LEADER 05087nam 2200589 450 001 9910813752703321 005 20230803195559.0 010 $a1-78284-127-X 010 $a1-78284-129-6 035 $a(CKB)2670000000547411 035 $a(EBL)1652828 035 $a(SSID)ssj0001132653 035 $a(PQKBManifestationID)11976185 035 $a(PQKBTitleCode)TC0001132653 035 $a(PQKBWorkID)11154707 035 $a(PQKB)10326253 035 $a(Au-PeEL)EBL1652828 035 $a(CaPaEBR)ebr10855957 035 $a(CaONFJC)MIL584427 035 $a(OCoLC)875096405 035 $a(MiAaPQ)EBC1652828 035 $a(EXLCZ)992670000000547411 100 $a20140413h20142014 uy 0 101 0 $aeng 135 $aur|n|---||||| 181 $ctxt 182 $cc 183 $acr 200 12$aA new poetics of Chekhov's plays $epresence through absence /$fHarai Golomb ; foreword by Prof. Donald Rayfield 210 1$aEastbourne, [England] :$cSussex Academic Press,$d2014. 210 4$dİ2014 215 $a1 online resource (445 p.) 300 $aDescription based upon print version of record. 311 $a1-903900-47-6 320 $aIncludes bibliographical references and index. 327 $aFront Cover; Title Page; Praise; Half Title; Copyright; Contents; Foreword by Prof. Donald Rayfield; Preface: About and Around the Book; Acknowledgements; Cover and Plate Section Illustrations; Part I: Previewing - Basic Principles of Chekhov's Poetics; 1 Basic Principles of Chekhovian Thematics (What?) - Opening the Book's Outer Circle; 1.1 Presence through Absence/Unrealised Potential: Formulating a Chekhovian Universal; 1.2 Thematic Structuration in Three Sisters: Trichotomies; 1.2.1 An Example: Education and Learning; 1.2.2 Other Themes 327 $a1.3 Building a (Textual) Character: Doing, Talking, Wishing1.4 Building a Text: Compositional Implications of the Principle of Unrealised Potentials/Presence through Absence; 1.5 Negation vs. Annulment: Conservation of Artistic Mass; 1.6 Paradoxes of the (Un)Realisability of Chekhov's Art; 2 Basic Principles of Chekhovian Composition (How?); 2.0 Preliminary Remarks: Chekhov the Structuralist?; 2.1 A Theoretical Complex of Complexity; 2.1.1 The Complex, The Simple, and the Complicated; 2.1.2 Two Types of Complexity; 2.2 Saturated Complexity: Shakespeare's Plays as Paradigm 327 $a2.3 Unsaturated Complexity: Chekhov's Plays as Paradigm2.4 A Third Ideal of Complexity: 'Strong' Parts, 'Weak' Wholes; 2.4.1 Saturated Complexity Misplaced: Poe's "The Raven" as Paradigm; 2.4.2 Chekhov's Complexity vs. Shakespeare's and "The Raven"'s; 2.5 Conclusion: Investment and Interest; Part II: Viewing - Chekhov's Dramatic Text and World; 3 Starts that Fit: The Curtain Rises on a Chekhov Play - Opening the Book's Inner Circle; 3.0 Truisms and Preliminary Theoretical Considerations; 3.0.1 Frame/Text-Boundaries: Starting Points; 3.0.2 Authorial Presence: What's in a Name (Personal)? 327 $a3.0.3 Titles of Plays: What's in a Name (Textual)?3.0.4 Genre-Subtitles; 3.0.5 Skipping the List of Personages; 3.0.6 Initial Stage Directions (ISD); 3.0.7 The Ending of the Beginning: The Spoken Dialogue Starts; 3.1 The Beginning of The Seagull; 3.1.1 The Title; 3.1.2 The Subtitle; 3.1.3 The Initial Stage Directions and their Context in the Play; 3.1.4 The Ending of the Beginning: The Spoken Dialogue Starts; 3.2 The Beginning of Uncle Va?nia; 3.2.1 The Title; 3.2.2 The Subtitle; 3.2.3 The Initial Stage Directions; 3.2.4 The Ending of the Beginning: The Spoken Dialogue Starts 327 $a3.3 The Beginning of Three Sisters3.3.1 The Title; 3.3.2 The Subtitle; 3.3.3 The Initial Stage Directions; 3.3.4 The Ending of the Beginning: The Spoken Dialogue Starts; 3.4 The Beginning of The Cherry Orchard; 3.4.1 The Title; 3.4.2 The Subtitle; 3.4.3 The Initial Stage Directions; 3.4.4 The Ending of the Beginning: The Spoken Dialogue Starts; 4 Dramaticality, 'Dramaticalness', Theatricality, Dual Fictionality; 4.0 Introduction: Is Chekhov a Playwright?; 4.1 Terminology: Drama, Dramaticality, 'Dramaticalness', etc.; 4.1.0 Preliminary Considerations 327 $a4.1.1 Sense A ("Dramas" in Real Life): Past and Present 330 $aOne century after the death of Anton Chekhov (1860-1904), his plays are celebrated throughout the world as a major milestone in the history of theater and drama. Outside the Russian-speaking community, he is undoubtedly the most widely translated, studied, and performed of all Russian writers. His plays are characterized by their evasiveness: tragedy and comedy, realism and naturalism, symbolism and impressionism, as well as other labels of school and genre, all of which fail to account for the uniqueness of his artistic system and worldview.