“Traveling Realisms, Shared Modernities, Eternal Moods: The Uses of Chekhov in Nuri Bilge Ceylan’s Winter Sleep.” Adaptation 12.1 (2019): 12-26.

View pdf here: Traveling Realisms, Shared Modernties, Eternal Moods The Uses of Chekhov in Nuri Bilge Ceylans Winter Sleep

View the paintings in the film and their originals here: Winter Sleep Chekhov Glazunov Handout

View article online: https://academic.oup.com/adaptation/advance-article/doi/10.1093/adaptation/apz008/5376098?guestAccessKey=f19f4d2d-9433-46b5-9d02-65fa0493821e

Abstract Nuri Bilge Ceylan’s Turkish drama Kış Uykusu/Winter Sleep (2014) owes an enormous debt to nineteenth-century Russian realism. This article explains why Ceylan looks to Russia through an analysis of the film’s form and the historical context that binds Russia and Turkey. By placing Turkish and Russian realism on the same plane, this article complicates the asymmetrical binary of East/West that is frequently upheld by analyses of ‘Eastern’ rewritings of ‘Western’ literary classics. Instead it offers a more equitable model of international exchange, a nonhierarchical relationship of not East/West but East and East.