Le freudisme. Buman Waltraud Die Sprachtheorie Heymann Steinthals, Подмосковные Вечера - Various - Разговор со счастьем (Vinyl. Meisenheim am Glan: Verlag Anton Hain. Dilthey Wilhelm  Leipzig: Teubner. Geschichte der psychologischen Sprachauffassung in Deutsch- land von bis Romand David, Tchougounnikov Serguei Archaimbault, S. Penser le langage aux temps de Staline. Par P. Limoges: Lambert-Lucas. Spranger Eduard Halle: Max Niemeyer.
Types of men: The psychology and ethics of personality. Tchougounnikov Serguei Toulouse: Univ de Toulouse II. Tihanov Galin Mikhail Bakhtin, v. London: Sage. Marxisme et philosophie du langage. Kunstgeschichtliche Grundbegriffe. Das Problem der Stilentwicklung in der neuren Kunst. Tendenzen der Lyrik seit in Russland und Deutschland. Das Nichts. Es steht das Nichts in der Mandel. Da steht es und steht.
Da steht er und steht. Judenlocke, wirst nicht grau. Dein Aug, dem Nichts stehts entgegen. So steht es und steht. Menschenlocke, wirst nicht grau. Hoegen-Rohls Stoi nic w migdale. Stoi sobie i stoi. W niczym kto stoi? Twoje oko ku niczemu stoi. Stoi tak i stoi.
Nic stoi w migdale. Stoi tam i stoi. New York: Ailuros Publishing. Geschichte, Theorie, kulturelle Wirkung. Utwory wybrane. Celan Paul Frankfurt am Main. Die Niemandsrose. Historisch-kritische Ausgabe. Band, 1. Teil: Text. Celan Paul b. Band, 2. Teil: Apparat. Band 12, L-Mythisch. Felstiner John Paul Celan. Eine Biographie. Deutsch von Holger Fliessbach.
Fischer Markus Friedberg Maurice Literary Translation in Russia. A Cultural History. Glazova Anna University of Illinois at Chicago. Proquest: Umi Dissertation Publishing. Hoegen-Rohls Christina Translating Poetry. Seven Strategies and an Blueprint. Stutt- gart. Lukas Katarzyna Manson Jean-Yves Herausgegeben von Carolin Fischer und Beatrice Nickel. Neumann Peter Horst Zur Lyrik Paul Celans. Olschner Leonard M. Perez Juliana P. Hommage an das Menschliche. Textgenese bei Paul Celan.
Die Frage nach der Kunst. Von Hegel zu Heidegger. Przybylak Feliks The Art of Translation. Literatur im audiovisuellen Medium. Schulze Joachim Celan und die Mystiker. Motivtypologische und quellenkundliche Kommentare. Sherwood John M. Georges Mandel and the Third Republic.
Stahl Henrieke Interpretation als Dialog. Stegemann Jelle Stolze Radegundis Wittbrodt Andreas Definition, Klassifikation, Charakterisierung. Zojer Heidi Adaptation pertains to fundamental, wide-reaching theoretical questions as well as to mundane, localized, concrete, and specific acts of reading, writing, interpretation and performance.
Thus: long ago the Prague School linguist Sergei Kartsevskii demonstrated concisely and persuasive- ly that every utterance involves a kind of adaptation of the linguistic sign Karcevskij ; reader response and reception theory approaches have sensitized us to the way narratives and meanings change, depending on who is apprehending them; in defining his terms while working the boundary between fiction and documentary literature, Saul Morson proposed a definition based in large part on the adaptability of the sys- tems of reference in a text to varying contexts Morson esp.
Therefore, it may not be saying much to assert the ubiquity of adaptation in the particular case of Anton Chekhov. But that does not lessen the value of think- ing of not only his literary and dramatic oeuvre in terms of adaptation, but also of his person. What first comes to mind when considering Chekhov and adaptations are the many film variants of his stories and plays. Kennedy Center. Adaptation would also be an appropriate term for framing any number of influ- ence studies.
Precisely because he produced so many stories and such a va- riety of them, a wide and disparate range of traits can be deemed Chekhovian. Even while he, who abhorred labels and categorizations, would shake his head in dismay at the irony of this. Translation is itself a form of adaptation, and translation studies has become established over the past two decades as a dynamic new field in the humanities.
New Chekhov-related films continue to appear with great frequency, however: in May the IMDB webpage on Anton Chekhov listed fifty-three new items since Both the above senses of adaptation tend to direct us toward adaptation as a psy- chological concept. Adaptation is the central concept of Ego Psychology and its subsequent derivations, if by adaptation is meant, loosely speaking, the ways that the ego or reality-oriented self both develops and defends itself in its contact with and adaptations in regard to both the outside world and the unconscious instinctual one.
Adaptations, both healthy and unhealthy, define our personality; they in effect comprise who we are. While an historian of science might object to such a brief and crudely conflated working definition, for our purposes it should suffice; for the point is not to apply rigorously a set of psychoanalytic or evolutionary understandings to Chekhov, which would result in finding what these theories predict we ought to find in any case, but to use the notion of adaptation heuristically, with the hope that it might help us see some- thing new about Chekhov and his art.
Thinking of adaptation these ways might facilitate interesting new perspectives on Chekhov as both a person and an author whose interest in psychology is manifest in his writings. To the extent that Chekhov the person is accessible to us now, through the written and photographic record, then a gripping and penetrating biographical approach could take adaptation as its organizing concept.
Adaptation would certainly For a volume of Chekhov studies devoted to the translation, in this larger sense, of Chekhov 2 into Anglo-American culture, see Chekhov the Immigrant As most comprehensively and influentially studied in Chudakov Chekhov as a psychological thinker is itself a kind of adaptive compromise between Chekhov the physician and Chekhov the writer; psychology became an area where these two identities could overlap in a very profitable way.
The most striking example of this, in my view, is the instructional plan Chekhov proposed to his unsuc- cessful sponsor and friend, G. Rossolimo, when for a brief he thought that his book on Sakhalin might earn him the doctorate and a position teaching the introduction to internal medicine to first-year students at Moscow University.
Chekhov imagined imparting a new way of seeing the patient that involved psychological understanding of the subjective experience of illness. Although the three stories share the same frame situ- ation and two central characters, they are often found in collections alone or with only one other of the trio.
One of these features is stylistic, and has to do with the relationship between narrator, character or subject of narrationand reader; because the cycle involves a frame narration, which always foregrounds these aspects of storytelling in metaliter- ary ways Isenbergthis topic spills over into the thematic as well.
The other is more clearly thematic: as I shall try to LP) in brief, the entire cycle may be read as being about the psychology of love, and of mal adaptations to the challenges and opportunities of desire. The Little Trilogy consists of four main stories: 1 the frame story, related by an unidentified narrator who explicitly states the thoughts of his story-telling characters. These tendentious works enter the text as bits of en- capsulated, commonly held knowledge, like familiar anecdotes of clear implication.
It is certainly understandable how such a formulation might appear in the context of a book contrasting Chekhov with Tolstoy; but it is definitely an overstatement, and one that, in its own way, helps us see what is going on in the Trilogy.
But rather than a violation of the rule asserted by Girshman cited abovethis story manifests a different, dynamic approach to the flattening of such hierarchical distance; it is an approach that sets the reader up for a shock in finding him- or herself on the same plane as a character in regard to whom the narrative had previously established as inferior.
All along there have been subtle signs of possible sameness between the narrator and his character. Thus, there are slight features of literary doubling between Belikov and Burkin: they are both teachers and they live across the hall from one another.
The second story is told by Ivan Ivanych about his brother. The narrative mode here is much less farcical, however; Nikolai Ivanych, unlike Belikov, is a hero with a history and a certain psychological coherence. Moreover, the fraternal relationship between narrator and hero tends to draw them onto the same plane of being, regard- less of how desperately Ivan Ivanych wishes otherwise.
The third story is related by Alekhin about himself. Who tells is not who is or was, either, as in the temporal separation of Alekhin as storyteller from Alekhin. He is still mis-applying his talents, still working feverishly to clear the paternal estate of debt, all with little results. The three embedded narrators and narratees of the frame-tale cycle are in part characterized by their different reactions to the stories told.
He grows even more excited as he narrates the story of his brother, but this excitement is made to seem excessive and out of place. Interestingly, Alekhin himself disappears from the narrative after his story is told. And it is this distance, this safeness, that Chekhov breaks down over the course of the trilogy. The implications of this stylistic strategy extend to the reader.
But there is another psychological sense in which adaptation is central to the Lit- tle Trilogy. While it is beyond the scope of this paper to work this through in any rigorous way, or to turn the its reading of the trilogy into applied psychoanalysis, I would like to conclude by pointing out that Chekhov the psychologist was thinking along lines very similar to those of the late Freud and, most influentially, his daughter Anna.
These unsubstantiated interpretive suggestions might be pursued further in another venue. References Barthes Roland Stephen Heath. New York: Hill and Wang. The Cambridge Companion to Chekhov. Vera Gottlieb and Paul Allain.
Chekhov the Immigrant: Translating a Cultural Icon. Michael C. Finke and Julie de Sherbinin. Bloomington: Slavica. Chudakov A. Cruise and Donald Dragt. Ann Arbor, MI: Ardis. Djikic M. Finke Michael Seeing Chekhov: Life and Art. French Philip Freud Anna The Ego and the Mechanisms of Defence. Cecil Baines. New York: International Universities Press. Gay Peter Freud: A Life for Our Time. New York: Anchor Books. Isenberg Charles Telling Silence: Russian Narratives of Renunciation.
Karcevskij Sergej Wen- dy Steiner. Peter Steiner. Austin: University of Texas Press, Messud Claire Morson Gary Saul Austin: University of Texas Press. New York: Alfred A. New York: W. Whalen D. New York: Holt, Rinehart and Winston. Lakoff George In: Cognitive Linguistics 1 1. Handbuch der Semiotik.
Stuttgart: Metzler. Rijlaarsdam J. Ein Kommentar zum Kratylos. Falen James E. Knoxville: Univ. Sicher Efraim. Boston: Academic Studies Press. Flower pots. How do you say pots? Deja vu? Hear, hear! Un petit peu? How true! What does their silence signify? We could have learned a lot from those who chose to remain silent. Perhaps they did not share in the idea of History with a capital H? Or they valued privacy above all? We are still alive today, but who knows for how long?
One of the documents. Chukovskaia was a famous Russian critic, Akhmatova was the most important woman poet, if not the poet of Russia in the twentieth century. Aitmatov initially dictated it in to former East-German writer and translator Friedrich Hitzer during his stay in Loccum, Germany. It is a road between Dzhambul Kazakhstan and Talas Kyrgyzstan that the writer recalls, more than 60 years later. He was then a fourteen year-old boy.
It was during the year of He was carrying tax money to the local center when a strange man, in a torn coat, worn-out boots, with a multi-day stubble, asked him what he had in his knapsack, saying that he was hungry. The frightened young Aitmatov ran away. Later on, after having delivered the money, he returned on the same road. The man was not there anymore. Aitmatov writes in his autobiography: Many years later, when I studied at the Agricultural Institute, I often returned to Talas on that road.
My translation. But in his case. Gorky was certainly more quotable for Soviet writers than Herzen. The young Chingiz grew up among women, his mother, grandmother and aunt in this remote Kyrgyz village. From his grandmother Aimkan Satan-kyzy and his aunt Karakyz Aitmatova he was introduced at a very young age to the world of Kyr- gyz tales, songs, encounters with akyn, the improvising poets and singers of nomadic culture, and with the shamanistic beliefs and dreams, very LP) alive in this region.
Aitmatov remembers being taken by his grandmother and aunt to weddings and funerals, and other such events. The story is about a boy who was born when his father left for the Great Patriotic War.
There are no news about him. One day, the itinerant cinema comes to the vil- lage and shows a war film. When the boy sees a soldier with an Asian face, he runs to the screen, screaming that it is his father. The villagers laugh at him but he insists. He then asks his mother who tells him that it was indeed his father.
In Notes about Myself, Aitmatov reveals the origin of this story. By showing the soldier with an Asian face on the screen in his story, Aitmatov brings his father back as a hero. In his Autobiography, the writer remembers how, at the age of fourteen, he was chosen to be the secretary of the village soviet because of his linguistic skills. One of his multiple tasks was to bring letters to the people, and read them aloud.
The story, has, however, very explicit political undertones. Jamila is the wife of Sadyk, who left to fight for the war. Toward the beginning of the story, her little brother-in-law Seit reads his letter, sent from the front, like Aitmatov did.
Greetings to his wife come last, after all members of the very extended family, Подмосковные Вечера - Various - Разговор со счастьем (Vinyl. De- spite the protests of her mother-in-law, Jamila is assigned by the local village soviet to haul sacks of grain from the threshing-floor to the train station. The grain is bound for the front. She is helped by Seit and a young man, Daniar, recently demobilized because of a leg wound.
The novella violates two taboos at the same time: that of traditional Kyrgyz society, where a wife is for- ever the property of her husband and his family, and Soviet morality. Jamila betrays a husband who is a hero of the Great Patriotic War for a man whose demobilization had good chances of being interpreted as an escape from the war. There is no doubt that the novella is the product of the Thaw. Aitmatov remembers in his Autobiography how he became the witness of the love between the young wife of a soldier who had left for the war and a war invalid.
The man had grown up in an orphanage in nearby Kazakhstan. One night both escaped. The husband is fighting the enemy and his wife managed to get together with some vagabond. All our kin has been disgraced. She then looked at me and asked if I knew about their relations. Maybe you helped them, felt sorry for them? I love this man. I will follow him wherever he goes. Tolgonai lost her husband and her. The novella tells the struggle of women from two generations, victims of the war.
But what about others? All the other people living in the world? I have something to say to them. How can I reach their hearts? Ismail is a deserter, who returns home and hides in a cave near his village. His wife Seide with a newborn child and his sick mother have to bear the burden of this secret, in addition to the difficulties of daily life.
This ending itself has a traumatic aspect. Aitmatov rewrote the story after the collapse of the Soviet Union. As he explains confesses?
Now desertion has become the drama of the individual, his family, and the impossibility of duty. One of the exhibition panels in the German-Russian Museum of Berlin-Karlshorst, opened in May at the his- torical venue of the unconditional surrender of the German armed forces on 8 Mayshows the photograph of a Red Army prisoner, location and date unknown.
The face of the soldier is Asian. We had our own deserter in our village. His name was Aaly, he survived many years by hiding in a mountain cave, which bears his name today in the local parlance. His son is still reluctant to tell the story. Ismail was par- doned by Aitmatov in his rewritten novella. One day, in late summer ofhelicopters flew over my village to check on illegal opium poppy plantations. Independence, however, changed nothing concerning the remembrance of the Great Patriotic War.
Cornered in a barn, with Germans attacking on all sides, the Russian team leader successfully sends a radio message telling the location of enemy armor, before being killed by a bullet.
The last one to die is private Temdekov. He has an Asian face. But Temdekov perished last, and most violently, in a blast of fire, after having been hit by a flamethrower. References Aitmatov Chingiz Mother Earth and Other Stories. James Riordan. London—Boston: Faber and Faber. Grossman Vasily New York: Vintage Books. Igmen Ali Pittsburgh: University of Pittsburgh Press. Seattle: University of Washington Press. Paperno Irina Ithaca: Cornell University Press.
It was translated into French by Louis Aragon in Risse im roten Imperium. Eimermacher K. Die sowjetische Literaturpolitik — Von der Vielfalt zur Bolschewisierung der Literatur.
Analyse und Dokumentation. Marshall A. The Caucasus under Soviet Rule. London—New York. Robakidse G. Das Schlangenhemd. Ein Roman des georgischen Volkes. Mit einem Geleitwort von Stefan Zweig. Jena: Eugen Diederichs Verlag. Simon G. Baden-Baden: Nomos Verlagsgesellschaft. Kashirin had, I was told, an extensive archive of historical photos relative to the city and province of Riazan, in the center of Russia.
This was not an overstatement. Kashirin had strug- gled for years against it. His studio had become a home for generations of children, students, friends, some homeless people, and of course himself and his archive. Frosia was an abandoned orphan. They lived, worked, and survived together for fifty years.
After the music, an excellent cold supper was served. When most of the guests had departed, I was amongst ten people besides the Russian and Belgian ambassadors there were the Swedish and Austrian secretaries who sat for a long time around a large circular table, sipping most excellent wine. Struve, evidently, is very fond of a glass of wine or two. He gives the impression of a man who is broken and sad, seeking oblivion from his sorrows in wine.
Around 3 o'clock, in the company of Botkin and HansenI came home. I slept well. I woke in a pleasant frame of mind after the previous day. It was exceptionally gratifying for me to have been amongst Russians, and to have the opportunity to dispense with foreign languages. After drinking tea downstairs, I walked around the city, which is very nice. It abounds in luxuriant spring greenery.
Returning home the American morning fatigue having still made itself feltI resigned myself to semi-slumber in an exceptionally comfortable chair. Around 12 o'clock Botkin came for me, and we set off for lunch with Ambassador Struve. Since he is a widower and does not maintain a household, the lunch took place in the same Metropolitan Club  where all these gentlemen spend the greater part of their lives.
After lunch I went with Botkin and Hansen in a landau to inspect Washington. We LP) the famous obelisk  the tallest structure in the world after the Eiffel Tower ; the Capitolfrom where one has a wonderful view over Washingtonliterally drowning in thick, luxuriant foliage of chestnut, acacia, oak and maple trees, then out to the Soldier's House  a magnificent park, surrounding a home for war veteransthrough some of the better streets, and finally we returned to the embassy .
Not just the ambassador himself, but all of his colleagues live in this magnificent house too. Botkin has excellent accommodation upstairs. We drank tea, and welcome dear little Struvewho had many interesting tales from his past.
He is, incidentally, very friendly with Mitrofan Tchaikovsky with whom he served in the Khiva campaign . Greger joined us. Together with Hansen I played some things for 2 pianos downstairs, in the hall, and then the secretary-virtuoso played some solo pieces splendidly.
We dined at the Metropolitan Club. I read in the New York Herald an article about me by the agreeable reporter who was with me on the day of my departure, and once again, of course, with a portrait .
Around 9 o'clock we went to the local music school, where Hansen and a student orchestra played 2 concertos by Beethoven. The audience included all of Hansen's friends, amongst them my friend Miss Williamswith whom poor Hansenas it turns out, is hopelessly in love. From there we drove to the club once again, in a very curious two-wheeled fiacre, which ejects its passengers from the rear once it has reached its destination.
Then we talked a little, and I went home escorted by Hansen and Botkin. I had vivid nightmares before falling asleep. I settled my bill and left. Besides Botkin, Greger and Hansen accompanied me.
I travelled in a Pullman car. I sat in the smoking compartment the whole time, being afraid to talk to lady to whom Greger had introduced me. I arrived in Philadelphia at 3 o'clock. I visited Aus der Ohe. Lunched downstairs . A highly importunate Odessan Jew came up and begged for money. I walked. The concert was at 8 o'clock . The enormous theatre was full. After the concert I was at a club, fulfilling a long-standing promise .
The return to New York was very tedious and complicated. The sleeping car was stifling and cramped. I awoke with a headache. The ride home with Aus der Ohe was interminably long. It is becoming impossible to write in detail. I slept until 9 o'clock, and my head felt better.
I was visited by Reinhard and Holls . I was lethargic from the fatigue and commotion; I understood nothing, and only sustained my energy with the thought of my departure tomorrow. I was overwhelmed with letters with requests for autographs. I wrote the notorious letter-advertisement with the omission of the phrase about superior. I lunched with him and Reinhard in the Italian restaurant.
At home I awaited the composer Bruno Klein . He appeared and played me some of his very nice little things. At 4 o'clock Mr Holls came for me. The Aus der Ohe sisters were with him, and we went to the Central station, where Mr and Mrs Reno joined us, and we set off along the Hudson. Half an hour later we had left the train, and were settling into a charabanc, on a wonderfully scenic road towards Holls' dacha.
This dacha-villa, of exceedingly elegant construction, stands on the high shore of the Hudsonand the view that reveals itself from the balcony, the arbor, and especially from the roof of the house, is incomparable. At 6 o'clock we sat down to dinner. The conversation was lively, and not burdensome for me, for what can I not endure now that my departure is imminent!!!
Aus der Ohe played after dinner. Reno talked about inviting me next year. I went to say goodbye to the Aus der Ohes. I packed my things.
I was very sorry to tell the elderly librettist of my reluctance to write an opera on his text . He was visibly upset. No sooner had he left than Dannreuther  appeared to take me to the rehearsal of the quartet and trio which are to be performed tonight at a gala evening at the Composer's Club. We had to travel quite some distance. The performance of the quartet was unremarkable and the trio was even rather bad because the pianist Mr Huss, bashful and timid was altogether poor, and he cannot even count.
At home I did not manage to do anything by way of preparing for my departure. I went to see Reno by carriage for lunch. More than ever before, they, i. Madame Reno and her three daughters received me with enthusiasm and hospitality. The eldest Annawho is married presented me with a fancy cigarette case; Madame Reno with lots of perfumes; Alice and her sister with biscuits for the journey.
After them I hastened to see Hyde. Madame Hyde had been expecting me. And here too there was much sincere enthusiasm, expressed with her characteristic humour.
At last, I could set about packing at home—a hateful task. During this I had severe back pain. Exhausted, I went to see Mayer. I treated him and Reinhard to a splendid dinner at Martinelli's . At 8 o'clock I hurried home to change clothes and use the bathroom. LP) Composer's Club is not a club of composersas I had thought initially, but rather a special musical society, whose purpose is to arrange occasional sessions of works by a single composer.
Yesterday evening was devoted to me, and it took place in the magnificent hall of the Metropolitan Opera. I sat in the first row. They played my E-flat minor quartet and trioand sang romances, some of which were performed splendidly Mrs Alves etc.
The programme was much too long. In the middle of the evening Mr Smith read me an address; I replied briefly in French; there was an ovation, of course. One lady threw a magnificent bouquet of roses straight into my face. I became acquainted with many people, amongst whom was our consul-general. After it was over I was obliged to converse with hundreds of people, and to write hundreds of autographs. Finally, tired to the point of exhaustion, and suffering from severe back pain, I went home.
Since the steamer sets off at 5 o'clock in the morning, it was necessary to board it in the evening. I hurriedly packed and dressed, while Reno, Mayer and Reinhard were present. Downstairs we drank two bottles of champagne, then said goodbye to the hotel staff, and rode to the steamer . We travelled a long way. The steamer turned out to be no less magnificent than the La Bretagne . I have an officer's cabin, i.
I paid dollars francs for my cabin!!! But then it is actually fine and spacious. I said goodbye to my dear American friends, and went to sleep soon afterwards. I slept badly, and heard the steamer sail at 5 o'clock. I came out of my cabin as we passed the Statue of Liberty. In spite of the desperate pain in my back, I forced myself to dress and drank tea downstairs, and looked around the steamer, in order to familiarise myself with its layout.
The number of passengers is huge, but their company has a different character than those who were aboard the Bretagne. The most striking difference is that there are no immigrants. At 8 o'clock we were summoned to Breakfast. My place had been shown to me earlier. My neighbour was a middle-aged gentleman who immediately struck up a conversation.
I slept all morning. I am indifferent to the ocean view. I think about the forthcoming journey not with horror, but with homesickness: I want it to be quick! The ship is flying along especially fast: this new, luxurious Prince Bismarck is undertaking its first return voyage. It came to New York from Hamburg last week, having been at sea for 6 days and 14 hours in all. God grant that we cross that vast distance just as quickly. The voyage is not so quiet as on the Bretagne.
So far the weather is wonderful. He is a gentleman of indeterminate nationality perhaps Jewish, and I made a point of telling him the story of the importunate Jewwho speaks all languages excellently. He lives in Dresden and sells tobacco en gros. He has already managed to learn who I am, and, if he is speaking truthfully, actually saw me conduct in New York —but in any case, he was effusive, friendly and enthusiastic with regard to my fame and talents.
Having become accustomed in New York to continuous chatter, despite my quest for silence, I bore his company without difficulty, even though it had been burdensome in the morning. The singer Antonia Mielke whom I was aware would be on board the steamer, and of whom I somewhat afraid, fortunately does not sit at the same table as me, although I believe she had endeavoured to do so.
I had met her just before dinner. After lunch I wanted to read, but instead I dozed off, and slept for a good three hours. I slept an extraordinary amount during the day, and in the evening soon after dinner I was so taken by drowsiness that I went to bed before 10 o'clock and slept until 7 o'clock in the morning. Nothing in particular happened during the course of the day. In general, the steamer, the cabin and the food are satisfactory.
Since there are no emigrants, it is possible to walk on the lower deck, which is very pleasant, because I can be silent and avoid my companions from first class. Not an especially remarkable day. The weather was somewhat hazy, as it always is near the Newfoundland Banksbut calm.
I have already become accustomed to the steamer and passengers, and settled in my relations with them. I keep myself to myself and, thanks to the wonderful cabin where I can even walk around without difficulty, I feel much freer than on the Bretagne. The conversations with my table companions is not forced.
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Text and Translation. The following diary entries were first published in Дневники П. И. Чайковского () (), p. , edited and with notes by the composer's brother derbattmogegefilykornorolsoftcat.xyzinfo were also translated into English by Wladimir Lakond in The Diaries of Tchaikovsky (), p. , and into German by Ernst Kuhn and Hans-Joachim Grimm in P. I. Tschaikowsky. ДО ВЕЧЕРА ДО ВЕЧЕРНЕЙ ЗАРИ БАЙКОВ Р., МОРОЗОВ Д. ДО ВОСТРЕБОВАНИЯ СИБИРЬЮ РОЖДЕННЫЕ ГС ДО ВОСХОДА НОЧНОЙ ЗАРИ ДО ВОСХОДА НОЧНОЙ ЗВЕЗДЫ ДО ВСТРЕЧИ СЕРГЕЙ КРОХ ДО ВСТРЕЧИ (new ). Шоу: Подмосковные вечера смотреть онлайн в хорошем качестве, фото, видео, описание выпусков - Вокруг ТВ. Море музыки, видео, фильмов, и многого другого. Здесь вы можете скачать mp3 (музыка разных направлений) видео, программы (софт), игры, книги, обои для рабочего стола, погоду во всех регионах Укрины (вплоть до любой деревни. Away In A Manger (From The Sound Site Holidays Album) derbattmogegefilykornorolsoftcat.xyzinfo AXEL axelfoley Axels Theme Ay Cosita Linda Ayer Ay-ya xg Azcomar Azis1 () Azis - Dai mi go dai Azis - Na golo Azis - Nikoi Azis - Praznuva6 li sega Azis- Obicham te Azis. Привет друзья! Меня зовут Елена. Это канал о гадании и прогнозах на картах таро. При помощи карт таро можно. Подмосковные вечера. Добавлено alikissa в вс, 21/03/ - В последний раз исправлено lt в чт, 21/05/ - Jul 11, · НЕ НАДО ЛЯ-ЛЯ. Билан,Пелагея. Подмосковные вечера 9 выпуск () by Подмосковные. Сборники Поп-музыки - Все сборники поп музыки публикуются здесь. скачать бесплатно mp3, песня, фильм, не торрент, прямая ссылка. Подмосковные вечера. Выпуск от В этом выпуске играют и зарабатывают деньги для своих капитанов Глюк.
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