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1
Locke, Aiden. „Beckett's telling stills : Samuel Beckett and photography“. Thesis, University of Cambridge, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.326628.
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Schubert, Gesa. „Die Kunst des Scheiterns : die Entwicklung der kunsttheoretischen Ideen Samuel Becketts“. Berlin [u.a.] Lit, 2007. http://deposit.d-nb.de/cgi-bin/dokserv?id=2976401&prov=M&dokv̲ar=1&doke̲xt=htm.
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Baker, Philip Paul. „Beckett and psychoanalysis“. Thesis, University of Oxford, 1993. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.334953.
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Melnyk, Davyd. „Beckett and interruption“. Thesis, University of Cambridge, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.580321.
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Walker, Dominic. „Beckett & economics“. Thesis, University of Sussex, 2018. http://sro.sussex.ac.uk/id/eprint/78229/.
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Ferrini, Jean-Pierre. „Dante et Beckett“. Paris 7, 2002. http://www.theses.fr/2002PA070074.
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Dante est un des écrivains que Samuel Beckett a le plus cité. De ses premières fictions ou poèmes de jeunesse, à la tonalité plutôt satirique, jusqu'aux textes de la maturité, comme "Comment c'est", "Le dépleupleur" ou "Compagnie", des mots, des personnages, des paysages de "La Divine Comédie" apparaissent avec une régularité exemplaire. À partir d'un relevé systématique de ces "relations textuelles", ce travail dégage la manière dont se sont sédimentés, dans les livres de Samuel Beckett, les emprunts de Beckett à Dante. L'oeuvre de Samuel Beckett, par rapport aux trois livres qui composent la "Commedia" (Enfer, Purgatoire, Paradis), est prise entre le Purgatoire et l'Enfer. Elle est un "antipurgatoire" qui n'ouvre pas mais referme la porte du Paradis. Il n'y a pas de thèmes particuliers qui rapprochent Dante et Beckett, sinon ce mouvement "du purgatoire à l'enfer" qui déconstruit la "divinité" du poème de Dante. Seule la conjonction "et" traduit la disjonction qui coordonne Dante et Beckett comme deux extrémités, un zénith et un nadir, qui ne coi͏̈ncident pas. La lecture de Beckett n'est pas admirative, elle est brutale, parodique, drôle aussi, et retire presque toujours à Dante son contexte. L'ironie ou l'humour est souvent le "rasoir" que Beckett utilise pour séparer la "Commedia" des illusions qu'elle génère. La statue de Dante, qui domine notre culture occidentale, tomberait en morceaux, les ruines dispersées dans l'oeuvre de Samuel Beckett qui constituerait la conséquence historique de six siècles de lecture, Beckett incarnant peut-être le premier l'écart, "il lungo silenzio", qui nous sépare maintenant de DanteDante is one of the most mentioned author in Samuel Beckett' s work. From his first youth fictions or poems, written in a satirical tone, to his period of maturity with works such as "How it is", "The Lost Ones" or "Compagny", words, characters, landscapes "of The Divine Comedy" appear extremely regularly. Such systematic textual relationships bring out the closeness between Dante and Beckett. Samuel Beckett's work is caught between Dante' Purgatory and Hell. His work is an "antipurgatory" which doesn't open, but closes the doors of paradise. No evident themes link Dante and Beckett except the flow from purgatory to hell, which undoes the "divinity" of Dante's poem. The conjundion "and" is the only one to translate the "disjonction" witch coordinates Dante and Beckett as two extremities, the zenith and the nadir, which never coincide. Beckett's reading is not admiring, but brutal, parodic, burlesque, and harms Dante's context. Irony and humour is the "razor" used by Beckett in order to separate "The Comedy" from the generated illusions. Dante' s statue which dominates our western culture would fall into pieces and the scattered ruins would constitute the historical consequence of six centuries of reading. Beckett maybe the first to incarnate the distance,"il lungo silenzio", which now separates us from Dante
7
Poiana, Peter. „Entre la voix et le texte : quelques modeles de rhetorique dans trois oeuvres de Samuel Beckett /“. Title page, contents and summary only, 1986. http://web4.library.adelaide.edu.au/theses/09ARM/09armp749.pdf.
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Campbell, Sam Nicole. „Blend it Like Beckett: Samuel Beckett and Experimental Contemporary Creative Writing“. Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/etd/3769.
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Samuel Beckett penned novels, short stories, poetry, stage plays, radio plays, and scripts—and he did each in a way that blended genre, challenged the norms of creative writing, and surprised audiences around the globe. His experimental approach to creative writing included the use of absurdism, genre-hybridization, and ergodicism, which led to Beckett fundamentally changing the approach to creative writing. His aesthetics have trickled down through the years and can be seen in contemporary works, including Aimee Bender’s short story collection The Girl in the Flammable Skirt and Mark Z. Danielewski’s novel House of Leaves[1]. By examining these works in comparison to Beckett, this project hopes to illuminate the effects of Beckett’s experimentation in form and genre on contemporary creative writing.
[1] The word ‘house’ appears in blue to honor Danielewski’s decision to have the word printed in that color each time it appears in his novel.
9
Davies, William. „Samuel Beckett and the Second World War : historicising Beckett's post-humanism“. Thesis, University of Reading, 2018. http://centaur.reading.ac.uk/80000/.
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This thesis examines the impacts and traces of the Second World War in the work of Samuel Beckett. The thesis uses a conceptual framework that identifies Beckett’s historical sensibilities within his literary and philosophical engagements with the traditions of humanism and shows how these manifests in the various responses to history that his work produces. Using archival and historical sources, the thesis shows how Beckett’s intellectual attitudes to history and its relationship with art and writing develop across the wartime and post-war period in conjunction with his work’s mounting engagement with the presumptions and promises of modern humanism. By reading Beckett’s writing in the context of his encounters with the politics of the Irish Free State, Nazi Germany, Vichy France and post-Liberation Paris, this thesis both grounds Beckett’s work in its historical moment and shows how his writing incorporates, critiques, mocks and resists many of the dominant historical and political narratives of the period. The project offers new ways to consider Beckett’s use of history within his writing and shows that his treatment of history and his historical contexts frequently inform the most important elements of his literary achievements.
10
Jones, Robert. „Beckett and the philosopher“. Diss., Connect to the thesis, 2004. http://hdl.handle.net/10066/684.
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Maier, Franz Michael. „Becketts Melodien die Musik und die Idee des Zusammenhangs bei Schopenhauer, Proust und Beckett“. Würzburg Königshausen und Neumann, 2005. http://deposit.d-nb.de/cgi-bin/dokserv?id=2883802&prov=M&dok_var=1&dok_ext=htm.
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Milz, Manfred Beckett Samuel Giacometti Alberto. „Samuel Beckett und Alberto Giacometti : das Innere als Oberfläche ; ein ästhetischer Dialog im Zeichen schöpferischer Entzweiungsprozesse (1929 - 1936) /“. Würzburg : Königshausen & Neumann, 2006. http://deposit.d-nb.de/cgi-bin/dokserv?id=2872853&prov=M&dok_var=1&dok_ext=htm.
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Engelberts, Matthijs. „Théâtre, récit, Beckett récit scénique, genres et moi chez Beckett et Duras /“. [S.l. : Amsterdam : s.n.] ; Universiteit van Amsterdam [Host], 2000. http://dare.uva.nl/document/84328.
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Sarfert, Hans-Jürgen. „Beckett im Japanischen Palais“. Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2007. http://nbn-resolving.de/urn:nbn:de:swb:14-1176292155510-83886.
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Seine Biographie hielt der irische Dichter Samuel Beckett (1906 - 1989), Träger des Literatur-Nobelpreises 1969, zurückhaltend für wenig erwähnenswert. Deshalb konnten die Lücken nur mühsam geschlossen werden. ....
15
Tan, Tijen. „Existentialism And Samuel Beckett“. Master's thesis, METU, 2007. http://etd.lib.metu.edu.tr/upload/12608995/index.pdf.
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This thesis carries out an analysis of the plays by Samuel Beckett, Endgame and Happy Days. It achieves this by exploring how the playwright&rsquos characterization, setting and use of language in these plays display his tendency to employ some existentialist concepts such as despair, anxiety and thrownness on the way to authenticity. This study argues that there are some similarities between Beckett&rsquo
s two plays and Existentialism, and some characters in both plays display the existentialist man who is looking for becoming an authentic man. In other words, although there are some differences, these plays show that Samuel Beckett&rsquo
s view of Existentialism is quite similar to the Sartrean view.
16
Clavier, Évelyne. „Danser avec Samuel Beckett“. Thesis, Bordeaux 3, 2018. http://www.theses.fr/2018BOR30022.
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Ce travail de recherche se propose d’analyser le rapport de Samuel Beckett (1906-1989) à la danse ainsi que la relation de deux chorégraphes contemporains Dominique Dupuy (1930-) et Maguy Marin (1951-) à ses œuvres. La première partie démontre que Samuel Beckett a été influencé par la danse moderne qu’il a découverte dans l’entre-deux-guerres. Son écriture est devenue plus gestuelle et son propos plus politique. Ainsi, aux corps sains et glorieux promus par les arts nazis, oppose-t-il dans son premier théâtre les corps vulnérables travaillés par la vieillesse et les handicaps, ceux d’hommes que le IIIe Reich a voulu rendre superflus. En 1953, la danse de Lucky d’En attendant Godot est un moyen de dire l’innommable de cette violence. En 1981, la danse de Quad fait resurgir les fantômes du passé pour prévenir le retour du pire. Comment le dire ? La danse, un art du « non mot » participe à cette recherche qui traverse l’œuvre de Samuel Beckett. Ce dont on ne peut pas parler, c’est cela qu’il faut danser. Dans un deuxième temps, cette étude montre comment les œuvres de Samuel Beckett sont à leur tour inductrices de danses où les êtres vulnérables résistent et appellent au care. Danser avec Oh les beaux jours, Acte sans paroles et Cap au pire permet à Dominique Dupuy d’interroger les possibles du grand âge et d’en transformer les représentations. A partir de Fin de partie, Maguy Marin écrit en 1981 May B, une pièce chorégraphique, aux antipodes de la danse performante, qui rend visibles les handicaps. Son œuvre invite à une lecture actualisante de l’œuvre de Samuel Beckett prenant en considération la condition des personnes handicapées et permettant d’entrevoir la possibilité d’une société plus inclusive. La dernière partie témoigne qu’une lecture éthique des œuvres de Samuel Beckett et de leurs projections chorégraphiques peut devenir le vecteur de pratiques d’inclusion et d’émancipation par l’école. Telle est la vocation du projet Meeting Beckett mené en 2016-2017 en partenariat avec le chorégraphe K Goldstein, avec les élèves en situation de handicap d’un dispositif Ulis (Unité localisée pour l’inclusion scolaire) et ceux d’une classe de 5ème. Il s’agit enfin de se demander dans quelle mesure les pratiques artistiques peuvent susciter de nouveaux gestes professionnels à l’école et initier une dynamique inclusive, capable de faire une place à chacun et chacune au sein de la sociétéThis research analyses the relationship of Samuel Beckett (1906-1989) to dance and the relationship of two contemporary choreographers Dominique Dupuy (1930-) and Maguy Marin (1951-) to his works. The first part shows that Samuel Beckett was influenced by the modern dance he discovered between the two World Wars. His writing became more gestural and his discourse more political. Thus, to the healthy and glorious bodies promoted by the Nazi arts, he opposed in his first theatre the vulnerable bodies weakened by old age and disabilities, those of men whom the Third Reich wanted to make superfluous. In 1953, Lucky's dance in Waiting for Godot is a way of telling the unnamable of this violence. In 1981, the dance of Quad brings back the ghosts of the past to prevent the return of the worst. How to say? Dance, an art of the "non word", is part of this research that runs through Samuel Beckett's work. What one can't talk about is what one has to dance about. Secondly, this study shows how Samuel Beckett's works induce dances in which vulnerable beings resist and call for care. Dancing with Happy days, Act Without Words I and Worstward Ho allows Dominique Dupuy to question the possibilities of old age and transform its representations. Starting with Endgame, Maguy Marin wrote May B in 1981, a choreography miles apart from high-performance dance, which makes disabilities visible. Her work offers an updated reading of Samuel Beckett's work that takes into consideration the condition of disabled persons and allows us to envision the possibility of a more inclusive society. The last part shows that an ethical reading of Samuel Beckett's works and their choreographic projections can become the vector of inclusion practices and emancipation at school. This is the vocation of the Meeting Beckett project conducted in 2016-2017 in partnership with choreographer K Goldstein, with disabled pupils from an Ulis (Unité localisée pour l'inclusion scolaire) and 5th graders. Finally, we need to ask ourselves to what extent artistic practices can encourage new professional gestures at school and initiate an inclusive dynamic, capable of giving a place for everyone in society
17
McFrederick, Matt. „Staging Beckett : a production history of Samuel Beckett's drama in London (1955-2010)“. Thesis, University of Reading, 2017. http://centaur.reading.ac.uk/78067/.
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This study presents the first performance history of Samuel Beckett’s drama in London theatres. The study focuses on a selection of professional productions of Beckett’s dramatic canon and assesses the impact these performances had on London and British theatre cultures between 1955 and 2010. Since the British premiere of Waiting for Godot, Beckett’s oeuvre has been staged across a variety of London theatres and contexts, ranging from the Riverside Studios in Hammersmith to the Theatre Royal Stratford East. The performance histories of Beckett’s plays represent a neglected facet of Beckett studies, but through research undertaken for the Staging Beckett Database – a searchable data model for Beckett performances staged in the UK and Ireland – a broad tradition of staging Beckett in the British Isles has been discovered. Through the support of these records, performance histories, theatre historiography and performance archives, the study shows how Beckett’s drama featured in key London theatres during prominent moments in British theatre history in a series of landmark and lesser known productions and seasons. By means of a chronological structure, this account examines the factors that contributed to Beckett’s role in metropolitan theatre cultures, discussing how his theatre was created and received and the legacies or significance of his drama on the city’s theatrical landscape. Beckett’s evolving stature and the multifunctional role he played in London theatre cultures is reflected in the four chapters that investigate the history. Chapters one and two reveal the key partnerships he established in theatres such as the English Stage Company at the Royal Court and the National Theatre, and the eclectic range of performances from the international productions during the World Theatre Seasons to the multiple presentations of his drama for young theatregoers at the newly started Young Vic. Chapter three examines the development of Beckett’s practice through some of his last productions staged or rehearsed at the Royal Court, Riverside Studios and the National Theatre. The final chapter discusses performances post-Beckett, when his drama proliferated across London, from West End productions with star actors to Festivals celebrating his entire canon.
18
Prince, Eric Samuel. „The stagecraft of Samuel Beckett“. Thesis, University of Ulster, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.260836.
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Nishimura, Izumi. „Samuel Beckett : un univers polyphonique“. Paris 8, 2006. http://www.theses.fr/2006PA083616.
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Cette étude est une recherche herméneutique qui implique une critique génétique se propose d’éclaircir le déploiement de la conscience intérieure des sujets à travers la structure intrinsèque de l’œuvre de Samuel Beckett. Il est courant de mettre en valeur la perte a posteriori de l’identité d’un sujet dans l’univers beckettien avec des termes négatifs liés au désespoir. Cependant, d’après les réécritures entre version anglaise et française, entre manuscrit et texte publié, nous pouvons affirmer que l’important réside dans l’interchangeabilité ou le décalage de nombreux sujets à l’intérieur de l’espace microcosmique. Ces sujets atomiques n’ont rien à voir avec les fonctions humaines telles que la volonté, le sentiment et la communication ; ils sont originellement absents, mais murmurent sans l’aide de la langue donnée. En nous appuyant notamment sur les notions de polyphonie (Bakhtine) et de multiplicité (Deleuze), nous avons analysé principalement les textes romanesques selon trois axes : 1. Lutte / Carnaval, 2. Polyphonie / Univers, 3. Imagination inclusive. Beckett a tout d’abord essayé de distinguer son récit des normes narratives, puis, a fait plusieurs expériences langagières en fixant un espace clos, et a finalement conféré de l’intensité à cet espace. Avec les nouveaux canons qui se sont imposés au cours des rédactions, il en est arrivé à réduire les systèmes langagiers à un état de suspension. Ses textes, ses écrits et ses personnages ne sont pas des entités finies ; ils restent toujours dans une relation dynamiqueThis is a hermeneutical study which encompasses genetic criticism in an attempt to reveal the development of inner consciousness of the subjects by analysing the intrinsic structure of Samuel Beckett’s work. It is common to emphasize the loss a posteriori of the identity of a subject in the Beckett’s world with negative terms connected with despair. However, according to the rewritings of English and French versions of his works, and of both manuscripts and published texts, we can stress the importance residing in the interchangeability or the discrepancy of many subjects in the microcosmic space. These atomic subjects have no relationship with human functions such as will, feelings or communication; they are originally absent, but murmur without the assistance of a given language. By drawing, in particular, on the concepts of polyphony (Bakthin) and multiplicity (Deleuze), we have mainly analysed Beckett’s novels and proses according to the following chapters: 1. Struggle / Carnival, 2. Polyphony / Universe, 3. Inclusive imagination. Beckett first tried to distinguish his story from a normative narrative, then made several linguistic experiments by setting up a closed space, and finally gave intrinsic powers to that space. With the new canons which were imposed on himself while writing, he got to keep the linguistic systems suspended in the air. His texts, his writings and his characters are not finished entities; they always remain in a dynamic relation to one another
20
Wimbush, Andrew Darrell. „Still : Samuel Beckett and quietism“. Thesis, University of Cambridge, 2015. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.709050.
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21
Rose, Arthur James. „Cynical cosmopolitans? : Borges, Beckett, Coetzee“. Thesis, University of Leeds, 2014. http://etheses.whiterose.ac.uk/7705/.
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The thesis argues for a form of kynical cosmopolitanism in the late work of Jorge Luis Borges, Samuel Beckett and J.M. Coetzee. Broadly sympathetic responses to these three writers conflate their writing style and their personal habits, and identify them as stoics. Broadly unsympathetic responses conflate their choice of theme and their apparent political quietude, and identify them as cynics. Instead of finding them aligned with stoicism or contemporary cynicism, the thesis draws on work by Peter Sloterdijk and Michel Foucault to recuperate kynicism (ancient cynicism) as a heuristic to explain how the writers consciously exploit a combination of style, theme, habit and political perspective in their late works. The late works of all three writers turn on a performance of the self that takes autobiographical enactment as the starting point for exploring political subjectivity. Following Diogenes of Sinope, who labelled this performative political subjectivity ‘cosmopolitanism’, this thesis argues that the late works of Borges, Beckett and Coetzee must be understood as creating a self-reflexive kynical cosmopolitanism, in which the role of the writer in the world becomes an aesthetic device for engaging with cosmopolitan political subjectivity.
22
Chakraborty, Thirthankar. „Samuel Beckett and Indian literature“. Thesis, University of Kent, 2017. https://kar.kent.ac.uk/59865/.
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Godot ke Intezar Mein (Hindi), Godor Pratikshay (Bengali), Eppo Varuvaru (Tamil), Kalpo Ke Kalpana Mari Parvari Chhe (Gujarati), Edin Ahibo Teu (Assamese), Su Yee (Kashmiri): these are just some of the translations and adaptations of Samuel Beckett's Waiting for Godot into Indian languages. They reveal how Beckett's chef d'oeuvre has reached every corner of the country, from Tamil Nadu in the South, to Kashmir in the North, Assam in the East, and Gujarat in the West. Just as Honoré de Balzac's fictitious Godeau returns prosperously from 'Les Indes' in Le Faiseur (1848), Beckett's Godot gains from the remarkable dissemination through a multilingual, multicultural, social, and political space of post-independence India. This thesis, divided into three parts, is a comparative study of the relation between Samuel Beckett's works and Indian prose fiction, drama, and cinema, from the moment when Beckett's oeuvre was first introduced in India. Engaging with recent debates on the concept of world literature, it assesses three phases that are pertinent to the three parts and the circulation of Beckett's works through India: 1) the topical-planetary phase: Beckett's influence on Anglo Indian novelists, starting with Salman Rushdie; 2) the world-making phase: the circulation of Beckett's works amongst Indian playwrights, based on themes, writing techniques and style; and 3) the canonical phase: Beckett's pervasive presence rather than direct influence in Indian mainstream and experimental cinema. Put together, these three parts form a three-phase evolution, and a conceptual framework for world literature. In exploring Beckett's influence, circulation, and pervasive presence in Indian literature, alongside adaptations and re-creations of Beckettian motifs, characters, and stylistic techniques, this thesis not only re-conceives of Beckett's place in world literature today, but it also presents a process by which his works achieve canonicity. Starting with the works of Rushdie, the thesis charters new territories where Beckett's works have found a place, while the comparative approach draws attention to the heterogeneous and complex nature of modern Indian literature.
23
Weiss, Katherine. „The Plays of Samuel Beckett“. Digital Commons @ East Tennessee State University, 2013. http://amzn.com/140814557X.
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Beckett remains one of the most important writers of the twentieth century whose radical experimentations in form and content won him the Nobel Prize for Literature in 1969. This Critical Companion encompasses his plays for the stage, radio and television, and will be indispensable to students of his work.
Challenging and at times perplexing, Beckett's work is represented on almost every literature, theatre and Irish studies curriculum in universities in North America, Europe and Australia. Katherine Weiss' admirably clear study of his work provides the perfect companion, illuminating each play and Beckett's vision, and investigating his experiments with the body, voice and technology. It includes in-depth studies of the major works Waiting for Godot, Endgame and Krapp's Last Tape, and as with other volumes in Methuen Drama's Critical Companions series it features too a series of essays by other scholars and practitioners offering different critical perspectives on Beckett in performance that will inform students' own critical thinking. Together with a series of resources including a chronology and a list of further reading, this is ideal for all students and readers of Beckett's work.https://dc.etsu.edu/etsu_books/1072/thumbnail.jpg
24
Weiss, Katherine. „Samuel Beckett: History, Memory, Archive“. Digital Commons @ East Tennessee State University, 2007. https://dc.etsu.edu/etsu-works/2281.
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Reginio, Robert, David Houston Jones und Katherine Weiss. „Samuel Beckett and Contemporary Art“. Digital Commons @ East Tennessee State University, 2017. https://www.amzn.com/3838210794/.
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This groundbreaking collection from scholars and artists on the legacy of Beckett in contemporary art provides readers with a unique view of this important writer for page, stage, and screen. The volume argues that Beckett is more than an influence on contemporary art―he is, in fact, a contemporary artist, working alongside artists across disciplines in the 1960s, 1970s, and beyond.The volume explores Beckett's formal experiments in drama, prose, and other media as contemporary, parallel revisions of modernism's theoretical presuppositions congruent with trends like minimalism and conceptual art. Containing interviews with and pieces by working artists, alongside contributions of scholars of literature and the visual arts, this collection offers an essential reassessment of Beckett's work. Perceiving Beckett's ongoing importance from the perspective of contemporary art practices, dominated by installation and conceptual strategies, it offers a completely new frame through which to read perennial Beckettian themes of impotence, failure, and penury. From Beckett's remains, as it were, contemporary artists find endless inspiration.https://dc.etsu.edu/etsu_books/1182/thumbnail.jpg
26
Kennedy, Seán, und Katherine Weiss. „Samuel Beckett: History, Memory, Archive“. Digital Commons @ East Tennessee State University, 2010. https://www.amzn.com/0230619444.
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This volume comprises ten essays challenging the dominant account of Samuel Beckett’s engagement with history. As the first full-length volume to address the historical debate in Beckett studies, Samuel Beckett: History, Memory, Archive provides both ground-breaking analysis of the major works as well as a sustained interrogation of the critical assumptions that underpin Beckett studies more generally. Drawing on a range of archival materials, and situating Beckett in historical context, these essays pose a strong challenge to the prevailing critical consensus that he was a deracinated modernist who cannot be read historically.https://dc.etsu.edu/etsu_books/1185/thumbnail.jpg
27
Weiss, Katherine. „Samuel Beckett and Contemporary Art“. Digital Commons @ East Tennessee State University, 2019. https://dc.etsu.edu/etsu-works/5597.
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28
Gonçalves, Lívia Bueloni. „Em busca de Companhia: o universo da prosa final de Samuel Beckett“. Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/8/8151/tde-08052015-102539/.
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O presente trabalho realiza uma leitura da chamada segunda trilogia em prosa de Samuel Beckett composta pelos textos Company (1980), Ill Seen Ill Said (1981) e Worstward Ho (1983), com especial atenção para a obra Company. Tais textos fazem parte da prosa final do autor, marcada pelo hibridismo de gêneros e por um intenso questionamento da linguagem e da representação literária. Destacando as características desta fase procuramos argumentar que, em meio a todos os experimentos do narrador beckettiano, há um mecanismo de busca de companhia na própria narrativa, tema que atravessa diversos trabalhos de Beckett e se evidencia com a publicação de Company. A necessidade de companhia através do ato de narrar, contudo, processa-se de forma ambígua e conflituosa.This dissertation presents a reading of Samuel Beckett´s so-called second trilogy in prose comprising the works Company (1980), Ill Seen Ill Said (1981), and Worstward Ho (1983), with special focus on Company. These texts belong to the authors late prose, characterized by a mixture of genres and the intense questioning of both language and literary representation. While highlighting the specificities of this period, we argue that among all the experiments of the Beckettian narrator there is a mechanism that seeks for company within the very narrative a theme present in many of Becketts works, which is further stressed by the publication of Company. The need for company through the act of narrative, however, unfolds in an ambiguous and conflicted manner.
29
Beach, Clare. „Beckett and the institution of literature“. Thesis, University of Oxford, 2004. https://ora.ox.ac.uk/objects/uuid:32edaae3-704b-4dd6-8230-31c225fe134e.
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Beckett and the Institution of Literature investigates the evolution of Samuel Beckett's reputation over the latter half of the twentieth century, focussing on two questions: what are the institutional frameworks and operations that have effected Beckett's work, and what effect has the work had on the institution of literature? The first half of the thesis explores Beckett's relationships with his French publisher, Editions de Minuit, in the 1950s, and his English publisher, John Calder, in the 1960s. By situating Beckett in institutional and historical contexts, the thesis seeks to avoid the uncritical acceptance of Beckett's consecration that underlies so much scholarly writing on his work. Archival evidence reveals the process by which Beckett was circulated and promoted, first, to an elite avant-garde readership, and thence to a wider public, and challenges the popular conception of Beckett as utterly uninterested in publication and publicity matters. The latter half of the thesis considers the legal and promotional (particularly visual) frames of reference by which Beckett is often characterised today. It is suggested that conflicts over staging rights, and the widespread use of a uniform image of Beckett to promote his work, are instrumental both in determining and in jeopardising the work's current cultural status. The thesis argues that the relation between Beckett's work and the literary institutions that have produced it is mutually transformative, and that the work has consistently challenged, exceeded, and disrupted the institution of literature. It is proposed that there are, however, indications that the public is tiring of Beckett's now familiar classic works, and so the thesis asks why it has come about that in being canonised the work has also been domesticated, what this means for the way we have been reading Beckett's texts, and whether there is anything to be done about it.
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Tajiri, Yoshiki. „Samuel Beckett and the prosthetic body“. Thesis, Birkbeck (University of London), 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.407120.
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Caselli, Daniela. „Dante and Beckett : authority constructing authority“. Thesis, University of Reading, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.287638.
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FERREIRA, FÁBIO ALVES. „SAMUEL BECKETT: ECHOES AND RESONANCES CONTEMPORARY“. PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2015. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=25563@1.
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PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIROEsta pesquisa investiga a contemporaneidade da obra do escritor irlandês Samuel Beckett. A investigação privilegia três eixos, em três ensaios que articulam aspectos historiográficos, filosóficos e cênicos. O primeiro ensaio pensa de que forma a poética do tempo em Beckett participa do debate atual sobre o contemporâneo. O segundo ensaio, voltado para a produção televisiva de Beckett e atentando em especial às leituras que dela fez Gilles Deleuze, reflete sobre a produção de um pensamento entre, sobre ecos e ressonâncias geradas por este encontro. Por fim, o terceiro ensaio explora a recepção norteamericana da obra de Beckett, a partir da criação cênica e performática desenvolvida em parcerias com o diretor Alan Schneider, nas montagens de Not I e Rockaby, e com grupo Mabou Mines/NY, nas adaptações dos textos não teatrais The lost ones, Company, e Worstward Ho.
This research investigates the contemporary vigor of Samuel Beckett s work. It moves along three main paths, in three essays where historiographical, philosophical and scenic aspects are articulated. The first essay reflects on how Beckett s poetics of time participates in the current debate on the contemporary. The second, focusing on Beckett s plays for television and paying special attention to Gilles Deleuze s readings of it, reflects on the concept of thinking in between, on echoes and resonances generated by this powerful encounter. Finally, the third essay explores the North American reception of Beckett s work, attending to the scenic and performative creations developed in partnership with director Alan Schneider, in the productions of Not I and Rockaby, and with the Mabou Mines Group/NY, in their adaptions of The lost ones, Company, and Worstward Ho.
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Merçon, Francisco Elias Simão. „Samuel Beckett: do figurativo ao figural“. Universidade de São Paulo, 2012. http://www.teses.usp.br/teses/disponiveis/8/8139/tde-09112012-115933/.
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Companhia, publicada originalmente em inglês no ano de 1980, é uma narrativa construída na fronteira entre imaginação e enunciação por um sujeito solitário que, deitado de costas no escuro, fabula continuadamente em busca de companhia. Ela se inclui entre as narrativas de Samuel Beckett cuja trama se passa no espaço mental de seus protagonistas, na região comumente chamada de manicômio do crânio. Conhecida por características que a mantêm distante dos esquemas teóricos universais, apresenta uma abundância de programas narrativos que se anulam uns aos outros, resultando num forte clima de incerteza implicado na situação desse homem deitado de costas no escuro, protagonista da história. Contribuem para esse efeito, também, o emprego de anáforas, que não remetem a nenhuma referência segura; a hipóstase dos papéis actanciais, em que actantes se fazem passar por atores; a estruturação dos parágrafos, distribuídos sem relação lógica explícita que os articule uns aos outros; a articulação de determinados eixos semânticos (como luminosidade, solidão, subjetividade, silêncio, entre outros) sob ótica de uma sublógica da língua, que estabelece o primado das relações complexas sobre as articulações da significação pautadas em dicotomias. Com base na teoria semiótica francesa, a presente pesquisa procura demonstrar que esses elementos, que em Companhia promovem o efeito de incerteza, são decorrentes de operações sintáxicas meticulosamente organizadas pelo enunciador beckettiano. Constituem, portanto, procedimentos discursivos que, apesar do forte clima de incerteza vi mencionado, podem ser descritos por meio de análise, especialmente na articulação de sua dimensão figurativa com a dimensão profunda, a figuralidade. Ao longo da análise (desenvolvida na Segunda Parte da tese), procuramos acompanhar o contraponto das diferentes vozes entrelaçadas na trama, sem deixar de considerar os conteúdos dos episódios narrados pela voz na segunda pessoa gramatical. Desse modo, o conflito das vozes responsáveis por estabelecer o ritmo e a tensividade na narrativa está diretamente relacionado com o conteúdo desses episódios, formulados pela voz na segunda pessoa, na forma de fragmentos biográficos desarticulados uns dos outros. Por fim, ao investigar algumas questões de ordem fenomenológica envolvendo o protagonista de Companhia, apresentamos uma possível perspectiva do enfoque figural em outras obras representativas do discurso literário do século XX.Originally published in English in 1980, Company is a narrative built on the border between imagination and enunciation by a loner who, lying on his back in the dark, continuously fables in search of companionship. It is among the narratives by Samuel Beckett whose plot takes place in its protagonists mental space, in the region commonly referred to as the madhouse of the skull. Known for features that keep it distant from universal theoretical frameworks, it presents an abundance of narrative programs which nullify one other, resulting in a strong atmosphere of uncertainty involved in the situation of the man lying on his back in the dark, who is the protagonist of the story. Also contributing to this effect, there is the use of anaphoras, which do not refer to any secure reference; the hypostasis of actancial roles, in which actants pose as actors; paragraph structure, distributed without explicit logical connection that articulates one in relation to the other; the articulation of certain semantic axis (such as luminosity, loneliness, subjectivity, silence, among others) under the light of a language sublogics, which establishes the primacy of complex relationships in opposite to the articulations of signification based on dichotomies. Based on the French semiotics theory, this research seeks to demonstrate that those elements, which in Company promote the effect of uncertainty, result from syntactic operations meticulously organized by the Beckettian enunciator. They, therefore, constitute discursive procedures which, despite the strong atmosphere of uncertainty mentioned, can viii be described by means of analysis, especially in the articulation of their figurative dimension with the in-depth dimension, that is, figurality. Throughout the analysis (developed in Part II of the thesis), the attempt was to follow the counterpoint of different voices intertwined in the plot, while considering the content of the episodes narrated by the voice in the second grammatical person. Thus, the conflict of the voices responsible for setting the narratives pace and tensiveness is directly related to the content of these episodes, formulated by the voice in the second person, in the form of disjointed biographical fragments. Finally, in order to investigate some phenomenological issues involving the protagonist of Company, a possible perspective of the figural focus on other works representative of the literary discourse of the 20th century is introduced.
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Terlemez, Serpil Ekin. „Le Théâtre innommable de Samuel Beckett“. Paris 8, 2009. http://www.theses.fr/2009PA083134.
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Ce travail inclut une étude approfondie des pièces de théâtre, ainsi que des autres ouvrages et de l'auto-traduction de Samuel Barclay Beckett qui veut rompre avec le théâtre qui "plaît". C’est une analyse de l'œuvre d'un poète épris de ses langues, aimant jouer avec les mots sur la route de la recherche de sa singularité. Beckett cherche à trouver une nouvelle musique dans l'autre langue. Son auto-traduction surgit comme une flèche qui va droit au but. Les mots qu'il prend pour des notes de musique, sont manipulés par lui comme s'ils étaient des marionnettes. L'auto-traduction de Beckett se détourne du polyglottisme et se fixe au bilinguisme. Son écriture ressemble à la musique de jazz, à cette nouvelle musique de la valeur positive du rythme qui réunit plusieurs courants. Son théâtre est ce creuset poétique-culturel-linguistique-philosophique nourri par plusieurs croisements culturels, linguistiques, philosophique, poétique, littéraires. Ses dons de poète, de sensibilité, sa connaissance intime des arts, de la peinture et de la musique, son adresse intellectuelle, son ingéniosité de faire une bonne synthèse entre la composante visuelle et la composante sonore, textuelle et musicale, lui permettent de raturer les lignes de démarcation des genres artistiques. L'identité du théâtre beckettien émerge de sa différence et de sa volonté de se dépasser ainsi que de se libérer de l'obsession de se refermerThis thesis consists of a detailed study of the plays and other self-translated works of Samuel Barclay Beckett that sought to break with the tradition of theatre that entertains. It is an analysis of the poet's love of languages evident in his distinct wordcraft deployed in the search of a unique idea. Beckett was trying to find a new melody or theme when translating. His self-translations aim above all to keep true to the essence or reason of his works. He treats the individual words as musical notes that are totally subordinate to the themes, which he manipulates as a puppeteer controls his puppets. The writing of Beckett most resembles jazz music with its positive emphasis on rhythms that fuse various themes. His plays create a poetic, cultural, linguistic, and philosophical fusion enriched by the cross-fertilisation between these elements. The identity of the works of Beckett emerges from this “synthesis of differences” and from his desire to exceed himself and to free himself of his urge to shield his inner thoughts
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Clément, Sarah. „Ecritures avides : Beckett, Des Forêts, Bernhard“. Paris 7, 2013. http://www.theses.fr/2013PA070078.
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À travers une lecture transversale de trois soliloques, Molloy, Le Bavard et Béton, cette thèse analyse la notion d'avidité, intrinsèquement liée à celles de copia rhétorique, d'abondance et de prolixité, comme un principe essentiel du travail de l'écriture de Beckett, des Forêts et Bernhard. Que l'avidité se manifeste sous la forme d'une compulsion de répétition ou d'un bavardage comme excès du dire, elle révèle la vacuité du sujet impuissant, incarne la trace de son sentiment de médiocrité, mais le pousse aussi en avant de lui-même. Pris dans une tension entre le délitement du personnage et sa logorrhée frénétique, le récit avide manifeste un goût pour l'usage de la répétition, pour la phrase longue et asyntaxique, mais aussi une propension à l'invective et l'agressivité, à la fragmentation de la prose, tout comme à la multiplication des oralitèmes et des pratiques intertextuelles. Ces modalités variées que décline le discours copieux témoignent tant d'un appétit pour les mots, que d'une volonté de déconstruire les fondements traditionnels du récit. Par leur force de déflagration, elles peuvent produire un effet d'absorption du lecteur, dont le rapport hors-norme, excessif au texte repose sur un mélange d'affects parfois contradictoires — fascination, attraction, contamination ou, à l'inverse, dégoût, nausée, détestation. Inflation des jeux métatextuels, propagation diffuse d'une ironie prophylactique, ou encore inclusion et rejet agressifs du lecteur, constituent autant de processus de métabolisation du texte qui nous engagent dans une expérience-limite, dont la puissance repose en grande partie sur la déstabilisation des interprétationsThrough a cross-reading of three soliloquies, Molloy, Le Bavard and Béton, I propose to analyse the notion of « avidity » -quintessentially linked to those of rhetorical copia, abundance and verbosity- as an essential principle in the writing of Beckett, des Forêts and Bernhard. Whether avidity appears in the forms of compulsive repetition or of chatter as a mariner of overexpression, it reveals the vacuity of the powerless subjects, it embodies the lingering mediocrity which they feel, while it also pushes them forward, beyond the self. In the grasp of tensions between the crumbling characters and their frenzied logorrhea, the avid narrative demonstrates a taste for the use of repetitions and for long and asyntactic sentences, as well as it displays a strong tendency towards abuse and aggressiveness, a fragmented prose, an abundance of personal oral structures, and intertextual practices. These diverse modes, recurrent in the copious discourse, indicate an appetite for words, as well as a will to deconstruct the traditional foundations of narratives. Their strong blast can induce the absorption of these readers, whose abnormal, excessive relation to the text relies on a mixture of somehow contradictory affects —fascination, attraction, contamination, or, conversely, disgust, nausea, hatred. The text is metabolized through a series of processes such as the inflation of metatextual play, a diffusely propagated prophylactic irony, or an aggressive inclusion and rejection of the reader. Such processes invest readers in a borderline experience, the might of which mainly relies on unsettled interpretations
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Drew, Anne Marie. „Tragicomic Fools in Shakespeare and Beckett“. The Ohio State University, 1986. http://rave.ohiolink.edu/etdc/view?acc_num=osu1389182005.
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Yang, Gi Chan. „Etude littéraire de Beckett et d'O'Neill“. Paris 3, 1999. http://www.theses.fr/1999PA030086.
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Cette etude est basee sur l'esthetique moderne, dont la decontextualisation et la recontextualisation d'une oeuvre a travers la reception d'une oeuvre par le spectateur/lecteur. En posant la question de l'objectivite dans l'oeuvre, elle permet de definir les diverses tendances litteraires d'aujourd'hui et specifiquement dans le domaine du theatre contemporain. Cette etude concerne aussi la question sur la litterarite d'une oeuvre dans le vingtieme siecle, pour arriver au jugement clair sur categorisation d'une oeuvre comme litteraire et non-litteraire. Elle met en question le theatre moderne qu'on s'appelle le nouveau theatre, qui a domine la scene dramatique du vingtieme siecle. Ce travail en premier temps met en question l'effet de l'idee de la modernite dans le domaine litteraire et specifiquement dans le genre theatral. En deuxieme temps, ce travail concerne la comparaison entre le theatre avant garde de beckett et le theatre expressionniste d'o'neill. Pour conclure l'etude mettent en comparaison en attendant godot et the iceman cometh pour avoir une meilleure comprehension des differences et des similitudes qu'on temoigne dans les deux phenomenes theatrauxThis study is based on modern aesthetics theory which defines itself through the conception of decontextualisation and recontextualisation of an literary text or spectacle. By posing the question of objectivity in literary texts or spectacles one can define the tendances in the domaine of literature today. This study also focus on the never ending question of defining what is and is not a literary text and how to judge and classifly a text or spectacle as that belonging to literature. This study focus on the modem theater which have dominated the stage during the twentith century. First, the effet of the idea concerning modernisime is taken into account in all its facettes, and how it has affected the literary field in this century. Secondly, the difference and the similarities of the two theaters concerned here is taken into account to define the modem theater and its definitions, finally the third part focus on a direct comparaison between en attendant godot and the iceman cometh to discerne more clearly the differences and the similarities that one finds in the two theaters
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Hepburn, Kingsley. „Samuel Beckett : the aesthetics of shortness“. Thesis, Ulster University, 2015. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.692823.
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'Samuel Beckett: The Aesthetics of Shortness' sets out to answer the question: What does Beckett's prose achieve through its convention defying approach to expression? The project explores this phenomenon through an examination of a range of Beckett's prose, which includes a selection of less well-known texts by the author. Seemingly, the further from 'convention' a text is the less likely it is to attract the attention of critics. By prioritising these texts the project contributes to knowledge by inviting discussion of those that have generated less critical debate, whilst also framing the more predominant texts within the wider Beckett oeuvre. The thesis uses a narratological methodology to provide a theoretical vocabulary for distinguishing the component parts of fiction which Beckett reduces and removes through his experimentation. It argues that the fewer narrative components a text has the more unconventional it is and, by extension, the more challenging it is to read. Nevertheless, by using aesthetic theory it is possible to assess the success of each text as a piece of literature. These appraisals form the basis of the investigation. The research question is posed to each of the texts analysed in the main body of the thesis and a summary of the findings is provided in the conclusion. The thesis found that the success of each artwork, in relation to traditional models of aesthetic value, varied considerably. The contrast between Beckett's early work in the conventional modern short story in English is contrasted with his subsequent transition into aesthetically short postmodern stories in French.
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Bailey, Iain Andrew Aitchison. „Samuel Beckett, intertextuality, and the Bible“. Thesis, University of Manchester, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.520492.
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This thesis takes up the question of intertextuality between the Bible and Samuel Beckett’s oeuvre. It starts with the contention that this relationship has acquired something of the status of a commonplace within Beckett studies; not that substantial scholarly works have not widened out considerably the way that this is understood, but in Ruby Cohn’s words: ‘today every Beckett student knows his literary allegiances—the Bible and Dante, above all’. The Bible’s status for Beckett comes to be treated as a matter of common sense. In response to this critical situation, one aspect of the thesis is to disclose and analyse previously overlooked examples of the Bible’s presence in Beckett’s work, engaging with hitherto occluded parts of the oeuvre (unpublished manuscript texts and the French works, for example). But at the same time, it looks to critically question what is at stake in the claim that the Bible is a matter of common knowledge for Beckett. The methodology put to work in the thesis always begins in close readings of Beckett’s texts, and also of the discourses surrounding his oeuvre. In doing so, it resists an idea that close reading entails a retreat into an ahistorical formalism; rather, it argues for an historicism that does not simply rest on broad notions of orthodoxy and shared values. Rather than taking for granted a common sense idea of what the Bible is (even in the limited sense of what it is for Beckett), the thesis argues for its instability as a ‘text’ across more than one language. Nor, I argue, does Beckett’s oeuvre fix down a particular, single notion of the Bible as the relevant one for its own purposes (the King James Bible, for instance); on the contrary, his work is deeply engaged with the Bible in all its complex, multilingual textuality. The thesis contends that the particular relationship between Beckett and the Bible poses distinctive problems for the kinds of epistemological value invested in a certain understanding of intertextuality; indeed, I look throughout to interrogate the authority invested in familiarity—both that of the author and that of the critic. Following this thread, the thesis also undertakes a sustained engagement with the way in which archival materials are used and valued by a critical practice interested in questions of intertextuality. Through this, I look to do two things at once: both to respond to the extraordinary value of archival documentation for opening up new possibilities within Beckett studies, and at the same time to analyse closely the extents and limitations of what can be claimed on the basis of such analyses. In working through these kinds of question, and responding to the particular exigencies produced by the Bible in relation to the Beckett oeuvre, I also engage with critical issues having to do with theories of affect, the notion of style (asking what it means to adduce some piece of text as ‘biblical’ or ‘Beckettian’), and the analysis of intertextuality in performance. Through all of these readings, the thesis is interested in what it means to read intertextuality in relation to a Beckett ‘oeuvre’, when the ambit of that oeuvre, its internal interrelationships and its points of connection with the world, constantly shift and reformulate themselves. Rather than treating the Bible as a thread that can be safely followed from one end of the oeuvre to the other, guaranteeing a continuity that remains free from the complexities, irruptions and discontinuities performed in Beckett’s texts, the thesis argues that biblical intertextuality is actively involved in those complex Beckettian movements.
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Hennessy, Susan. „Beckett and being : a phenomenological ontology“. Thesis, Loughborough University, 2015. https://dspace.lboro.ac.uk/2134/19561.
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This thesis seeks to re-examine the philosophies of some key French thinkers, as it places these alongside both historical and contemporary theory and criticism, in order to launch a new phenomenological investigation of the theatrical and literary works of Samuel Beckett. The writings of Jean-Paul Sartre and his contemporaries were once applied to the Beckett canon in order that this might be placed firmly in its historical, post-war context, and the so-called French existentialists contributed greatly, though unwittingly, to the birth of that now rather dated conceptual framework which we have come to know as The Theatre of the Absurd. This study, rather than enforcing notions of a theatrical age of nihilism, draws upon the theories of Sartre, Simone de Beauvoir, and peers, not in an attempt to dwell upon the meaning(lessness) of being that is the focus of traditional existentialist analyses, but so that an ontology of the Beckett character can be established. Over the course of the five chapters which comprise this work, I aim to change the focus from that which has been categorised as existential and/or absurd in Beckett s oeuvre, to the phenomenological points of interest that are manifest in that same. I will demonstrate, for instance, that by employing Sartre s lengthy and intricate exposition of being-for-itself as a model for the human consciousness, and using this as something of a touchstone as both complementary and competing philosophies are also considered (including the subjective idealism of Bishop Berkeley and the deconstruction of Jacques Derrida), we can begin to see some of the complexities inherent in the diverse modes of human being that can be discerned in Beckett s works. Existentialism has become, in reality, no more than the once-popular, historically-situated face of phenomenological philosophies which actually deal not so much in the overt pessimism that they (and Beckett) are charged with, but in explicating those facets of existence that we recognise as constitutive of the human experience; our being as both mind and body; our presence in temporality; our religious and/or spiritual being; our sense of self and other ; and our gendered being or, more importantly, the lived, bodily experience of being a woman, the second sex , in a patriarchal society. By exploring the regions of being that are made visible in the Beckettian landscape, this work layers phenomenological philosophy with, amongst others, philosophies of theatre aesthetics, of mind and of gender, and offers forth theories that contribute to the development of research in the fields of Beckett and phenomenology/existentialism and Beckett and women/gender/feminism , whilst adding something both original and tangible to the vast spectrum that encompasses Beckett and philosophy , even theatre/literature and philosophy , as a whole.
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Fries-Dieckmann, Marion. „Samuel Beckett und die deutsche Sprache : eine Untersuchung der deutschen Übersetzungen des dramatischen Werks /“. Trier : WVT Wiss. Verl, 2007. http://deposit.d-nb.de/cgi-bin/dokserv?id=2914466&prov=M&dokv̲ar=1&doke̲xt=htm.
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Vasconcellos, Cláudia Maria de. „Figuras infernais no teatro de Samuel Beckett“. Universidade de São Paulo, 2009. http://www.teses.usp.br/teses/disponiveis/8/8151/tde-19112009-154034/.
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A tese analisa as cinco primeiras peças teatrais de Beckett - Esperando Godot, Fim de Partida, A Última Fita de Krapp, Dias Felizes e Peça e procura identificar seus procedimentos formais básicos, chamados de figuras infernais. Na esteira de Adorno, o estudo da forma aqui realizado encontra na obra de Beckett uma reflexão das configurações sociais e do estado paradoxal da arte dentro deste quadro. As figuras infernais circularidade, confinamento, paradoxo, inconcludência, intermitência, dissimulação e coatividade erigemse também como instrumental crítico para a compreensão do teatro subsecutivo de Beckett, bem como de outros gêneros explorados pelo autor.The thesis analyses the first five plays written by Beckett Waiting for Godot, Endgame, Krapps Last Tape, Happy Days and Play aiming to identify their fundamental formal procedures, which we call here hellish figures. Inspired by Adorno, our study of form finds in the work of Beckett a reflection about the social configuration and the paradoxal state of the Arts during his time. The hellish figures circularity, confinement, paradox, inconclusiveness, interminttence, dissimulation and enforcement can be used as a critical tool to understand Becketts other plays and writings.
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Weiss, Katherine. „“Samuel Beckett and History,” “Samuel Beckett and the Art of Failure,” and “Modern American Drama and the Greeks”“. Digital Commons @ East Tennessee State University, 2018. https://dc.etsu.edu/etsu-works/5596.
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Auad, Pedro Henrique Trindade Kalil. „Para além do movimento: Samuel Beckett, Chris Marker e Marcelo Mirisola: Samuel Beckett; Chris Marker e Marcelo Mirisola“. Universidade Federal de Minas Gerais, 2010. http://hdl.handle.net/1843/ECAP-829FGH.
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Nesta dissertação estuda-se a aproximação do cinema e da literatura através do estudo de suas construções temporais, tendo como conceito operacional a imagem-tempo, conceito criado a partir de estudos sobre o cinema realizados por Gilles Deleuze. Através da análise das obras A Última Gravação de Samuel Beckett, La Jetée de Chris Marker, e Joana a Contragosto de Marcelo Mirisola, busca-se estabelecer relações entre diferentes sistemas semióticos. A pesquisa abrange uma delimitação do conceito imagem-tempo estabelecendo suas características. A partir da análise das obras estabelecidas para este trabalho é localizada a ocorrência do conceito imagem-tempo não somente no cinema, mas também na literatura. Essa pesquisa também aborda a ligação entre os autores aqui estudados com o escritor francês Marcel Proust, demonstrando conexões entre a construção temporal do cinema, do texto dramático e da prosa.
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Sturm, Oliver. „Der letzte Satz der letzten Seite ein letztes Mal : der alte Beckett /“. Hamburg : Europ. Verl.-Anst, 1994. http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&doc_number=006429746&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA.
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Smith, Russell. „What matter who's speaking : Samuel Beckett and the author-function /“. Title page, contents and abstract only, 2000. http://web4.library.adelaide.edu.au/theses/09PH/09phs658.pdf.
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Hartel, Gabriele. „" ... the eyes take over ..." - Samuel Becketts Weg zum "gesagten Bild" : eine Untersuchung von "The lost ones", "Ill Seen Ill Said" und "Stirrings Still" im Kontext der visuellen Kunst /“. Berlin : Wissenschaftlicher Verlag Trier, 2004. http://catalogue.bnf.fr/ark:/12148/cb40207842n.
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Kizilcik, Hale Hatice. „Jungian Archetypes In Samuel Beckett'“. Master's thesis, METU, 2005. http://etd.lib.metu.edu.tr/upload/12606397/index.pdf.
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This thesis analyses the Jungian archetypes employed in Beckett's trilogy. It begins with an overview of Jungian archetypes and the relation of these archetypes to the fundamental themes dealt with in Beckett'
s work. The thesis then asserts that some archetypal features occur almost obsessively and are further clearly implicated in the main themes of the trilogy. The central archetypal patterns that frequently appear in the novel are the hero'
s quest, return to paradise and rebirth. This dissertation is therefore primarily organised around these archetypes, and Beckett'
s use of these archetypal motifs to reinforce his black philosophy will be illustrated and exemplified in the study.
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Kaya, Hilal. „Postmodernist And Poststructuralist Elements In Samuel Beckett“. Master's thesis, METU, 2009. http://etd.lib.metu.edu.tr/upload/3/12610556/index.pdf.
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The aim of this thesis is to analyse the postmodernist and poststructuralist elements in Samuel Beckett&rsquos The Trilogy: Molloy, Malone Dies, The Unnamable and Oguz Atay&rsquo
s Tehlikeli Oyunlar. One text from English literature and one from Turkish literature will be compared. In Beckett&rsquo
s and Atay&rsquo
s novels the main issues of postmodernism and poststructuralism such as subject-object dialectic, the metaphysics of presence, the correspondence theory of truth, origin, self, language, intertextuality and metafiction will be analysed. Both Beckett and Atay problematize the very nature of narrative and display the inefficiency of language, and they successfully create their own &ldquo
expression of interface&rdquo
. That is, Atay and Beckett do not try to imitate the &ldquo
natural world&rdquo
to reach &ldquo
meaning&rdquo
or &ldquo
reality&rdquo
on the contrary, they create a world for the play of signifiers that can be called &lsquo
interface&rsquo
. In other words, both Beckett and Atay create a new sphere to show this problem of expression. This new sphere, which is narrated in their novels, is what the thesis will highlight.
50
Paproth, Matthew Walker. „Modernist authors, postmodernist writers : Joyce, Beckett, Rushdie /“. Available to subscribers only, 2006. http://proquest.umi.com/pqdweb?did=1147179731&sid=16&Fmt=2&clientId=1509&RQT=309&VName=PQD.
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