Relevant bibliographies by topics / "beckettiano"

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  2. Dissertations / Theses
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Academic literature on the topic '"beckettiano"'

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Published: 11 March 2023

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Journal articles on the topic ""beckettiano""

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Gonçalves, Lívia Bueloni. ""É preciso continuar" - Caminhos da ficção de Beckett em sua tentativa de seguir adiante." Eutomia 1, no. 20 (February 19, 2018): 58. http://dx.doi.org/10.19134/eutomia-v1i20p58-72.

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A prosa de Beckett caracteriza-se por um embate entre a insatisfação com o ato de narrar e a necessidade de seguir adiante. Concentrando-se principalmente na passagem da segunda para a terceira fase da ficção do autor, o artigo reflete sobre as mutações do narrador beckettiano. Entre elas, destaca-se o desenvolvimento do expediente da voz – de instância perturbadora em O inominável e nos Textos para nada a narradora assumida em Companhia.Palavras-chave: Samuel Beckett; prosa beckettiana; narrador; voz; Companhia Abstract: Beckett’s fiction is characterized by a struggle between the dissatisfaction with the act of narrating and the need to move on. Focusing mainly in the passage from the second to the third phase of his fiction, this article reflects upon Beckettian narrator’s mutations. Among them, the development of “the voice” is highlighted – from a disturbing device in The Unnamable and Texts for nothing to a recognized narrator in Company.Keywords: Samuel Beckett; Beckettian fiction; narrator; voice; Company.
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Fonseca, Luís. "Beckett, los nadaístas y el fracaso como estímulo literario." La Tercera Orilla, no. 19 (December 19, 2017): 10–19. http://dx.doi.org/10.29375/21457190.2886.

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Hablar de Beckett implica, entre otras cosas, aceptar que el lenguaje se convierte en una herramienta, si se quiere, inútil a la hora de comunicar; es aceptar, además, que el ser humano está obligado a comunicar y que dicha obligación es eterna e imposible y se la debe entender como una suerte de ironía, es decir, se debe comunicar pero no hay un medio eficaz para cumplir con ese deber. El llamado fracaso beckettiano es el rasgo nivelador entre el autor irlandés y los nadaístas colombianos, quienes emprendieron la difícil tarea de expresar la nada aun sabiendo que su labor estaba condenada al fracaso, pues como lo expresaran en su primer manifiesto, una expresión basada en la nada solo podía ser producto de lo irracional, de esa forma, estos poetas ponían en evidencia la imposibilidad de su poética, la cual es tanto o más grande que la imposibilidad de la comunicación beckettiana.
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De Souza Andrade, Fábio. "Beckett, um brasileiro: o teatro beckettiano no Brasil do século XXI." Eutomia 1, no. 20 (February 19, 2018): 38. http://dx.doi.org/10.19134/eutomia-v1i20p38-57.

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A recepção brasileira da obra de Samuel Beckett entrou o século XXI animada por uma profusão de montagens, estudos acadêmicos e novas traduções. A recente montagem de Fim de jogo, com Renato Borghi e Élcio Nogueira dirigidos por Isabel Teixeira; o espetáculo Moi lui, adaptação do romance Molloy para o palco, com Ana Kfouri, dirigida por Isabel Cavalcanti; e a série de performances, encenações e debates intitulada Ocupação Sozinhos Juntos, concebida e dirigida pelos Irmãos Guimarães, são três excelentes pretextos para pensar as condições e consequências da apropriação da obra beckettiana no contexto local e atual, propósito deste artigo.Palavras-chave: Samuel Beckett, Teatro, Recepção, Beckett no Brasil.Abstract: When considering Beckett’s reception in Brazil, one must sound at least a bit like Caliban. The necessary perspective is of one completely seduced by, yet at the same time rather suspicious and resentful of the compelling power of a master’s voice, even if not one’s master’s voice. How to avoid being converted into an echo chamber of such a prestigious, precise and alluring architecture of ruins? Is it at all possible not to be completely swallowed by his work, to read Beckett’s plays and prose from an interested, active, unusual point of view, but still preserve the spirit of his poetics, so strictly connected to the flesh of revolutionary form? So this paper concentrates on the twenty-first century century reception of Beckett in Brazil, namely, giving an account of three very recent local productions of his work: Isabel Teixeira’s Fim de jogo (Endgame); Isabel Cavalcanti’s Moi lui (based on Molloy); and Fernando and Adriano Guimarães’ Ocupação Sozinhos Juntos, all of them fully accomplished examples of the challenges involved in staging Beckett in a peripheral cultural context.Keywords: Samuel Beckett, Theater, Reception, Beckett in Brazil.
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Campos Baptista, Fabiana Lúcia. "Beckett com Deleuze: tecituras possíveis do esgotamento." Em Tese 21, no. 2 (January 29, 2016): 113. http://dx.doi.org/10.17851/1982-0739.21.2.113-123.

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Defendendo a ideia de que a tarefa maior do escritor contemporâneo é denunicar o caráter ilusório da arte representativa, o autor irlandês Samuel Beckett realiza em sua obra um processo, nomeado por Deleuze, de esgotamento da linguagem. Primeiramente, mostraremos esse exercício beckettiano na busca do esgotamento da linguagem em sua trilogia romanesca do pós-guerra. Em seguida, mostraremos como em suas peças para televisão, pouco analisadas por seus críticos, esse projeto de esgotamento se fará presente, indo inclusive mais além: Beckett propõe não somente esgotar as palavras e as vozes, mas esgotar todas as possibilidades de expressão através do espaço e das imagens.
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Maciel, Ulisses Augusto Guimarães. "Samuel Beckett: O Real, O Ideal e A Linguagem." Revista Odisseia 2, no. 2 (July 12, 2017): 40. http://dx.doi.org/10.21680/1983-2435.2017v2n2id12236.

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Esta análise busca evidenciar, nas obras Molloy, Malone morre e O inominável, a trajetória traçada por Samuel Beckett na composição de uma narrativa conhecida por desafiar os limites da representação, destacando a precariedade do pensamento e da linguagem, que fracassam em suas tentativas de apreender o real ser das coisas. Nesse contexto, considerando a representatividade um jogo que surge a partir do caos inarticulável da realidade, lançamos mão da filosofia cartesiana e do pensamento do filósofo checo-brasileiro Vilém Flusser a respeito da realidade e da linguagem, no intento de evidenciar, diante da palavra que silencia, o caráter impreciso do romance beckettiano.
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GATTI, LUCIANO. "Mais que paródia? Aquela vez e o teatro tardio de Samuel Beckett1." Estudos Avançados 34, no. 98 (April 2020): 219–30. http://dx.doi.org/10.1590/s0103-4014.2020.3498.014.

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resumo O artigo propõe um debate a respeito do teatro tardio de Samuel Beckett a partir do conceito de paródia, tal como utilizado por Theodor W. Adorno e Hans-Thies Lehmann para pensar tanto a crise do drama quanto as possibilidades de sua superação. Nesse contexto, a peça Aquela vez é analisada como um caso singular de seu teatro tardio. As relações entre memória e narrativa na experiência individual, tais como propostas pelo texto beckettiano, são examinadas à luz do emprego da voz em off como recurso de encenação. Com base nesses elementos, o artigo discute a pertinência do conceito de paródia para o teatro tardio de Beckett.
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Maciel, Ulisses Augusto Guimarães. "Resenha do livro "Textos para nada", de Samuel Beckett." Non Plus 6, no. 12 (December 31, 2017): 234–36. http://dx.doi.org/10.11606/issn.2316-3976.v6i12p234-236.

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Textos para nada, de Samuel Beckett, teve sua primeira versão publicada em conjunto com as novelas “O expulso”, “O calmante” e “O fim” no ano de 1955. Os treze fragmentos marcam o inicio de uma nova fase do complexo projeto estético beckettiano. Escritos entre os anos 1950 e 1952, os textos deixam evidente o conflito narrativo que se encontra no impasse entre a escrita e seu silêncio, entre o narrador e o objeto de sua narrativa. Com a tradução de Eloisa Araújo Ribeiro, publicada recentemente pela Cosac Naify, podemos finalmente experienciar a leitura em português, dessa obra que é um marco para literatura de um dos maiores escritores do século XX.
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Fernández, José Francisco. "José Emilio Pacheco, traductor de Samuel Beckett. El caso de "Cómo es" (1966)." ALPHA: Revista de Artes, Letras y Filosofía 1, no. 52 (July 19, 2021): 149–62. http://dx.doi.org/10.32735/s0718-2201202100052888.

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En la historia de la recepción de Samuel Beckett en los países de habla no inglesa, la primera traducción de Comment c’est (1961) al castellano, realizada por José Emilio Pacheco en 1966 (Cómo es), aparece como un hito aislado y deslumbrante. Esta traducción a partir del texto original en francés, hecha por el poeta mexicano cuando tenía 27 años, no tuvo una repercusión notable en su momento, a pesar de la audacia de la empresa y de la brillantez de la traducción. Sin embargo, a raíz de la trayectoria de Pacheco como crítico, traductor y poeta de primera magnitud, se considera necesario hacer una evaluación en profundidad de este texto único. El objetivo de este artículo es el de analizar la versión de Pacheco del texto beckettiano por medio de un acercamiento al contexto histórico y a los elementos propios de su bagaje cultural que el poeta aporta a la elaboración de su traducción. Se trata, en definitiva, de explicar cómo se lee a Beckett en español por medio de Pacheco.
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Gray, Katherine Martin. "BECKETTIAN INTERIORITY." Samuel Beckett Today / Aujourd'hui 5, no. 1 (June 18, 1996): 94–103. http://dx.doi.org/10.1163/18757405-90000009.

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Berlin, Normand. "The Beckettian O'Neill." Modern Drama 31, no. 1 (March 1988): 28–34. http://dx.doi.org/10.3138/md.31.1.28.

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Dissertations / Theses on the topic ""beckettiano""

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Tucker, Amanda. "Godot in Earnest: Beckettian Readings of Wilde." Thesis, University of North Texas, 2003. https://digital.library.unt.edu/ark:/67531/metadc4248/.

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Critics and audiences alike have neglected the idea of Wilde as a precursor to Beckett. But I contend that a closer look at each writer's aesthetic and philosophic tendencies-for instance, their interest in the fluid nature of self, their understanding of identity as a performance, and their belief in language as both a way in and a way out of stagnancy -will connect them in surprising and highly significant ways. This thesis will focus on the ways in which Wilde prefigures Beckett as a dramatist. Indeed, many of the themes that Beckett, free from the constraints of a censor and from the societal restrictions of Victorian England, unabashedly details in his drama are to be found residing obscurely in Wilde. Understanding Beckett's major dramatic themes and motifs therefore yields new strategies for reading Wilde.
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Andrade, Manuel Fabricio Alves de [UNESP]. "Sonoridades beckettianas: a criação vocal do intérprete." Universidade Estadual Paulista (UNESP), 2014. http://hdl.handle.net/11449/110341.

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Made available in DSpace on 2014-11-10T11:09:38Z (GMT). No. of bitstreams: 0 Previous issue date: 2014-06-27Bitstream added on 2014-11-10T11:58:09Z : No. of bitstreams: 1 000795419.pdf: 1895559 bytes, checksum: 489e141580aeb49a2993a507a832343a (MD5)
Nesta pesquisa investigamos como alguns artistas envolvidos na encenação de peças curtas do teatro de Samuel Beckett no Brasil lidaram com o trabalho de criação vocal das mesmas, se houve algum tipo de preparo ou não, que tipo de problemas encontraram etc. Foram entrevistados sete artistas que estiveram envolvidos em alguma montagem brasileira entre os anos de 1985 e 2012. O resultado das conversas dá uma noção de como foi o envolvimento deles com a obra beckettiana e que tipo de impacto ela teve na relação deles com a criação, sobretudo no tocante à maneira como a palavra era colocada em cena. Os relatos abriram possibilidades de reflexões acerca do papel do intérprete em um tipo de teatro rigoroso como o de Beckett, de como entendem a relação entre corpo e voz, ou como lidam com a criação de personagens, que frequentemente não parece possível dentro de uma abordagem psicológica ou realista, mas sim a partir de aspectos bem materiais da encenação, como a movimentação, a respiração, a partitura sonora e vocal. Por fim, percebemos que não houve um preparo técnico vocal específico dos artistas consultados e que a criação vocal foi compreendida como a consequência de um trabalho que engloba noções de entrega do ator, de representação e resentificação, discussões sobre formas de se trabalhar a personagem, de rituais de preparação, entre outras, abrindo campo para discutir o valor da técnica vocal no desempenho de tal tipo de teatro.
This research investigated how some Brazilian performers prepared themselves vocally to play Samuel Beckett’s short theatre. If there was some sort of preparation or not,what kind of problems encountered etc. Seven artists were interviewed who were involved in some Brazilian theatrical productions between the years 1985 and 2012. The result of these conversations gives a sense of how their involvement was with Beckett's work and what kind of impact it had on their relationship with creation particularly with regard to the way the word into the performance. The reports opened possibilities for reflections on the role of the performer in a type of rigorous theater like Beckettian theatre. Understanding how the relationship between body and voice or how they deal with the creation of characters which often does not seem possible within an approach psychological or realistic, but from material aspects of staging such as movement, breathing, sound and vocal scores. Finally, we realized that not there was a vocal specific technical preparation of the performers and the vocal creation was understood as the result of a work which encompasses notions of the commitment of the actor, representation and presentification, the discussions of ways to work the character, rituals of preparation, among others, opening the field to discuss the value of vocal technique in the performance of this kind of theater.
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Andrade, Manuel Fabricio Alves de. "Sonoridades beckettianas : a criação vocal do intérprete /." São Paulo, 2014. http://hdl.handle.net/11449/110341.

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Orientador: Suely Master
Coorientador: Cláudia Maria de Vasconcellos
Banca: Michelle Nicié dos Santos Machado
Banca: Lucia Regina Vieira Romano
Resumo: Nesta pesquisa investigamos como alguns artistas envolvidos na encenação de peças curtas do teatro de Samuel Beckett no Brasil lidaram com o trabalho de criação vocal das mesmas, se houve algum tipo de preparo ou não, que tipo de problemas encontraram etc. Foram entrevistados sete artistas que estiveram envolvidos em alguma montagem brasileira entre os anos de 1985 e 2012. O resultado das conversas dá uma noção de como foi o envolvimento deles com a obra beckettiana e que tipo de impacto ela teve na relação deles com a criação, sobretudo no tocante à maneira como a palavra era colocada em cena. Os relatos abriram possibilidades de reflexões acerca do papel do intérprete em um tipo de teatro rigoroso como o de Beckett, de como entendem a relação entre corpo e voz, ou como lidam com a criação de personagens, que frequentemente não parece possível dentro de uma abordagem psicológica ou realista, mas sim a partir de aspectos bem materiais da encenação, como a movimentação, a respiração, a partitura sonora e vocal. Por fim, percebemos que não houve um preparo técnico vocal específico dos artistas consultados e que a criação vocal foi compreendida como a consequência de um trabalho que engloba noções de entrega do ator, de representação e resentificação, discussões sobre formas de se trabalhar a personagem, de rituais de preparação, entre outras, abrindo campo para discutir o valor da técnica vocal no desempenho de tal tipo de teatro.
Abstract: This research investigated how some Brazilian performers prepared themselves vocally to play Samuel Beckett's short theatre. If there was some sort of preparation or not,what kind of problems encountered etc. Seven artists were interviewed who were involved in some Brazilian theatrical productions between the years 1985 and 2012. The result of these conversations gives a sense of how their involvement was with Beckett's work and what kind of impact it had on their relationship with creation particularly with regard to the way the word into the performance. The reports opened possibilities for reflections on the role of the performer in a type of rigorous theater like Beckettian theatre. Understanding how the relationship between body and voice or how they deal with the creation of characters which often does not seem possible within an approach psychological or realistic, but from material aspects of staging such as movement, breathing, sound and vocal scores. Finally, we realized that not there was a vocal specific technical preparation of the performers and the vocal creation was understood as the result of a work which encompasses notions of the commitment of the actor, representation and presentification, the discussions of ways to work the character, rituals of preparation, among others, opening the field to discuss the value of vocal technique in the performance of this kind of theater.
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Rojas, Paredes Natalia Elizabeth. "Murphy : through the looking glass of chaos and contradiction : a cornerstone in Beckettian style." Tesis, Universidad de Chile, 2013. http://www.repositorio.uchile.cl/handle/2250/115667.

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Informe de Seminario para optar al grado de Licenciada en Lengua y Literatura Inglesa
Our objective is to visualize how Beckett show us the ideas explained before in “Murphy” and how he configured them and gave them form through the story and the characters. In order to do so, we will support our analysis with the concepts presented by the theory of chaos and the ideas developed by Jacques Derrida in his theory of Deconstruction. All this in order to understand the phenomena of contradiction presented as the central element in the novel. We also will see how the symbolism present in the novel is used as a way to reinforce and clarify this phenomenon and finally we will be able to see how we can identify our human condition through this novel.
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Weiss, Katherine. "What Where: Reading Faces and Surfaces on the Beckettian Stage and Screen." Digital Commons @ East Tennessee State University, 2007. https://dc.etsu.edu/etsu-works/2294.

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Springer, Michael. "'Permanent parabasis' : Beckettian irony in the work of Paul Auster, John Banville and J.M. Coetzee." Thesis, University of York, 2014. http://etheses.whiterose.ac.uk/7031/.

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This thesis considers the influence of the writing of Samuel Beckett on that of Paul Auster, John Banville and J.M. Coetzee through the lens of Romantic irony, as formulated by Friedrich Schlegel and, later, Paul de Man. The broad argument is that the form of irony first articulated by the Jena Romantics is brought in Beckett’s work to something of an extreme, and that this extremity represents both one of his most characteristic achievements and a unique and specifically troublesome challenge for those who come after him. The thesis hence explores how Auster, Banville and Coetzee respond to and negotiate this irony in their own work, and contrasts their respective responses. Put briefly, I find that all three writers to one extent or another deflect Beckett’s irony, while engaging with it: Auster adopts certain stylistic and structural aspects of Beckett’s work, but on the whole reaches fundamentally different epistemological and existential conclusions; Banville engages closely with the epistemological and existential challenge posed by Beckett’s irony, and attempts to balance this with a contrasting sense of the capacity of art and the imagination to make meaning of the world; and Coetzee, after an initial attempt at stylistic imitation, moves away from this but remains fundamentally influenced by certain insights into subjectivity and ethical relation he derives from Beckett’s work. Of Auster’s work, I consider most closely ‘White Spaces’ and The New York Trilogy, arguing that the former represents a transitional development toward the tone, perspective and voice of the latter; of Banville’s, Doctor Copernicus and Eclipse, contrasting the former’s confidence in human capacities for knowledge of the world and the self with the latter’s more Beckettian skepticism and disenchantment; and of Coetzee’s, In the Heart of the Country with Waiting for the Barbarians, showing how the latter abandons the former’s marked Beckettian stylistic traces while continuing to evidence the influence of Beckett’s work in the depiction of matters such as subjectivity, language and interpersonal relation. By way of conclusion, I consider how such later writing might reshape or alter our understanding of Beckett’s work, and propose directions for further research into the place of Romantic irony in Modern and contemporary fiction.
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Gonçalves, Lívia Bueloni. "Um narrador no limite: o caminho da primeira pessoa beckettiana das nouvelles aos textes pour rien." Universidade de São Paulo, 2009. http://www.teses.usp.br/teses/disponiveis/8/8151/tde-24092009-135234/.

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O foco dessa dissertação é o estudo do narrador de uma importante fase da obra em prosa de Samuel Beckett. O período escolhido inicia-se com as novelas Premier Amour (1970), Lexpulsé, Le calmant e La fin (1955), primeiros textos em francês do autor, e encerra-se com a obra Textes pour rien (1955), o que abrange a produção em prosa de Beckett entre 1945 e 1950. A importância deste período está no surgimento e desdobramento do narrador em primeira pessoa tipicamente beckettiano, caracterizado por seu discurso instável, movido a impasses e questionamentos sobre a própria história narrada. O trabalho acompanha a trajetória deste narrador, discutindo também seu importante papel na ruptura com os moldes do realismo formal na narrativa do século XX.
This dissertation studies the narrator in Samuel Beckett s prose, particularly focusing on a critical phase in the authors literary production covering the years of 1945 to 1950. The chosen period begins with the novellas Premier Amour (1970), Lexpulsé, Le calmant and La fin (1955) Becketts first narratives written in French and closes with the work Textes pour rien (1955). The importance of this phase lies in the creation and development of Becketts characteristic first person narrator, whose unstable discourse is fraught with impasses, questioning the very story being narrated. The dissertation follows this narrators journey to discuss the key role it played in breaking with formal realism patterns of the twentieth centurys narrative.
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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.
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Books on the topic ""beckettiano""

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Iannotta, Antonio, and Gabriele Frasca. Nero chiaro: Lo spazio beckettiano e le messe in scena di Giancarlo Cauteruccio. Roma: Editoria & spettacolo, 2010.

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Visconti, Laura. Archetipi beckettiani. 2nd ed. Pescara: Tracce, 1990.

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Enoch, Brater, ed. The theatrical gamut: Notes for a post-Beckettian stage. Ann Arbor: University of Michigan Press, 1995.

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Trapped in Thought: A Study of the Beckettian Mentality (Irish Studies). Syracuse University Press, 2007.

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Brater, Enoch. The Theatrical Gamut: Notes for a Post-Beckettian Stage (Theater: Theory/Text/Performance). University of Michigan Press, 1995.

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Book chapters on the topic ""beckettiano""

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Ebury, Katherine. "The Beckettian Cosmos." In Modernism and Cosmology, 128–53. London: Palgrave Macmillan UK, 2014. http://dx.doi.org/10.1057/9781137393753_5.

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Conway, Daniel. "‘Epidemics of Enough’: Beckettian Sufficiencies." In Nihilism Now!, 235–48. London: Palgrave Macmillan UK, 2000. http://dx.doi.org/10.1057/9780230597761_12.

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Feng, Wei. "Border-Crossing Chou Actors in Beckettian Jingju." In Intercultural Aesthetics in Traditional Chinese Theatre, 89–132. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-40635-6_3.

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Pihlström, Sami, and Sari Kivistö. "Evil, Absurdity, and Nonsense: Beckettian and Wittgensteinian Reflections." In Kantian Antitheodicy, 139–85. Cham: Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-40883-5_4.

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Chiang, Michelle. "The Disengaging Beckettian Television Audience and the Monument to Loss." In Beckett's Intuitive Spectator, 133–83. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-91518-0_5.

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Chattopadhyay, Arka. "‘I switch off’: Towards a Beckettian Minority of Theatrical Event." In Deleuze and Beckett, 230–45. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137481146_13.

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Koczy, Daniel. "Belacquobatic Secrets: Deleuze and the Purgatorial Rebellion of the Beckettian Body." In Beckett, Deleuze and Performance, 129–60. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-95618-3_5.

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Wimbush, Andy. "“Christ this is Getting Tedious!”: Beckettian Tone Versus Autobiographical Memory in B. S. Johnson’s Trawl." In Experiments in Life-Writing, 61–77. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-55414-3_3.

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"Coda: Minima Beckettiana." In Think, Pig!, 200–204. Fordham University Press, 2020. http://dx.doi.org/10.1515/9780823270880-015.

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Rabaté, Jean-Michel. "Coda: Minima Beckettiana." In Think, Pig!, 200–204. Fordham University Press, 2016. http://dx.doi.org/10.5422/fordham/9780823270859.003.0015.

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Conference papers on the topic ""beckettiano""

1

Osman, Silvia. "THE BECKETTIAN ACTOR." In SGEM 2014 Scientific SubConference on ARTS, PERFORMING ARTS, ARCHITECTURE AND DESIGN. Stef92 Technology, 2014. http://dx.doi.org/10.5593/sgemsocial2014/b41/s14.052.

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Osman, Silvia. "THE BECKETTIAN DIRECTOR." In SGEM 2014 Scientific SubConference on ARTS, PERFORMING ARTS, ARCHITECTURE AND DESIGN. Stef92 Technology, 2014. http://dx.doi.org/10.5593/sgemsocial2014/b41/s14.053.

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You might also be interested in the extended bibliographies on the topic '"beckettiano"' for particular source types:
Journal articles
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