A new poetics of Chekhov's plays : presence through absence, Harai Golomb

Resource Information

The instance A new poetics of Chekhov's plays : presence through absence, Harai Golomb represents a material embodiment of a distinct intellectual or artistic creation found in University of Missouri Libraries.

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Label

A new poetics of Chekhov's plays : presence through absence, Harai Golomb

Title remainder

presence through absence

Statement of responsibility

Harai Golomb

Instantiates

• A new poetics of Chekhov's plays : presence through absence

Publication

• Eastbourne | Chicago, Sussex Academic Press, 2014

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

Record ID

.b104461846