Cargando…
A New Poetics of Chekhov's Plays : Presence Through Absence.
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 p...
| Clasificación: | Libro Electrónico |
|---|---|
| Autor principal: | |
| Formato: | Electrónico eBook |
| Idioma: | Inglés |
| Publicado: |
Chicago :
Sussex Academic Press,
2014.
|
| Temas: | |
| Acceso en línea: | Texto completo |
Tabla de Contenidos:
- 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.