is. Misail, his sister and Redka live for others’ good. Finally, this way is the only right way to live. Conclusion. The general theme of Chekov’s story “Me Life” is free will of the person tied with his or hers sense of responsibility. Motifs of free labor, true living and common duty units the thematical wholeness of the story. Its teleology is a need of ethic existence for everyone.

Sojo, Vicente Emilio (1887–1974)

Vicente Emilio Sojo was born in Guatire, Miranda State, Venezuela on 8 December 1887, a son of Francisco Reverón and Luisa Sojo. He was a self-taught composer, conductor, choirmaster, and pedagogue, and arguably the most influential figure of the first half of the Venezuelan twentieth century. In 1896, he undertook his first music studies with Henrique León (1854–1895) and Régulo Rico (1878–1960). While studying and performing, Sojo also worked as a tobacco producer and house painter due to difficult economic conditions. In 1906 he relocated to Caracas, and in 1909 he auditioned for the School of Music and Declamation (today José Angel Lamas Music School) where he studied solfège, music theory, harmony, composition, and violoncello with Ignacio Bustamante (?–1921), Andrés Delgado Pardo (1870–1940) and Eduardo Richter (1874–1912), respectively. In the meantime, he acted as Choirmaster for the San Francisco Chapel and the Caracas Cathedral. In 1921 he started his teaching activities at the School of Music and Declamation, where he was later appointed as Headmaster in 1936 and held his position until 1964. On 23 March 1926 he was married to Efigenia Montero, until her early death in 1932.

Vicente Emilio Sojo (1887--1974)

Vicente Emilio Sojo was born in Guatire, Miranda State, on December 8, 1887, the son of Francisco Reverón and Luisa Sojo. Self-taught composer, conductor, choirmaster and pedagogue, he was also the most influential figure of the first half of the Venezuelan twentieth century. In 1896, he undertook his first music studies with Henrique León (1854-1895) and Régulo Rico (1878-1960). While studying and performing, Sojo had to work as tobacco maker and house painter due to his economic circumstances. In 1906 Sojo was relocated to Caracas, and in 1909 he auditioned for the School of Music and Declamation (today José Angel Lamas Music School) where he studied solfège, music theory, harmony, composition and cello with Ignacio Bustamante (?–1921), Andrés Delgado Pardo (1870-1940) and Eduardo Richter (1874–1912), respectively. In the meantime, he acted as Choirmaster for the San Francisco Chapel and the Caracas Cathedral. In 1921 he started his teaching activities at the School of Music and Declamation, where he was later appointed as Headmaster in 1936, a position he held until 1964.

Chronic Pancreatitis Possibly Caused by Occupational Exposure to Organic Solvents

1 Acute pancreatic injury has been attributed to occupational exposure to chemical agents in workers, but there have been no previous reports of occupationally induced chronic pancreatitis. 2 Severe chronic exocrine pancreatic insufficiency was found in a 29-year-old house painter, where other known causes of chronic pancreatitis could be ruled out. The patient had previously experienced abdominal pain and diarrhoea associated with exposure to spray paints followed by remission of the symptoms during vacations. 3 Although the association between exposure and pancreatic insufficiency may be a random one, a possible causal relation should be further evaluated.

The Effect of Leucotomy on Creative Ability

Treatment by prefrontal leucotomy, though undoubtedly of value, still rests upon an insufficiently scientific basis. Its anatomical and physiological effects are being increasingly discovered, but many of its psychological effects are still unpredictable and obscure. Its effect on intelligence, on immediate memory, and on simple learning ability are now well known, but with these we are not concerned. Rather, we have attempted to assess the effect of leucotomy on “creative ability.” By this phrase we shall refer to that ability by which the ideational content of past experience is utilized in a situation to provide concepts and actions not directly evoked by the new situation, but elaborated by the patient's more complex cerebral reactions to the situation; The ability is worthy of examination, since the more intellectual the work the more is it evident. The architect, for instance, needs more creative ability than the bricklayer, the novelist more than the amanuensis, and the Royal Academician more than the house painter.