In the corpus of Chekhov's prose there is a perceptible evolution in his use of irony. This study involves an examination of the use of irony in the initial, middle and final phases of his artistic career. It will demonstrate that in the initial phase, Chekhov's use of irony was direct and overt; in the middle phase, it was more deliberate and covert; and in the final phase, it was subdued, more transparent and transcendent. Selected stories taken from all three periods will illustrate this evolution.

The purpose of the present study is to analyze the structural techniques and genre of Chekhov's plays. / The many books and articles published on Chekhov's plays far exceeds his own works. Although there have been numerous studies analyzing the structural techniques of his play, considerable controversy still exists among literary and theatre scholars regarding the genre of his plays. Most of the studies simply avoid this complex and intricate problem. / In this study particular emphasis is also placed on the dramatic techniques used by Chekhov: the sequence of events, the nature of the roles and the so-called "unfinished" endings.

Anton Chekhov pursued two careers simultaneously throughout his life—that of a doctor as well as a writer of prose and drama. It is not surprising, therefore, to discover many physicians amongst his characters but it is puzzling that the portrayal of doctors is frequently unflattering despite his admitted indebtedness to the profession. The thesis herein proposed is that the poor image Chekhov presents points to the necessity of self-determination in matters of emotional and spiritual health; if the doctors are incapable of healing themselves and those in their care, the patients might well take the biblical directive, "Arise! Take up thy bed and walk." In his stated desire to show people how bad and dreary their lives are, thereby assisting them in fashioning better lives, Chekhov's prescription is one of self-help. The short stories—Late-Blooming Flowers, Anyuta, Ward No. 6, The Head Gardener's Tale and The Doctor's Visit—and the plays— Platonov, Ivanov, The Seagull, The Wood-Demon, Uncle Vanya and Three Sisters—have been examined; beneath the incompetence and villainy of the doctors an affirming statement is discovered in the otherwise melancholy canon of Chekhov. / Arts, Faculty of / Theatre and Film, Department of / Graduate

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Cette etude developpe un concept original en theorie dramatique: "l'illusion de la vie hors-scene," moyen auquel a recours le dramaturge quand le monde imaginaire qu'il a cree ne peut etre depeint dans sa totalite sur scene a cause des contraintes temporo-spatiales du theatre. L'expression "vie hors-scene" comprend tous les aspects non-visuels du monde cree par l'auteur; c'est le prolongement intangible de ce qui est represente sur la scene. Le charactere de cette illusion est revele par l'analyse minutieuse des principales categories qui constituent la vie hors-scene. / La theorie dramatique developpee est ensuite appliquee a l'art dramatique de Tchekhov, en particulier a la Mouette. Ainsi, la these met en lumiere la nature de l'illusion de la vie hors-scene et son role au theatre, a la fois de facon theorique et appliquee, offrant une methodologie de base pour l'analyse de cette illusion cle dans les oeuvres d'autres dramaturges et enrichissant la perception critique du theatre.

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