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Journal articles on the topic '"beckettiano"'

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Author: Grafiati

Published: 11 March 2023

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1

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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2

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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3

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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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11

Levy, Eric. "The Beckettian Absolute Universal." University of Toronto Quarterly 72, no. 2 (April 2003): 660–78. http://dx.doi.org/10.3138/utq.72.2.660.

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12

Morin, Emilie. "Shades of the Beckettian." Modernism/modernity 18, no. 4 (2011): 913–15. http://dx.doi.org/10.1353/mod.2011.0091.

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13

Guilbard, Anne-Cécile. "Traces du regard: Dioptrique de beckett." Samuel Beckett Today / Aujourd'hui 20, no. 1 (December 1, 2008): 295–306. http://dx.doi.org/10.1163/18757405-020001024.

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Whereas the enunciative authority often multiplies itself in the beckettian text, the spatialization which is peculiar to visual images settles the singularity of a unique point of view. The comparison with Descartes' makes appear, beyond some effects of intertextuality, the prints that the beckettian subject has left. Thus, the analysis of some beckettian diagrams and descriptions enables us to recover, within a recurrent scheme, the same figure which presents itself as the subject's image. It ultimately always appears in the singular shape of a narrow emptiness.

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14

Levy, Eric P. "The Beckettian Mimesis of Time." University of Toronto Quarterly 80, no. 1 (January 2011): 89–107. http://dx.doi.org/10.3138/utq.80.1.089.

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15

Dowd, Garin V. "Nomadology: Reading the Beckettian Baroque." Journal of Beckett Studies 8, no. 1 (January 1998): 15–50. http://dx.doi.org/10.3366/jobs.1998.8.1.3.

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16

Mooney, Sinéad. "Unstable Compounds: Bowen's Beckettian Affinities." MFS Modern Fiction Studies 53, no. 2 (2007): 238–56. http://dx.doi.org/10.1353/mfs.2007.0043.

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17

Lawley, Paul. "Murphy's Beckeytt: Legacy and Agon." Samuel Beckett Today / Aujourd'hui 23, no. 1 (August 1, 2012): 215–42. http://dx.doi.org/10.1163/18757405-023001015.

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Through consideration of a single play, this study examines how an Irish playwright of a later generation engages with the legacy of Beckett. Tom Murphy's 1985 play is shown to adopt certain characteristically Beckettian images and structures and to situate them within a dramatic action which involves agon at several levels. The younger writer's engagement with the older emerges through and analysis of Murphy's agonistic reading of these Beckettian figures.

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18

Geddes, K. M. "Ecos Leminskianos e Beckettianos em Vida." Revista Scripta Alumni, no. 8 (December 30, 2012): 7–21. http://dx.doi.org/10.18304/1984-6614/scripta.alumni.n8p7-21.

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19

김정수. "Cartesian Philosophy and the Beckettian Subject." Jungang Journal of English Language and Literature 51, no. 1 (March 2009): 151–69. http://dx.doi.org/10.18853/jjell.2009.51.1.008.

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20

Levy, Eric. "The Beckettian Mimesis of Seeing Nothing." University of Toronto Quarterly 70, no. 2 (April 2001): 620–32. http://dx.doi.org/10.3138/utq.70.2.620.

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21

Heron, Jonathan, and Nicholas Johnson. "Beckettian Pedagogies: Learning through Samuel Beckett." Journal of Beckett Studies 29, no. 1 (April 2020): 42–62. http://dx.doi.org/10.3366/jobs.2020.0282.

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This essay considers what it might mean to learn ‘through’ Beckett, inaugurating a critical pedagogy that could be called ‘Beckettian’. By integrating existing strands of scholarship on Beckett and his relationship to education, the essay draws a distinction between the ‘practical’ and ‘biographical’ ways of thinking about Beckett and learning. This draws on previous work within the field, but also proposes a new vocabulary – derived from an interdisciplinary encounter with the scholarship of teaching and learning and the philosophy of education, especially ‘critical pedagogy’ – through which the possibility of ‘Beckettian pedagogies’ might be manifested. Recalling Beckett's biographers, his work's fundamental silence haunts most attempts to contain, explain, avoid or domesticate it. The essay proposes that a critical pedagogy of Beckett must be grounded in the concept of openness, especially in the notion that ‘void’ is a productive category, and in the embodiment of an evolving ecology of praxis. This alternative pathway reflects on the philosophy of education inherent within Beckett as an idea, engaging with ‘Beckettian pedagogies’ in an entangled sense of instruction, guidance and teaching with a particular focus on the latter in terms of the theory or principles of education. This move does not require abandoning existing traditions, but rather gathering them under new light, by placing the biographical Beckett (1906–89) in juxtaposition with the praxis of Beckett (ongoing) and the contemporaneous notion of critical pedagogy, as expounded by several scholars including Paulo Freire (1921–97). Beckettian pedagogies therefore remove dormant assumptions, habits of mind, and hierarchies that impede exploration to enable a move away from the curriculum, or toward a curriculum of unlearning and uncertainty, thereby disrupting the entrenched powers that Beckett saw fit to resist.

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22

Nashef, Hania A. M. "“Nothing is Left to Tell”." Samuel Beckett Today / Aujourd’hui 31, no. 2 (October 24, 2019): 201–18. http://dx.doi.org/10.1163/18757405-03102002.

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Abstract In the Arab world, Beckett’s plays or their adaptations have not only been popular with audiences and directors but have also inspired other literary and media genres. The Beckettian wait itself has become synonymous with the condition of the Arab person. It is a wait that offers an unrealized potential of hope that reverberates with the diminishing prospects of the Beckettian protagonist. In this paper, I discuss how in times of war, migrations, and despair, performances of Beckett’s plays abound.

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23

Žukauskaitė, Audronė. "Potentiality as a Life: Deleuze, Agamben, Beckett." Deleuze Studies 6, no. 4 (November 2012): 628–37. http://dx.doi.org/10.3366/dls.2012.0088.

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In Essays Critical and Clinical, Deleuze argues that Beckettian characters usually strive towards becoming imperceptible. This statement immediately poses another question: what is becoming imperceptible and where does it lead? How can we rid ourselves of ourselves? Paradoxically enough, Deleuze states that becoming imperceptible is life. The literal and self-evident meaning of life seems somehow incompatible with the image of dissolving and decaying characters in Beckett's works. Contrary to this self-evidence, the notion of life in Deleuze and Beckett should be interpreted as pure potentiality which opens both the potential to be (or do) and the potential not to be (or do). Beckettian characters together with other figures, such as Bartleby, let us think of a life in its potential not to be. The life of the individual gives way to impersonal and singular life: a life of pure immanence. Such a life can be immanent to a man who no longer has a name, though he can be mistaken for no other: the Beckettian Unnamable.

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24

Taban, Carla. ": de 'jeux de mots' aux modalités po(ï)étiques de configuration textuelle." Samuel Beckett Today / Aujourd'hui 18, no. 1 (October 1, 2007): 377–92. http://dx.doi.org/10.1163/18757405-018001028.

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This contribution tackles anew the matter of Beckettian "language games." Through a close analysis of what is ostensibly a pun in the French , the critic questions the idea that its first and foremost function is to serve as a diverting or linguistic de-familiarising device. Rather, she suggests, the supposed pun is a mechanism to both generate and differentiate multiple contextual meanings, and to structure the text. The article proposes that only an integrative approach, taking into account the immediate and extended intra-textual environment within which Beckettian "word plays" are embedded, can accurately recognise their workings and roles.

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25

Raynal-Zougari, Mireille. "DANS LE FOR EXTÉRIEUR DE LA BOÎTE CRÂNIENNE: proses et pièces pour la télévision." Samuel Beckett Today / Aujourd'hui 19, no. 1 (August 1, 2008): 293–301. http://dx.doi.org/10.1163/18757405-019001023.

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In Beckett, text and image are never what they could have been. His experiments with media suggest an infinite chain of endless images and a regress of these very images toward the image that started it all. The world is formed in the skull. A Beckettian text reveals a mental coenaesthesis in which an infinity of points of view and objects and a space characterized by vast distances give rise to a virtuel universe. The Beckettian cranium presents the very conditions of representation, the adjustment of the apparatus before projection; it is an outer interiority, an enclosure bordering upon an opening.

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26

Levy, Eric. "The Unnamable: The Metaphysics of Beckettian Introspection." Journal of Beckett Studies 5, no. 1-2 (January 1995): 81–106. http://dx.doi.org/10.3366/jobs.1995.5.1-2.6.

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27

Martin-Jordache, Corina. "Modernity, urban semiology and the Beckettian cityscape." Journal of European Studies 32, no. 127 (December 2002): 351–68. http://dx.doi.org/10.1177/004724410203212702.

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28

Katz, Daniel. "Where Now? A Few Reflections on Beckett, Robert Smithson, and the Local." Samuel Beckett Today / Aujourd'hui 22, no. 1 (October 1, 2010): 329–40. http://dx.doi.org/10.1163/18757405-022001023.

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This article examines Beckett's legacy in the work of Robert Smithson, stressing how the latter's “site/nonsite dialectic” seems to work through many of Beckett's concerns as played out in , but also in the “Three Dialogues with Georges Duthuit,” a work to which Smithson alludes in an oblique citation. Smithson himself stresses the debt of his “alogon” to the Beckettian “surd,” and I argue here that Smithson extends the Beckettian deconstruction of logocentrism into the realm of matter, objects, and “Earth Art.” It is in the wake of this process that he allows for a reconsideration of the local, itself more important in Beckett than commonly realized.

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29

Doshi, Neil. "Written in Sand." Samuel Beckett Today / Aujourd’hui 31, no. 2 (October 24, 2019): 234–49. http://dx.doi.org/10.1163/18757405-03102004.

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Abstract This article reinterprets the Algerian writer Mohammed Dib’s 1992 novel Le désert sans détour through the analysis of its reference to Samuel Beckett’s En attendant Godot. I argue that for Dib, Beckett offers an important model for a post-revolutionary politics that expresses extreme skepticism over clichéd notions of historical progress and universal humanism. Recuperating this ignored Beckettian strand in Dib’s novel, I revise the critical reception that has read the text as apolitical and focused on spirituality. I offer a better understanding of Dib’s aesthetic as one emerging out of a dialectical tension between discourses of Sufi illumination and a Beckettian politics radically enmeshed in the world.

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Berne, Marie. "Beckett en Chine à Paris: Résonance beckettienne chez Gao Xingjian." Samuel Beckett Today / Aujourd'hui 23, no. 1 (August 1, 2012): 127–41. http://dx.doi.org/10.1163/18757405-023001010.

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How to visit China with Beckett ? A contemporary artist may be our guide for this discovery and create a bridge between different realities, cultures and perspectives that are not so easy to compare. Gao Xingjian is, like Beckett, a Nobel Prize winner, in exile in Paris, a novelist, theater writer, film director and inventor of languages. The influence of Beckett with Gao has been evident when his piece Chezhan was performed in 1983 in Beijing. It seems that beckettian resonances have become even more apperent after Gao's departure from China. The Beckettian 'filiation' so throws its light on an even moving which, in stead of a visit to China, invites us to an exploration of an individuality.

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31

Furlani, Andre. "At Home with Beckettians (Notes from the Lockdown)." Journal of Beckett Studies 29, no. 2 (September 2020): 261–67. http://dx.doi.org/10.3366/jobs.2020.0315.

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32

Xhonneux, L. "Rebecca Brown's Evolution Toward Minimalism: A Beckettian Poetics." Literary Imagination 16, no. 1 (December 4, 2013): 70–75. http://dx.doi.org/10.1093/litimag/imt066.

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33

Salamensky, S. I. "Dramaturgies of the skin: Beckett'sCompanyin post‐Beckettian production." Women & Performance: a journal of feminist theory 13, no. 2 (January 2003): 123–31. http://dx.doi.org/10.1080/07407700308571429.

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34

Turley, Elliott. "The Tragicomic Philosophy of Waiting for Godot." Modern Language Quarterly 81, no. 3 (September 1, 2020): 349–75. http://dx.doi.org/10.1215/00267929-8351546.

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Abstract Samuel Beckett’s interest in tragicomedy has been clear since he attached the subtitle A Tragicomedy in Two Acts to the English translation of Waiting for Godot. This article articulates what exactly Beckettian tragicomedy does. Godot, Beckett’s foremost tragicomedy, stages the interplay of his wide-ranging literary and philosophical influences. Drawing on figures such as Arthur Schopenhauer, Jean Racine, Henri Bergson, Arnold Geulincx, and Fritz Mauthner, the play bends toward tragedy but undercuts any sense of finality with its slow unrolling. More than a metaphysical statement, this temporal model of tragicomedy offers a Beckettian ethics insistent on both the resigned compassion of tragedy and comedy’s power to critique. In outlining Godot’s tragicomic philosophy, the essay charts Beckett’s deployment of the various figures who inspire his play but also shows how this tragicomic paradigm functions in the theater—and how it inspires future dramatists.

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35

Dow, Suzanne. "Beckett's Humour, from an Ethics of Finitude to an Ethics of the Real." Paragraph 34, no. 1 (March 2011): 121–36. http://dx.doi.org/10.3366/para.2011.0009.

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This article explores the ethics of Samuel Beckett's humour. It takes issue with the dominant reading of Beckettian humour as the redemption of a negativity occasioned by humanity's finitude. The paradigmatic case in point is here taken to be Simon Critchley's account, wherein ethics is cast as a process of coming to terms with disappointment ensuing from the inaccessibility of the Kantian Thing-in-Itself. This article takes up a Lacanian psychoanalytic perspective to recast Beckett's humour as, far from offering solace for finitude, highlighting instead the excess or remainder that insists, and resists philosophy's attempts to sublate it into a version of the Good. As such, the ethical demand evoked by Beckettian humour is not the attenuation of the disappointing lack implied by finitude, but rather a coping with the egregious excess of inhuman infinitude.

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Maciel, Ulisses Augusto Guimarães. "Tradução: uma experiência entre línguas." caleidoscópio: literatura e tradução 1, no. 1 (June 9, 2017): 19–34. http://dx.doi.org/10.26512/caleidoscopio.v1i1.7105.

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O presente artigo busca por meio da filosofia de Vilém Flusser e da literatura beckettiana discutir as implicações de uma existência apátrida na formação do pensamento e na construção de uma literatura capaz de revelar os limites da linguagem como ferramenta de composição da realidade.

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염정민. "The Indeterminacy of the Beckettian Text: Focusing on Molloy." Studies in English Language & Literature 42, no. 1 (February 2016): 67–86. http://dx.doi.org/10.21559/aellk.2016.42.1.004.

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38

Sharma, Anurag. "WAITING FOR GODOT: A Beckettian ConnterfoiI to Kierkegaardian Existentialism." Samuel Beckett Today / Aujourd'hui 2, no. 1 (December 8, 1993): 275–80. http://dx.doi.org/10.1163/18757405-90000032.

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Parrott, Jeremy. "'NOTHING NEATLY NAMED': The Beckettian Aesthetic and Negative Theology." Samuel Beckett Today / Aujourd'hui 13, no. 1 (December 8, 2003): 89–101. http://dx.doi.org/10.1163/18757405-90000160.

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Ravez, Stéphanie. "From Cythera to Philautia: An Excursion into Beckettian Love." Journal of Beckett Studies 10, no. 1-2 (January 2000): 136–51. http://dx.doi.org/10.3366/jobs.2001.10.1-2.12.

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Germoni, Karine. "From Joyce to Beckett: The Beckettian Dramatic Interior Monologue." Journal of Beckett Studies 13, no. 2 (January 2004): 137–49. http://dx.doi.org/10.3366/jobs.2004.13.2.11.

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Mével, Yann. "Beckett et le devenir du paysage." Samuel Beckett Today / Aujourd'hui 20, no. 1 (December 1, 2008): 143–54. http://dx.doi.org/10.1163/18757405-020001012.

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This article aims to show how the Beckettian imagery shatters the features of the romantic landscape. Backing up our analysis with Michel Collot's research into the literary and iconographic representations of the landscape, we bring out some significant characterictics of this evolution, in spite of the lasting fascination for flora in Beckett's works.

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Heron, Jonathan. "‘Restriction Gives Freedom’." Samuel Beckett Today / Aujourd’hui 34, no. 1 (April 25, 2022): 79–91. http://dx.doi.org/10.1163/18757405-03401007.

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Abstract Nando Messias is a Brazilian artist based in London whose work straddles performance art, dance and theatre. This interview explores how Nando brings a ‘queer’ perspective to our understanding of Beckett’s drama and Beckettian aesthetics. The artist reflects upon their training, the performing of Not I, and their wider practice in live art and queer performance.

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Dowd, Garin. "On Four Kantian Formulas That Might Summarise the Beckettian Poetic." Journal of Beckett Studies 10, no. 1-2 (January 2000): 53–68. http://dx.doi.org/10.3366/jobs.2001.10.1-2.7.

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JOHNSON, NICHOLAS E. "Language, Multiplicity, Void: The Radical Politics of the Beckettian Subject." Theatre Research International 37, no. 1 (January 26, 2012): 38–48. http://dx.doi.org/10.1017/s0307883311000757.

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This article re-examines the legacy of modernist aesthetics, with special focus on Samuel Beckett and his radical critique of subjectivity, language and ontology. The problem of language as a fundamental agent of difference pervades both the content and form of literary modernism. Beyond conventional semantic and aesthetic function, language acts in Beckett's works to construct a subject that is at once multiple in expression and voided at its core. Drawing on performance and philosophy to explore an ethical dimension of Beckett's praxis already sensed by Theodor Adorno and Alain Badiou, this study recalls the political implications of what are sometimes dismissed as ‘mere’ aesthetic questions, by looking deeper into the modernist attitude toward language, subjectivity, and void. This research suggests that the full radicality of the Beckettian subject has yet to be fully absorbed in philosophy and culture, devastating as it is to the postmodern focus on identity and difference.

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Caselli, Daniela. "Tiny Little Things in Beckett's." Samuel Beckett Today / Aujourd'hui 15, no. 1 (November 1, 2005): 271–80. http://dx.doi.org/10.1163/18757405-015001024.

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This article analyses childhood in Beckett's . is the only Beckett text that has regularly elicited biographical interpretations: critics have often read it as the expression of spontaneous childhood memories. However, this text is also usually characterised as strangely "nostalgic" or "sentimental," almost un-Beckettian. My contribution argues that questions the workings of authenticity and spontaneity implicit in the very concept of childhood.

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Duchovny, Malena. "“I’ll tell”: Beckett, Geulincx y la voluntad de fracasar." Beckettiana, no. 17 (November 30, 2020): 39–49. http://dx.doi.org/10.34096/beckettiana.n17.9126.

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En el presente trabajo buscamos rastrear la influencia que tuvo la Ética del filósofo Arnold Geulincx en los Fizzles de Samuel Beckett, a los cuales consideramos representativos de la poética beckettiana tardía ya que las constantes referencias a textos anteriores del autor irlandés dan la idea de una condensación de su obra. Para esto, analizamos las primeras referencias que Beckett hace a Geulincx luego de haber leído su Ética y mostramos el cambio que se da en la poética beckettiana, especialmente en relación con la idea de la voluntad humana subsumida a la voluntad divina, como quienes caminan hacia el este a bordo de un barco que se dirige al oeste. Beckett reemplaza a la voluntad de Dios por el azar, pero acepta que no hay manera de expresar la voluntad de la conciencia. Así, su poética se modifica: el esfuerzo negativo se transforma en una voluntad de crear aunque el fracaso sea inevitable. Esto lo vemos especialmente retratado en “Three Dialogues”, donde Beckett realiza su famosa aseveración acerca de la imposibilidad de expresarse. Finalmente, procedemos a un análisis de los Fizzles en sí y reparamos en la insistencia en el fracaso voluntario en la forma y el contenido de estas prosas.

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Bersani, Leo. "Broken Connections." PMLA/Publications of the Modern Language Association of America 125, no. 2 (March 2010): 414–17. http://dx.doi.org/10.1632/pmla.2010.125.2.414.

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“I Can't Go on, I'll Go On.” Both Parts of This Bleak Acknowledgment By Samuel Beckett's Unnamable (407) seem to me appropriate (if not particularly gracious) responses to the honor of the preceding essays, which grow out of a distinguished 2008 MLA panel on what the program called my “career in writing.” First, there is, inevitably, a finalizing or conclusive connotation inherent in both the event and the reference to a “career,” a career that, at least for the purposes of the event meant to celebrate it, can only be located behind me. So the only way to avoid the entombment, the modest monumentalizing, unintentionally (I assume) accomplished in these essays is to insist, as Beckett does, that I must go on. If, to continue on another Beckettian note, there has been a career in writing, it has perhaps been because, somehow, I have not succeeded in failing, or I have at least (or at most) insufficiently failed. The Beckettian voice's exasperation at never having failed enough has always seemed to me to have something to do with the experience of the energizing effect of failures in language, an energy that prevents a voice from entering, and being locked into, the presumed history of a presumed culture.

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Colin, Marjorie. "Le silence en maux dans l’œuvre théâtrale de Samuel Beckett." Quêtes littéraires, no. 7 (December 30, 2017): 142–52. http://dx.doi.org/10.31743/ql.167.

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The silence in Beckett’s plays can be interpreted in many different ways. It often shows the anxiety of the characters faced with the vacuity in their lives. Left to themselves, they hardly manage to let go during these recurring silences (marked in an obsessional way in Beckett’s texts with the word "pause" as an absolute punctuation in the theatrical language). So they really feel the silence as the "arising of nothingness ", a sort of gateway to finitude. This silence is also the one appearing among Beckettian couples to reveal the aporia in language: inability to communicate, "doing" instead of (impossible) "saying". This Beckettian "doing" is shown in a conspicuous gestuality which conveys a certain materiality to this silence as well as it tries desperately to fill it. Thus Beckett’s characters act and give silence some substance, incarnating therefore a full-fledged character. Finally, silence can also embody the religious, at least the expectation (of the divine? in Godot particularly?). This silence grows solemn and reveals a suspension in the speech and characters in search of a follow-up. Silence then becomes the opening of an area where everything is possible since nothing has been said yet, implicitly expressing fantasies of joy and salvation.

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Robinson, Richard. "An Umbrella, a Pair of Boots, and a ‘Spacious Nothing’: McGahern and Beckett." Irish University Review 44, no. 2 (November 2014): 323–40. http://dx.doi.org/10.3366/iur.2014.0127.

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This essay argues that an assessment of the Beckettian qualities of McGahern's work should take into account the recent scholarship which has explored Beckett's absorption in philosophy. I follow Husserl's injunction ‘go back to the things themselves’: first, to the significance of the umbrella, an over-determined sexual signified, in ‘My Love, My Umbrella’; and second to the extended representation of the father's boots in The Dark. These objects of ridicule and affect have their own obliquely Beckettian lineage as the ‘presence between’ (Watt) the post-Cartesian body and the uncaring object world, though they do not attain the ideal of epidermal ‘impermeability’ mentioned in Beckett's Proust. McGahern also shares Beckett's interest in the Democritean idea that ‘Nothing is more real than nothing’ (Malone Dies), though under such conditions McGahern clings more tenaciously to the materiality of the memory-image, whereas to Beckett the image may be sullied by memory (Deleuze) or simply ‘done’ in the present. However, McGahern is aware that his aesthetic cannot be fully mastered by a transcendent Mnemosyne, and that the recalcitrant present may refuse to budge. Finally, a strange contemporaneity is shown to emerge between ‘The Wine Breath’ and the Shades of Beckett's late televisual work, both of which are revisited by Yeatsian ghosts.

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