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[null,"1.","Record Nr.",null,"UNINA9910463983203321"]
[null,null,"Autore",null,"Golomb Harai"]
[null,null,"Titolo",null,"A new poetics of Chekhov's plays : presence through absence / / Harai Golomb ; foreword by Prof. Donald Rayfield"]
[null,null,"Pubbl/distr/stampa",null,"Eastbourne, [England] : , : Sussex Academic Press, , 2014"]
[{"$nulls":4},"©2014"]
[null,null,"ISBN",null,"1-78284-127-X"]
[{"$nulls":4},"1-78284-129-6"]
[null,null,"Descrizione fisica",null,"1 online resource (445 p.)"]
[null,null,"Disciplina",null,"891.72/3"]
[null,null,"Soggetti",null,"Electronic books."]
[null,null,"Lingua di pubblicazione",null,"Inglese"]
[null,null,"Formato",null,"Materiale a stampa"]
[null,null,null,"Livello bibliografico","Monografia"]
[null,null,null,"Note generali","Description based upon print version of record."]
[null,null,null,"Nota di bibliografia","Includes bibliographical references and index."]
[null,null,"Nota di contenuto",null,"Front 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"]
[{"$nulls":4},"1.3 Building a (Textual) Character: Doing, Talking, Wishing1.4 Building a Text: Compositional Implications of the Principle of Unrealised Potentials/Presence through Absence; 1.5 Negation vs. Annulment: Conservation of Artistic Mass; 1.6 Paradoxes of the (Un)Realisability of Chekhov's Art; 2 Basic Principles of Chekhovian Composition (How?); 2.0 Preliminary Remarks: Chekhov the Structuralist?; 2.1 A Theoretical Complex of Complexity; 2.1.1 The Complex, The Simple, and the Complicated; 2.1.2 Two Types of Complexity; 2.2 Saturated Complexity: Shakespeare's Plays as Paradigm"]
[{"$nulls":4},"2.3 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 "]
[{"$nulls":4},"Considerations; 3.0.1 Frame/Text-Boundaries: Starting Points; 3.0.2 Authorial Presence: What's in a Name (Personal)?"]
[{"$nulls":4},"3.0.3 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 Vánia; 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"]
[{"$nulls":4},"3.3 The Beginning of Three Sisters3.3.1 The Title; 3.3.2 The Subtitle; 3.3.3 The Initial Stage Directions; 3.3.4 The Ending of the Beginning: The Spoken Dialogue Starts; 3.4 The Beginning of The Cherry Orchard; 3.4.1 The Title; 3.4.2 The Subtitle; 3.4.3 The Initial Stage Directions; 3.4.4 The Ending of the Beginning: The Spoken Dialogue Starts; 4 Dramaticality, 'Dramaticalness', Theatricality, Dual Fictionality; 4.0 Introduction: Is Chekhov a Playwright?; 4.1 Terminology: Drama, Dramaticality, 'Dramaticalness', etc.; 4.1.0 Preliminary Considerations"]
[{"$nulls":4},"4.1.1 Sense A (\"Dramas\" in Real Life): Past and Present"]
[null,null,null,"Sommario/riassunto","One 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. <I"]