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1
Wojtyna, Miłosz. „Libera’s Beckett“. Tekstualia 4, Nr. 55 (18.12.2019): 95–108. http://dx.doi.org/10.5604/01.3001.0013.3470.
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Antoni Libera, a Beckett ambassador, a translator and a writer himself, has produced a complex network of references to Beckett’s work and biography. This article summarizes aspects of the author-author relationship (anxiety of infl uence, intertextuality, stylistic inspirations, biographical nuances, phantasies, infatuation, anticelebritism) that are revealed in Libera’s writing, as well as claims that the perception of Becket in Poland has been strongly affected by Libera’s writing and biography.
2
Bexte, Peter. „Beckett im Labor“. Zeitschrift für Ästhetik und Allgemeine Kunstwissenschaft 57, Nr. 2 (2012): 56–67. http://dx.doi.org/10.28937/1000107593.
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Samuel Becketts künstlerische und Hans-Jörg Rheinbergers wissenschaftshistorische Arbeiten mögen völlig unterschiedlich wirken. Überraschenderweise aber zeigen sich beide durchdrungen von einer speziellen grammatikalischen Form: dem Futur II. Die Grammatik der vollendeten Zukunft rührt an Freuds schwierigen Begriff der Nachträglichkeit. Die skeptische Frage lautet, ob man das Ende einer Serie bestimmen kann, in der man noch steckt – sei es das Leben (Beckett) oder seien es Experimente (Rheinberger). In all diesen Fällen ist es prinzipiell ausgeschlossen, das Ende zu bestimmen. Es handelt sich um ein typisches Beckett-Problem, das Rheinberger in die Wissenschaftsgeschichte eingetragen hat. Die Schlussfolgerung lautet: »Am Ende« wird die Wissenschaftsgeschichte einer Beckett-Story nicht unähnlich geworden sein.<br><br>What Samuel Beckett did in art seems to be far away from what Hans-Jörg Rheinberger did in the history of science. Surprisingly enough both share a fascination for a quite special grammatical form: the future perfect. Using the future perfect touches upon Freud’s tricky notion of deferred action (»Nachträglichkeit«). A certain skepticism concerning the structure of a series is implied whenever an observer tries to look back at what he/she is still doing – for instance living (Beckett) or experimenting (Rheinberger). In all these cases it is principally impossible to know if a certain series is finished or is still going on. It may be a typical problem of Beckett’s; but Rheinberger has raised it for writing history of science. The conclusion is simple: »In the end« the history of science will have taken the appearance of a Beckett story.
3
White, Kathryn. „Why ‘Teach’ Beckett?“ Journal of Beckett Studies 29, Nr. 1 (April 2020): 27–41. http://dx.doi.org/10.3366/jobs.2020.0281.
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Samuel Beckett's impact on literature and theatre is unquestionable but what is the impact of his work within the classroom and how do we quantify the effect on student minds? With an emphasis on why, as opposed to how, this article investigates the rationale for teaching Beckett in Higher Education. It raises questions about curriculum design and delivery, and the pedagogical motivation for exposing students to Beckett's work in the twenty-first century. Adopting a qualitative approach from the positionality of the Beckett educator within an Anglophone-Irish context, the phenomenological accounts of teaching Beckett detailed here offer some substantive observations regarding the study of Beckett and education. Providing insight into pedagogical practice in relation to Beckett from literary and practice-based perspectives, each account demonstrates how Beckett's work is effective in creating significant learning experiences which have application for the wider field of literary pedagogy at higher education level.
4
Weiss, Katherine. „James Joyce and Sergei Eisenstein: Haunting Samuel Beckett's Film“. Journal of Beckett Studies 21, Nr. 2 (September 2012): 181–92. http://dx.doi.org/10.3366/jobs.2012.0045.
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Samuel Beckett's Film has been the focus of several articles in the past decade. While current investigations of Beckett's film are diverse, what most of them share is their dependence on biographical data to support their readings. Many scholars who have written on Beckett's failed cinematic excursion, for example, point to Beckett's letter of 1936 to Sergei Eisenstein. However, the link between Beckett's interest in film and his admiration for James Joyce has sadly been overlooked. Both Irish writers saw the artistic possibilities in film and both admired the Russian silent film legend, Sergei Eisenstein. Although there is no record of Joyce and Beckett discussing cinema or of Beckett knowing about Joyce's meeting with Eisenstein in 1929, it seems unlikely that Beckett would not have known something about these meetings or Joyce's much earlier film enterprise, the Volta. By re-examining Film and speculating on the possible three way connections between Eisenstein, Joyce and Beckett, I wish to add a footnote to Beckett studies which hopefully will lead others to wander on the Beckett-Joyce-Eisenstein trail and which will open up further discussions of Film. Beckett's film is haunted by the memory of his friendship with James Joyce and his admiration for Eisenstein's talent, both of which are visible in the screen images and theme of Film.
5
Van Hulle, Dirk, und Vincent Neyt. „O projekcie digitalizacji rękopisów Samuela Becketta: „Beckett Digital Manuscript Project”“. Sztuka Edycji 23, Nr. 1 (02.09.2023): 29–33. http://dx.doi.org/10.12775/se.2023.0003.
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W artykule opisano Beckett Digital Manuscript Project, którego celem jest zgromadzenie rękopisów dzieł Samuela Becketta w formie cyfrowej i ułatwienie prowadzenia badań genetycznych. W Beckett Digital Manuscript Project udostępniono więc cyfrowe faksymilia dokumentów, które obecnie są przechowywane w różnych bibliotekach na świecie, a także transkrypcje rękopisów Becketta, narzędzia do porównywania wersji dwujęzycznych i genetycznych, specjalną wyszukiwarkę oraz szczegółowe opisy związane z genezą dzieł.
6
Anzieu, Didier. „Beckett et Bion“. Revue de psychothérapie psychanalytique de groupe 5, Nr. 1 (1986): 21–30. http://dx.doi.org/10.3406/rppg.1986.923.
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Beckett and Bion. Beckett underwent psychoanalysis for two years (1934-35) with Bion in London before emigrating to Paris where he began, in French, his most significant literary work as a writer of fiction. The author of this article explores Beckett’s works for the trace of his interrupted psychoanalytical experience, and more particularly for the transposition of the psychonalytical situation and the working through of negative transference. Furthermore, it can be seen that Beckett’s heroes and narrators often anticipate ideas and formulae which can later be found in Bion. The author thus reaches the hypothesis that Bion was profoundly implicated in the psychoanalysis of Beckett, in whom found several of his characteristics (cynicism, aloofness, depression). Bion and Beckett probably represented for each other, mutually, the secret imaginary twin.
7
Nasir, Muhammad Saeed, Muhammad Riaz und Sadia Rahim. „Crossing the Borders: Beckett in the Eastern World“. Global Language Review V, Nr. II (30.06.2020): 145–50. http://dx.doi.org/10.31703/glr.2020(v-ii).15.
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Beckettian scholars are of the view that Beckett is an autonomous artist and has never been a religious scholar, so his works should be read as an artistic expression without using any 'religious barometer. Beckett's obsessed quest about theology and his selected plethora of references about Christianity and God almost always capture the attention of critics by encouraging them to read Beckett through a religious angle. Such a stance of Beckett leads the scholars to categorise him as a secular writer who freely deals with religious themes. It is interesting to note that most of Beckett's religious scholarship revolves around Christianity and Western critical traditions. This means that Beckett's connection with other religions or religious traditions has been overlooked. This paper examines Beckett's attachment with religions, namely Buddhism, Hinduism, and Taoism. In conclusion, the paper advocates that Beckett was aware of Eastern religious traditions.
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Feldman, Matthew. „Beckett and Popper, Or, "What Stink of Artifice": Some Notes on Methodology, Falsifiability, and Criticism in Beckett Studies“. Samuel Beckett Today / Aujourd'hui 16, Nr. 1 (26.06.2006): 373–91. http://dx.doi.org/10.1163/18757405-016001039.
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The following attempts to identify an implicit theoretical divergence already existing in Beckett Studies. Contrasting methodologies, albeit oftentimes implicitly, continue to approach Beckett's writing from markedly different perspectives. One contributing factor to this dilemma is found in Beckett's art and (now archived) supporting materials, which shall also be considered. This article concludes that theorising from a position of empirical accuracy, especially in Beckett Studies, is inherently preferable in demonstrably increasing scholarly knowledge of our shared subject, Samuel Beckett.
9
Meihuizen, N. „Beckett and Coetzee: The aesthetics of insularity“. Literator 17, Nr. 1 (30.04.1996): 143–52. http://dx.doi.org/10.4102/lit.v17i1.590.
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The permutations of sentence elements in Beckett's Watt have the impersonality (almost) of mathematics. The variations of combinations of the same elements in certain sections of the book could have been performed by a computer. It is noteworthy that J.M. Coetzee indeed subjects Beckett’s work to computer analysis, as if he responds to aspects of it by mirroring in his approach to it the essence of its automatism/autism/insularity. Coetzee’s own insularity, though, takes its bearing primarily from the socio-political state; Beckett’s, if linked to this, primarily from the individual estranged by the contemporary world. But Beckett shares with Coetzee the informing thrift necessary for the establishment of an aesthetics of insularity.
10
Greaney, John. „Beckett and/in Context: A Review of James McNaughton's Samuel Beckett and the Politics of Aftermath“. Journal of Modern Literature 46, Nr. 3 (März 2023): 176–79. http://dx.doi.org/10.2979/jmodelite.46.3.12.
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Abstract: Samuel Beckett and the Politics of Aftermath presents a historicist and materialist analysis of Samuel Beckett's work. Building on the historicist turn in modernist studies, as well as Irish studies and postcolonial paradigms, it develops new terms through which we can understand Beckett's political aesthetic. McNaughton performs a series of close readings of the Beckett archive and corpus to reveal a politically aware and committed Beckett, one whose writing is both complicit with and reacting against the political ideologies and failures of his time.
11
Greaney, John. „Beckett and/in Context: A Review of James McNaughton's Samuel Beckett and the Politics of Aftermath“. Journal of Modern Literature 46, Nr. 3 (März 2023): 176–79. http://dx.doi.org/10.2979/jml.2023.a901939.
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Abstract: Samuel Beckett and the Politics of Aftermath presents a historicist and materialist analysis of Samuel Beckett's work. Building on the historicist turn in modernist studies, as well as Irish studies and postcolonial paradigms, it develops new terms through which we can understand Beckett's political aesthetic. McNaughton performs a series of close readings of the Beckett archive and corpus to reveal a politically aware and committed Beckett, one whose writing is both complicit with and reacting against the political ideologies and failures of his time.
12
Garre García, Mar. „The Translation of Samuel Beckett’s 'mirlitonnades' by Three Spanish Authors“. Complutense Journal of English Studies 28 (24.11.2020): 71–80. http://dx.doi.org/10.5209/cjes.65523.
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The mirlitonnades are short poems written by Samuel Beckett between 1976 and 1978. These minimalistic pieces reflect the poetic idiosyncrasies in his literary career and also in his personal life. Although Spanish literary culture has not been significantly affected by the work of Samuel Beckett —with some notable exceptions— it is surprising that the mirlitonnades have been translated five times into Spanish. In this study, I will focus on three of those versions —Loreto Casado (1998), Jenaro Talens (2000) and José Luis Reina Palazón (2014)— with the objective of identifying common sources of interest for these translators in Beckett's poems. Attention will also be paid to the main points of convergence among the different versions, as well as their dissimilarities. In addition, the predominant methods that they adopted in translating the mirlitonnades will be examined. The study of their lexical choices will ultimately reveal different approaches to Beckett’s work, as well as the various images of Beckett as a poet that Spanish readers might have acquired through each of these versions.
13
Van Hulle, Dirk. „Beckett's Principle of Reversibility: Chiasmus and the “Shape of Ideas”“. Samuel Beckett Today / Aujourd'hui 21, Nr. 1 (01.02.2010): 179–92. http://dx.doi.org/10.1163/18757405-021001013.
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As a tribute to Marius Buning, in his capacity as Joyce and Beckett scholar, this article starts from the -shape on the page of the Book of Kells, discussed in Joyce's . This -shape is relevant to Beckett's treatment of the Manichaean separation of light and darkness in . Beckett's notes on this “wild stuff” from the reveal a chiastic “shape of ideas” that mattered to both Joyce and Beckett. But whereas Joyce employed the chiasmus as a stylistic device to mark his characters' epiphanies, Beckett turned it into a structural principle of reversibility.
14
Malufe, Annita Costa. „A repetição em Beckett e Deleuze“. Eutomia 1, Nr. 20 (19.02.2018): 153. http://dx.doi.org/10.19134/eutomia-v1i20p153-171.
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Partindo da relação entre a literatura de Samuel Beckett e a filosofia de Gilles Deleuze, o artigo tem como objetivo discutir o papel da repetição na escrita de Beckett, não somente como procedimento técnico ou retórico, mas como parte de seu projeto poético mais amplo. Para tanto, parte-se da constatação dos diálogos existentes entre as obras dos autores, e de seu projeto comum de subversão da representação, para se chegar ao argumento de que a repetição, que se faz mais e mais presente no estilo maduro de Beckett, consiste em uma repetição do diferente, pensada nos termos propostos por Deleuze.Palavras-chave: Samuel Beckett; Gilles Deleuze; Repetição; Diferença.Abstract: This article aims to discuss the role of repetition procedure in Samuel Beckett’s writings as a part of his major poetic project. In order to do that, we start from dialogues between Beckett’s literature and Gilles Deleuze philosophy, specially their common aim of the representation subversion. Our objective is to argument that the repetition, which is more and more present in Beckett’s style, consists in a repetition of the different, conceived in Deleuze’s terms.Key words: Samuel Beckett; Gilles Deleuze; Repetition; Difference.
15
Phillips, Holly. „‘What I want is the straws, flotsam, etc.’: Beckett and the Nominalist Ethic of Humility“. Journal of Beckett Studies 25, Nr. 1 (April 2016): 56–77. http://dx.doi.org/10.3366/jobs.2016.0156.
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In the ‘German Letter’ of 1937 Beckett hints that a ‘nominalist irony’ may be a necessary stage in his ultimate aim ‘to get at the things (or the Nothingness) behind language’. As Beckett's letter attests, the perennial debate between Nominalism and Realism reached its height in the Scholastic period. Matthew Feldman has shown convincingly that Beckett's own ‘Philosophy Notes’ from the early 1930s onwards revolve specifically around the doctrine of Nominalism. With its internal threats of atheism, pessimism, and nihilism, Nominalism certainly seems like a good fit for Beckett. However, aligning Beckett too closely with Nominalism obscures both the ‘irony’ that his letter shackles to the term, and the fact that Beckett always observed the oxymoronic duties of a ‘systematic sceptic’. Beckett could no more accept the ‘authentic’ particular, than he could the ‘transcendent’ universal. However, far from observing the silence of this mute impasse between the particular and universal, Beckett felt keenly the obligation to express. This essay explores how Beckett transformed his meticulous study of the controversy of universals into an aesthetic strategy: the Nominalist ethic. Examining text and manuscript, this essay argues that Beckett's growing sense of humility, shaped by his reading on Christian mystic Thomas à Kempis' humilitas, encouraged him to embrace Nominalist particulars (the straws, flotsam, births, deaths etc.) as entities of the lowest ontological kind. In the bare particulars of the Nominalist ethic he found a minimally acceptable literary method of going on, without going on. This essay will address the three main ways that the Nominalist ethic manifests in Beckett's writing: in his pronounced linguistic scepticism, in his attack on anthropomorphism, and, finally, in the casual inertness that is a as a condition of his writing.
16
Tokarev, Dimitri. „Samuel Beckett Et La Russie“. Samuel Beckett Today / Aujourd'hui 17, Nr. 1 (01.11.2007): 83–96. http://dx.doi.org/10.1163/18757405-017001006.
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We know that Beckett had read some Russian authors of the 19th century who could have influenced his own works. More concretely, he was interested in the art of several personages of the Soviet and Russian cultural life. Another aspect of the same theme concerns the perception of Beckett's texts in Russia from the 1950 and up to our days. Thus, the article treats of the followings subjects : Beckett and the Russian classical literature ; Dostoevsky ; by Gontcharov ; by Tourgueniev ; the Russian 'meetings' of Beckett : Eisenstein, Stravinsky, Pasternak, sculptor Vadim Sidur ; Beckett and the representatives of the Russian 'underground' literature of the 1950–1970 : Joseph Brodsky ; Russian translations of Beckett : how to translate Beckett in Russian? ; theatre representations of Beckett plays in Russia. Finally, we analyze from the typological point of view the affinities between the works of Beckett and Daniil Harms (1905–1942), Russian poet, playwright and writer of the 1920-1930 who is often considered by critics an absurd author.
17
Caselli, Daniela. „The Promise of Dante in the Beckett Manuscripts“. Samuel Beckett Today / Aujourd'hui 16, Nr. 1 (26.06.2006): 237–57. http://dx.doi.org/10.1163/18757405-016001032.
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This reading of Dante points out parallels and correspondences among Beckett's different manuscripts and published works, and reconsiders the role of manuscripts in the Beckett . It interprets manuscripts not as on the margin of the Beckett corpus, but as part of the poetics of marginality central to the Beckett canon. RUL MS3000 promises to keep the "whole Dantesque analogy out of sight". Moving from the teasing promise to do so, this study will analyse the interaction between Dante's presence and absence in these Beckett manuscripts.
18
Bryden, Mary. „Beckett, Maritain, and Merton: The Negative Way“. Samuel Beckett Today / Aujourd'hui 21, Nr. 1 (01.02.2010): 45–58. http://dx.doi.org/10.1163/18757405-021001004.
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This essay begins by acknowledging Marius Buning's major contribution to understandings of Beckett's work in relation to negative theology. After situating the apophatic tradition as Beckett encountered it, the essay focuses on Thomas Merton (poet, writer, and Trappist monk), the fortieth anniversary of whose death was commemorated in 2008. Merton was acutely responsive to Beckett's writing, discerning in parts of it a radical ascesis and apophaticism. In analysing Merton's nuanced attitude to Beckett, the discussion draws in the figure of Jacques Maritain, demonstrating the divergences between Merton and Beckett in relation to this prominent French scholar of Thomas Aquinas.
19
Frost, Everett C. „Beckett and Geulincx's Ethics: “...my Geulincx could only be a literary fantasia”“. Samuel Beckett Today / Aujourd'hui 24, Nr. 1 (01.12.2012): 171–86. http://dx.doi.org/10.1163/18757405-024001011.
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This essay continues – and in part relies upon – my discussion of Beckett's dialogue with the early modern occasionalist Arnold Geulincx begun in “Beckett and Geulincx's Metaphysics” (appearing separately in this issue). It focuses on Beckett's reading of Geulincx's as reflected in his notes included in the collection of manuscripts. Analysing the meaning of Geulincx's maxim, “Ubi nihil vales ibi nihil velis” and its ethical implications, I discuss why Beckett considered it a key to his work. Since Emmanuel Levinas deliberately challenges the Cartesian foundationalist assumptions on which Geulincx's ethics rest, I examine Beckett in the light of this opposition.
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Rose, Arthur. „Beckett, Barthes and Breath“. Paragraph 45, Nr. 2 (Juli 2022): 218–32. http://dx.doi.org/10.3366/para.2022.0398.
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This essay develops a tense relation between Samuel Beckett and Roland Barthes over their treatment of breath. If Barthes’s lovers come together through a shared breath, breaths pull Beckett’s couples apart. How then might breath bring Beckett and Barthes together, so they might be close but not too close? The essay first discards the idea of using a single understanding of breath by showing how the localized instances of breath in Beckett and Barthes do not scale up to a coherent, synthetic concept. Then, by turning to works that play with the problems of metanarrative, Beckett’s How It Is (1961–4) and Barthes’s A Lover’s Discourse (1977–8), it shows how breath becomes a possible means of reading these two texts together.
21
Cohn, Ruby. „THE "F—" STORY“. Samuel Beckett Today / Aujourd'hui 7, Nr. 1 (08.12.1998): 41–46. http://dx.doi.org/10.1163/18757405-90000083.
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A short story entitled "F–" was published in the January 15, 1949 issue of the Anglophone, Paris-based review transition. The author is listed as Suzanne Dumesnil (later Mme. Samuel Beckett), but no translator is named. Beckett told his bibliographers Federman and Fletcher that he was "certain" of having translated it. The University of Texas Beckettiana catalogue describes it as: "A short story by Beckett's wife, written at the time Beckett was writing En attendant Godot. The translation is unsigned." (74). Several Beckett scholars suspect that Beckett wrote the story, since it resembles his short fiction of the 1940s in its repetition, fragmentation, interrogation, self-address, and in the immediacy of its rendition of experience.
22
Lawrence, Tim. „Representation, Relation and ‘Empêchement’: Aesthetic Affinities in Beckett's Dialogues with Georges Duthuit“. Journal of Beckett Studies 25, Nr. 2 (September 2016): 169–87. http://dx.doi.org/10.3366/jobs.2016.0169.
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This essay examines Samuel Beckett's correspondence with Georges Duthuit between 1948 and 1950, the period when Duthuit edited Transition with Beckett's close involvement. By contrast to most discussions of Beckett's relationship with Duthuit, the essay focuses on Duthuit's perspective in these exchanges. It argues that Duthuit's assimilation of philosophical perspectives, especially those given in Maurice Merleau-Ponty's Phénomenologie de la perception and Maurice Blanchot's Thomas l'obscur, were influential for Beckett's own thinking about aesthetics. This thinking is present in Three Dialogues with Georges Duthuit (1949), which I argue draws on Duthuit's side of the exchanges more positively than is typically assumed, and I trace how Duthuit's letters to Beckett actively respond to a theory of ‘empêchement’ – a resistance to representation – expressed in Beckett's earlier art criticism. Moreover, the essay argues that Duthuit's monograph Les Fauves, and its translation as The Fauvist Painters supervised by Beckett, bear the traces of Duthuit's exchanges with Beckett, and foreshadow the particularity of Beckett's visual aesthetic in mature prose such as L'Innommable. In this essay, I therefore add to the material challenging the ’siege in the room’ narrative of Beckett as an isolated writer during the post-war period, and also suggest that translation, criticism and correspondence offered a way for both men to work through and engage with specific philosophical ideas subtly present in Beckett's post-war writing.
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Shields, Paul. „Beckett During Beckett“. Journal of Beckett Studies 15, Nr. 1-2 (Januar 2005): 248–52. http://dx.doi.org/10.3366/jobs.2006.15.1-2.22.
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Coetzee, J. M. „Beckett before Beckett“. Common Knowledge 16, Nr. 2 (01.04.2010): 285. http://dx.doi.org/10.1215/0961754x-2009-092.
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Scheie, Timothy. „Beckett after Beckett“. SubStance 40, Nr. 2 (2011): 148–51. http://dx.doi.org/10.1353/sub.2011.0019.
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Mask, Ahmad Kamyabi. „Beckett En Iran“. Samuel Beckett Today / Aujourd'hui 17, Nr. 1 (01.11.2007): 419–33. http://dx.doi.org/10.1163/18757405-017001029.
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this famous play by Beckett, has been translated nine times since 1966 in Iran. It was first produced in the Iranian production in 1968 at the Irano-American Institute, and then in the universities. From that time on, all of Beckett's works have been taught in the faculties of dramatic arts. Due to the influence of Westem criticism, Godot has been interpreted as God. After the Islamic Revolution, the Iranian press published numerous articles on Beckett. Nowadays, Beckett's works, adaptations as well as parodies of are performed throughout Iran. He who in postwar Europe questioned the coming of a Savior, now fascinates university students.
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Wiśniewski, Tomasz. „Beckett in Poland: Challenges for Today“. Tekstualia 4, Nr. 55 (18.12.2019): 3–9. http://dx.doi.org/10.5604/01.3001.0013.3469.
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In this introductory article the international context of Beckett research is confronted with that in Poland. Despite continuous interest in Beckett’s work, Polish reception seems to ignore recent achievements in Beckett studies around the world, which results in a rather specifi c interpretation. The need for Polish translation of James Knowlson’s Damned to Fame is stressed as it would certainly deconstruct somehow idealized image of Beckett that dominates in Polish criticism.
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Hunkeler, Thomas. „Beckett Face Au Surréalisme“. Samuel Beckett Today / Aujourd'hui 17, Nr. 1 (01.11.2007): 35–51. http://dx.doi.org/10.1163/18757405-017001003.
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This contribution analyses the relationship between Beckett's early writings in the 1930s and surrealist aesthetics. It takes as a starting point Eugene Jolas' literary journal where Beckett published his first texts, and studies its connections, both personal and aesthetical, with surrealism. It then focuses on Beckett's translations of Breton, Eluard and Crevel for the special issue of (September 1932), for Nancy Cunard's anthology (1934) and for an anthology of Eluard's poetry, (1936), shedding new light on the importance of Eluard's poetry for the development of Beckett' s own poetics between 1932 and 1938.
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Doran, Michelle, und Georgina Nugent-Folan. „Zdigitalizowany Beckett. Technologia cyfrowa w badaniach nad praktyką autoprzekładu Samuela Becketta“. Sztuka Edycji 23, Nr. 1 (02.09.2023): 35–42. http://dx.doi.org/10.12775/se.2023.0004.
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The Beckett Digital Manuscript Project (BDMP) jest kolekcją zawierającą faksymilia rękopisów prac Samuela Beckett’a – dokumentów przechowywanych obecnie w trzynastu bibliotekach i archiwach w Europie i Ameryce Północnej. Biorąc pod uwagę trzy z ośmiu modułów udostępnionych badaczom korzystającym ze strony internetowej BDMP od sierpnia 2020 roku oraz jedno planowane studium monograficzne, dla którego moduł cyfrowy nie został jeszcze w pełni przygotowany, w artykule skupiono się na trzech powieściach i jednej noweli w zarówno francuskich, jak i angielskich wersjach. Celem autorów jest zaprezentowanie – dzięki wspomnianemu, wciąż rozwijającemu się archiwum cyfrowemu – konkretnych przykładów związanych ze specyficznymi cechami dzieła Becketta.
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Roberts, Trask. „Painful Productions: A Review of Hannah Simpson's Samuel Beckett and the Theatre of the Witness“. Journal of Modern Literature 46, Nr. 3 (März 2023): 185–88. http://dx.doi.org/10.2979/jmodelite.46.3.14.
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Abstract: In Samuel Beckett and the Theatre of the Witness , Hannah Simpson orients our attention to the multiplicities of pain found in and disappeared from the postwar theatrical productions of Samuel Beckett. She demonstrates how the central themes of Beckett's oeuvre—corporeal (dis)functioning, the impotence of language, the (im)possibility for intersubjective understanding—are illuminated through the manner in which Beckett writes and stages pain. Simpson contrasts Beckett's treatment and representation of pain with those of some contemporaries; plays by Camus, Picasso, Ionesco, and Duras figure in respective chapters. Simpson's methodologies are varied, ranging from medical approaches to pain management and diagnoses to theories of trauma and witnessing.
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Roberts, Trask. „Painful Productions: A Review of Hannah Simpson's Samuel Beckett and the Theatre of the Witness“. Journal of Modern Literature 46, Nr. 3 (März 2023): 185–88. http://dx.doi.org/10.2979/jml.2023.a901941.
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Abstract: In Samuel Beckett and the Theatre of the Witness , Hannah Simpson orients our attention to the multiplicities of pain found in and disappeared from the postwar theatrical productions of Samuel Beckett. She demonstrates how the central themes of Beckett's oeuvre—corporeal (dis)functioning, the impotence of language, the (im)possibility for intersubjective understanding—are illuminated through the manner in which Beckett writes and stages pain. Simpson contrasts Beckett's treatment and representation of pain with those of some contemporaries; plays by Camus, Picasso, Ionesco, and Duras figure in respective chapters. Simpson's methodologies are varied, ranging from medical approaches to pain management and diagnoses to theories of trauma and witnessing.
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Starte, Josephine. „Beckett's Dances“. Journal of Beckett Studies 23, Nr. 2 (September 2014): 178–201. http://dx.doi.org/10.3366/jobs.2014.0103.
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Modern dance has been hugely influenced by the theatre, and to some extent prose, of Samuel Beckett. References to a ‘Beckettian aesthetic’ abound in dance criticism. However, critical examination of the relationship between Beckett and dance has thus far been fairly one-sided; the influence of dance on the work of Beckett is almost entirely unaccounted for. This article highlights how Beckett's plays provide unusually detailed verbal and pictographic instructions, which so meticulously prescribe the deportment and movement of the performers, that they appear to have been choreographed. Line is used in dance as a tool for notating movement and as a reflection of the linearity of the body; in Beckett, there is a clear interest in theline of limbs, and in the lines of movement. This interest in the linear is emphasized in a choreographic approach to writing that includes the use of line diagrams in the stage directions. This article interrogates the interest in highly specific movement that pervades Beckett's opus, and suggests how the plays might usefully be put in conversation with dance. The article suggests an approach to the plays that accounts for the influence of dance on Beckett's writing, and on how different types of dance and choreographic technique surface in Beckett. The article suggests how the reading, direction and performance of movement (or lack of) in Beckett's plays, might be better understood via a better understanding of dance and choreography.
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Mansell, Thomas. „DIFFERENT MUSIC: Beckett's Theatrical Conduct“. Samuel Beckett Today / Aujourd'hui 15, Nr. 1 (01.11.2005): 225–39. http://dx.doi.org/10.1163/18757405-015001020.
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Beckett's references to music in his work as a director reveal complicated attitudes towards artistic autonomy and intermediality and towards music itself; indeed, they often betray a misunderstanding of the nature of music. The ideal music invoked by Beckett is supremely formal and beyond interpretation; it enjoys the benefit of precise notation, in turn ensuring accurate rendition; Beckett came to think of his performers as instruments. Along with the metaphor of Beckett as a conductor, and his surprising aversion to recording technology, these notions inform the larger debate within Beckett studies concerning directorial freedom and authorial control.
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O’Neill, Shane. „‘Je n’ai pas envie de chanter ce soir’: A Re-examination of Samuel Beckett’s Opera Collaboration Krapp, ou La Dernière bande“. New Theatre Quarterly 38, Nr. 1 (Februar 2022): 27–36. http://dx.doi.org/10.1017/s0266464x21000397.
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This article re-examines Krapp, ou La Dernière bande (1961), an opera adaptation of Samuel Beckett’s Krapp’s Last Tape (1958), which was a collaboration between the playwright and the Romanian composer Marcel Mihalovici. Beckett’s changes to the libretto give new insights into the writer’s developing concerns around form and his aesthetic of failure. In the programme for the Bielefeld production of the opera in 1961, Beckett supplied a sentence from the German translation of his Texts for Nothing, although inverting its first two clauses. His inclusion of this line in the programme affords us greater insight into Beckett’s ever evolving conception of the play. Shane O’Neill’s doctoral research on Samuel Beckett’s self-translated drama is funded by the Irish Research Council. He teaches at Mary Immaculate College, University of Limerick, and has published essays in Samuel Beckett Today/Aujourd’hui and the edited volume Samuel Beckett and Translation (Edinburgh University Press, 2021).
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Laws, Catherine. „Beckett and Kurtág“. Samuel Beckett Today / Aujourd'hui 15, Nr. 1 (01.11.2005): 241–56. http://dx.doi.org/10.1163/18757405-015001021.
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Hungarian composer György Kurtág has completed three significant Beckett-based compositions. Kurtág includes in his works numerous associative references to people, events, ideas, and other music. This treatment of reference and meaning parallels aspects of Beckett's work; a comparative examination of the role of memory in Beckett and Kurtág sheds light upon the work of both. Additionally, the article considers the performative quality of the finding (or remembering) of words in Joseph Chaikin's and Ildikó Monyók's readings of the Beckett and Kurtág versions of , relating this to the discussion of the relationship between reference, memory and meaning.
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Dow, Suzanne. „Lacan with Beckett“. Nottingham French Studies 53, Nr. 1 (März 2014): 1–18. http://dx.doi.org/10.3366/nfs.2014.0069.
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This article explores Jacques Lacan's (minimal) engagements with Samuel Beckett. Before positing Beckett as a ‘silent partner’ of Lacan, the article offers a broader account of the place of literature in Lacan's teaching and in particular the role played by the writings of James Joyce. Lacan's reflections on the Joycean punning on ‘litter’/‘letter’, in Finnegans Wake, provide a context for understanding the psychoanalyst's perspective on Beckett's work.
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Meihuizen, N. C. T. „Beckett and Coetzee: alternative identities“. Literator 32, Nr. 1 (22.06.2011): 1–20. http://dx.doi.org/10.4102/lit.v32i1.1.
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Coetzee’s scholarly interest in Beckett, and his aesthetic interest in the same (which carries a strong measure of readily acknowledged influence), diverge in the case Coetzee presents in a recent mini-biography cum autobiography, “Samuel Beckett in Cape Town – an imaginary history” (Coetzee, 2006:74-77), where both he and Beckett are imagined as having experienced alternative pasts in South Africa. Considering this acknowledged influence, which Coetzee (1992b) mentions in an interview with David Attwell in “Doubling the point”, one might assume that it followed an initial scholarly interest in Beckett(Coetzee’s Ph.D. was on Beckett, and was completed years before he himself became a creative writer). However, in the case at hand this causal sequence is broken, because the doubled Coetzee, though under the spell of Beckett’s prose, does not wish to do scholarly work on the doubled Beckett. What is it about Coetzee’s imagined Beckett that has this effect on him? And why is it that Coetzee engages in such metafictional blurred doubling when it comes to himself and Beckett? This article attempts to shed light on the problems that surround Coetzee’s crafted interaction between authors who are also (in this rather odd context) characters.
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PiIling, Jobn. „GUESSES AND RECESSES: Notes on, in and towards Dream 0/ Fair to middling Women“. Samuel Beckett Today / Aujourd'hui 7, Nr. 1 (08.12.1998): 13–24. http://dx.doi.org/10.1163/18757405-90000081.
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This essay studies Beckett's first novel, Dream 0f Fair to middling Women (written 1931-32, posthumously published in 1992), in the light of a notebook donated to the Beckett International Foundation by' the Samuel Beckett Estate. The notebook contains a mass of unsourced jottings, some of which surface verbatim in Dream, and all of which, to a greater or lesser degree, contributed to the composition of the novel. Some specimen pages of the notebook are shown, in spite of their fragmentary appearance, to have specific (and sometimes unexpected) sources in, the books that Beckett was reading. On this basis, and in more general terms, new light is cast on Beckett's compositional technique in Dream.
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Bryden, Mary. „RATS IN AND AROUND BECKETT“. Samuel Beckett Today / Aujourd'hui 7, Nr. 1 (08.12.1998): 317–30. http://dx.doi.org/10.1163/18757405-90000103.
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I have tried to suggest in this essay first that Beckett's construction of rats shows a remarkable familiarity with their biological reality, and, secondly, that this demonstrated familiarity is marked by a distinct lack of 'rattism' (in other words, his approach to rats is more or less prejudice-free). Beckett's rats are not devoid of symbolic status, but this occasional symbolic status is one which takes on a colouring peculiar to Beckett, deriving from his knowledge of rats, and not 'ratified' by popular mythology.In a sense which is different from, but complementary to, the thematic title of this volume, the phenomenon of 'Beckett versus Beckett' finds graphic illustration in those "grey paws in the dust" which counterpoint all human affairs.
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Do Amarante, Dirce Waltrick. „Quando Beckett falha pior: No’s Knife, adaptação para o palco de Textos para nada“. Eutomia 1, Nr. 20 (19.02.2018): 30. http://dx.doi.org/10.19134/eutomia-v1i20p30-37.
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Este ensaio focaliza as relações entre a palavra escrita e o palco. Dentre os aspectos estudados, destacamos No’s Knife, uma seleção de Texts for Nothing (tradução de Textes pour rien), de Samuel Beckett, concebida e encenada pela renomada atriz irlandesa Lisa Dwan.Palavras-chave: Samuel Beckett; Lisa Dwan; palavra; palco; performance. Abstract: This paper discusses the relationship between written words and the stage. Amongst the aspects presented in the text, the most relevant one is the proccess of making No’s Knife (a selection of Samuel Beckett’s Texts for Nothing), conceived and performed by the renowed Beckett interpreter Lisa Dwan.Keywords: Samuel Beckett; Lisa Dwan; written word; stage; performance.
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Bryden, Mary. „“Stuck in a Stagger”: Beckett and Cixous“. Samuel Beckett Today / Aujourd'hui 22, Nr. 1 (01.10.2010): 275–87. http://dx.doi.org/10.1163/18757405-022001019.
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Hélène Cixous and Samuel Beckett were contemporary writers in Paris for several decades, but are seldom considered together. Yet, in 2007, Cixous wrote , the most intensive of her recurrent glances towards Beckett's work so far. This latest text will here be discussed alongside her 1976 essay on Beckett, “Une Passion: l'un peu moins que rien,” in order to trace the roots of Cixous's guarded yet sustained interest in Beckett. The argument further focusses on theatre, and movement, to examine Cixous's continuing engagement with Beckett. The two writers' attachment to the suspension of positionality and fixed identity in particular seems to provide real common ground.
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McGrath, Anthony. „An Agon with the Twilighters: Samuel Beckett and the Primacy of the Aesthetic“. Irish University Review 42, Nr. 1 (Mai 2012): 6–23. http://dx.doi.org/10.3366/iur.2012.0005.
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Beckett was unusually forthcoming in his professions of enthusiasm for the work of Schopenhauer. While Schopenhauer and Beckett were cognate minds on issues such as the ubiquitous miseries of existence, their shared convictions regarding aesthetic questions is no less demonstrable. This essay examines Beckett's critical reflections on the work of Irish artists in relation to core precepts of Schopenhauer's philosophy. It seeks to show how the hermeneutical strategies employed by Beckett in texts such as ‘Recent Irish Poetry’ (1934), ‘Intercessions by Denis Devlin’ (1938), and ‘MacGreevy on Yeats’ (1945) are of a piece with Schopenhauer's assertions regarding the phenomenological processes of artistic composition and appreciation. In revealing the conceptual underpinnings of Beckett's evaluative criteria and their correlations with central principles of Schopenhauer's thought, this reading aims to enhance our understanding of Beckett's commitment to views of the irreducibility of the aesthetic.
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Taban, Carla. „Le Molière de Beckett“. Samuel Beckett Today / Aujourd'hui 24, Nr. 1 (01.12.2012): 23–40. http://dx.doi.org/10.1163/18757405-024001002.
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This contribution tackles Molière's presence in Beckett's work by specifying the verified biographical circumstances in which Beckett engaged with Molière's writings; by detailing concrete 'traces' of Molière's comedies in Beckett's texts; and by suggesting likely intertextual relationships between the two authors' corpora that operate via Proust.
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Cruz, Talita Mochiute. „Coetzee lendo Beckett“. Eutomia 1, Nr. 20 (19.02.2018): 92. http://dx.doi.org/10.19134/eutomia-v1i20p92-99.
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Este artigo discute brevemente como J.M. Coetzee em seus textos críticos lê a obra de Samuel Beckett, a fim de refletir a respeito do trânsito entre o trabalho ficcional e acadêmico desse escritor sul-africano. Ao percorrer a visão de Coetzee crítico, pretende-se situar o lugar de Beckett na trilogia coetzeeana Cenas da vida na província, principalmente para a constituição da(s) voz(es) narrativa nesse projeto autobiográfico ficcionalizado.Palavras-chave: J.M. Coetzee; Samuel Beckett; romance contemporâneo; voz narrativa; literatura comparada. Abstract: This article briefly discusses how J. Coetzee in his critical texts reads the work of Samuel Beckett in order to reflect on the relations between the fictional and academic work of this South African writer. In going through the critical vision of Coetzee, it is aimed to situate Beckett's place in Coetzeean trilogy, Scenes from Provincial Life, mainly for the constitution of the narrative voice(s) in this fictionalized autobiographical project.Keywords: J.M. Coetzee; Samuel Beckett; contemporary novel; narrative voice; comparative literature.
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Tubridy, Derval. „Samuel Beckett and Performance Art“. Journal of Beckett Studies 23, Nr. 1 (April 2014): 34–53. http://dx.doi.org/10.3366/jobs.2014.0085.
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‘Samuel Beckett and Performance Art’ explores the interconnections between Performance Art and Samuel Beckett's prose and drama. It analyses the relations between Beckett's work and that of Franz Erhard Walther, Bruce Nauman, Dennis Oppenheim, Vito Acconci, Chris Burden, Marina Abramovic, Alastair MacLennan and Amanda Coogan. It concludes that examining Beckett in the context of Performance Art enables us to reconsider elements vital to his theatre: the experience of the body in space in terms of duration and endurance; the role of repetition, reiteration and rehearsal; and the visceral interplay between language and the body.
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Lüscher-Morata, Diane. „À L'épreuve de L'image : 'beginning life behind the eyes'“. Samuel Beckett Today / Aujourd'hui 17, Nr. 1 (01.11.2007): 67–82. http://dx.doi.org/10.1163/18757405-017001005.
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This essay examines the correspondence between Beckett and Duthuit in the light of the unpublished notes that Beckett took in Germany in 1936-37. The underlying issue that Beckett's reflections on the image seems to address is the reorientation of his creative writing and the development of a new aesthetic. There is, when Beckett is confronted to an image, a double movement that can be discerned in the way he beholds the image, of fascination, first, but also of mistrust towards this painting. In stripping paintings of their narrative of fIgurative intention, Beckett's comments seem to aim at a situation of mankind in the world, apprehended outside of all preoccupations with its causes or as the effect of an absent cause.
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McMullan, Anna. „Samuel Beckett and Intermedial Performance“. Samuel Beckett Today / Aujourd’hui 32, Nr. 1 (17.04.2020): 71–85. http://dx.doi.org/10.1163/18757405-03201006.
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Abstract This article analyses two intermedial adaptations of works by Beckett for performance in relation to Ágnes Pethő’s definition of intermediality as a border zone or passageway between media, grounded in the “inter-sensuality of perception.” After a discussion of how Beckett’s own practice might be seen as intermedial, the essay analyses the 1996 American Repertory Company programme Beckett Trio, a staging of three of Beckett’s television plays which incorporated live camera projected onto a large screen in a television studio. The second case study analyses Company SJ’s 2014 stage adaptation of a selection of Beckett’s prose texts, Fizzles, in a site-specific, historical location in inner city Dublin, which incorporated projected sequences previously filmed in a different location, a former power station.
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Watt, Adam. „After Beckett D'après Beckett“. Irish Journal of French Studies 6, Nr. 1 (01.12.2006): 126–27. http://dx.doi.org/10.7173/164913306818438483.
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Otten, Anna, Alan Warren Friedman, Charles Rossman und Dina Sherzer. „Beckett Translating/Translating Beckett“. Antioch Review 46, Nr. 1 (1988): 113. http://dx.doi.org/10.2307/4611847.
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Pilling, John, Alan Warren Friedman, Charles Rossman und Dina Sherzer. „Beckett Translating / Translating Beckett“. Yearbook of English Studies 20 (1990): 338. http://dx.doi.org/10.2307/3507621.
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