The Resource A new poetics of Chekhov's plays : presence through absence, Harai Golomb
A new poetics of Chekhov's plays : presence through absence, Harai Golomb
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The item A new poetics of Chekhov's plays : presence through absence, Harai Golomb represents a specific, individual, material embodiment of a distinct intellectual or artistic creation found in University of Missouri Libraries.This item is available to borrow from 1 library branch.
Resource Information
The item A new poetics of Chekhov's plays : presence through absence, Harai Golomb represents a specific, individual, material embodiment of a distinct intellectual or artistic creation found in University of Missouri Libraries.
This item is available to borrow from 1 library branch.
- Summary
- 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. Presence Through Absence is a bold attempt to map the unique structure and meaning that comprise Chekhov's immensely rich artistic universe. Harai Golomb explores all the prime components of Chekhov's theatrical technique: text construction, themes and ideas, scenes, dialogue, plot, and interaction between verbal and nonverbal elements. His timeless works are shown with rare insight and clarity to have artistic principles and coherence above and beyond the scope of the individual play
- Language
- eng
- Extent
- xxiii, 411 pages
- Contents
-
- 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
- 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
- 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 Considerations; 3.0.1 Frame/Text-Boundaries: Starting Points; 3.0.2 Authorial Presence: What's in a Name (Personal)?
- 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
- 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
- Isbn
- 9781903900475
- Label
- A new poetics of Chekhov's plays : presence through absence
- Title
- A new poetics of Chekhov's plays
- Title remainder
- presence through absence
- Statement of responsibility
- Harai Golomb
- Language
- eng
- Summary
- 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. Presence Through Absence is a bold attempt to map the unique structure and meaning that comprise Chekhov's immensely rich artistic universe. Harai Golomb explores all the prime components of Chekhov's theatrical technique: text construction, themes and ideas, scenes, dialogue, plot, and interaction between verbal and nonverbal elements. His timeless works are shown with rare insight and clarity to have artistic principles and coherence above and beyond the scope of the individual play
- Cataloging source
- DLC
- http://library.link/vocab/creatorName
- Golomb, Harai
- Dewey number
- 891.72/3
- Illustrations
- illustrations
- Index
- index present
- LC call number
- PG3458.Z9
- LC item number
- D7347 2014
- Literary form
- non fiction
- Nature of contents
- bibliography
- http://library.link/vocab/subjectName
- Chekhov, Anton Pavlovich
- Label
- A new poetics of Chekhov's plays : presence through absence, Harai Golomb
- Bibliography note
- Includes bibliographical references and index
- Carrier category
- volume
- Carrier MARC source
- rdacarrier.
- Content category
- text
- Content type MARC source
- rdacontent.
- Contents
-
- 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
- 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
- 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 Considerations; 3.0.1 Frame/Text-Boundaries: Starting Points; 3.0.2 Authorial Presence: What's in a Name (Personal)?
- 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
- 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
- Control code
- 862575115
- Dimensions
- 24 cm.
- Extent
- xxiii, 411 pages
- Isbn
- 9781903900475
- Lccn
- 2013035787
- Media category
- unmediated
- Media MARC source
- rdamedia.
- Other physical details
- illustrations
- Label
- A new poetics of Chekhov's plays : presence through absence, Harai Golomb
- Bibliography note
- Includes bibliographical references and index
- Carrier category
- volume
- Carrier MARC source
- rdacarrier.
- Content category
- text
- Content type MARC source
- rdacontent.
- Contents
-
- 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
- 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
- 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 Considerations; 3.0.1 Frame/Text-Boundaries: Starting Points; 3.0.2 Authorial Presence: What's in a Name (Personal)?
- 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
- 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
- Control code
- 862575115
- Dimensions
- 24 cm.
- Extent
- xxiii, 411 pages
- Isbn
- 9781903900475
- Lccn
- 2013035787
- Media category
- unmediated
- Media MARC source
- rdamedia.
- Other physical details
- illustrations
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