Samuel Beckett and the Primacy of Love
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This Item Is the Archived Peer-Reviewed Author-Version Of
This item is the archived peer-reviewed author-version of: Periodizing Samuel Beckett's Works A Stylochronometric Approach Reference: Van Hulle Dirk, Kestemont Mike.- Periodizing Samuel Beckett's Works A Stylochronometric Approach Style - ISSN 0039-4238 - 50:2(2016), p. 172-202 Full text (Publisher's DOI): https://doi.org/10.1353/STY.2016.0003 To cite this reference: http://hdl.handle.net/10067/1382770151162165141 Institutional repository IRUA This is the author’s version of an article published by the Pennsylvania State University Press in the journal Style 50.2 (2016), pp. 172-202. Please refer to the published version for correct citation and content. For more information, see http://www.jstor.org/stable/10.5325/style.50.2.0172?seq=1#page_scan_tab_contents. <CT>Periodizing Samuel Beckett’s Works: A Stylochronometric Approach1 <CA>Dirk van Hulle and Mike Kestemont <AFF>UNIVERSITY OF ANTWERP <abs>ABSTRACT: We report the first analysis of Samuel Beckett’s prose writings using stylometry, or the quantitative study of writing style, focusing on grammatical function words, a linguistic category that has seldom been studied before in Beckett studies. To these function words, we apply methods from computational stylometry and model the stylistic evolution in Beckett’s oeuvre. Our analyses reveal a number of discoveries that shed new light on existing periodizations in the secondary literature, which commonly distinguish an “early,” “middle,” and “late” period in Beckett’s oeuvre. We analyze Beckett’s prose writings in both English and French, demonstrating notable symmetries and asymmetries between both languages. The analyses nuance the traditional three-part periodization as they show the possibility of stylistic relapses (disturbing the linearity of most periodizations) as well as different turning points depending on the language of the corpus, suggesting that Beckett’s English oeuvre is not identical to his French oeuvre in terms of patterns of stylistic development. -
Samuel Beckett's Peristaltic Modernism, 1932-1958 Adam
‘FIRST DIRTY, THEN MAKE CLEAN’: SAMUEL BECKETT’S PERISTALTIC MODERNISM, 1932-1958 ADAM MICHAEL WINSTANLEY PhD THE UNIVERSITY OF YORK DEPARTMENT OF ENGLISH AND RELATED LITERATURE MARCH 2013 1 ABSTRACT Drawing together a number of different recent approaches to Samuel Beckett’s studies, this thesis examines the convulsive narrative trajectories of Beckett’s prose works from Dream of Fair to Middling Women (1931-2) to The Unnamable (1958) in relation to the disorganised muscular contractions of peristalsis. Peristalsis is understood here, however, not merely as a digestive process, as the ‘propulsive movement of the gastrointestinal tract and other tubular organs’, but as the ‘coordinated waves of contraction and relaxation of the circular muscle’ (OED). Accordingly, this thesis reconciles a number of recent approaches to Beckett studies by combining textual, phenomenological and cultural concerns with a detailed account of Beckett’s own familiarity with early twentieth-century medical and psychoanalytical discourses. It examines the extent to which these discourses find a parallel in his work’s corporeal conception of the linguistic and narrative process, where the convolutions, disavowals and disjunctions that function at the level of narrative and syntax are persistently equated with medical ailments, autonomous reflexes and bodily emissions. Tracing this interest to his early work, the first chapter focuses upon the masturbatory trope of ‘dehiscence’ in Dream of Fair to Middling Women, while the second examines cardiovascular complaints in Murphy (1935-6). The third chapter considers the role that linguistic constipation plays in Watt (1941-5), while the fourth chapter focuses upon peristalsis and rumination in Molloy (1947). The penultimate chapter examines the significance of epilepsy, dilation and parturition in the ‘throes’ that dominate Malone Dies (1954-5), whereas the final chapter evaluates the significance of contamination and respiration in The Unnamable (1957-8). -
The Evocation of the Physical, Metaphysical, and Sonic Landscapes in Samuel Beckett's Short Dramatic Works
Trinity College Trinity College Digital Repository Senior Theses and Projects Student Scholarship Spring 2012 The Evocation of the Physical, Metaphysical, and Sonic Landscapes in Samuel Beckett's Short Dramatic Works Theresa A. Incampo Trinity College, [email protected] Follow this and additional works at: https://digitalrepository.trincoll.edu/theses Part of the Dramatic Literature, Criticism and Theory Commons, Performance Studies Commons, and the Theatre History Commons Recommended Citation Incampo, Theresa A., "The Evocation of the Physical, Metaphysical, and Sonic Landscapes in Samuel Beckett's Short Dramatic Works". Senior Theses, Trinity College, Hartford, CT 2012. Trinity College Digital Repository, https://digitalrepository.trincoll.edu/theses/209 The Evocation of the Physical, Metaphysical and Sonic Landscapes within the Short Dramatic Works of Samuel Beckett Submitted by Theresa A. Incampo May 4, 2012 Trinity College Department of Theater and Dance Hartford, CT 2 Table of Contents Acknowledgements 5 I: History Time, Space and Sound in Beckett’s short dramatic works 7 A historical analysis of the playwright’s theatrical spaces including the concept of temporality, which is central to the subsequent elements within the physical, metaphysical and sonic landscapes. These landscapes are constructed from physical space, object, light, and sound, so as to create a finite representation of an expansive, infinite world as it is perceived by Beckett’s characters.. II: Theory Phenomenology and the conscious experience of existence 59 The choice to focus on the philosophy of phenomenology centers on the notion that these short dramatic works present the theatrical landscape as the conscious character perceives it to be. The perceptual experience is explained by Maurice Merleau-Ponty as the relationship between the body and the world and the way as to which the self-limited interior space of the mind interacts with the limitless exterior space that surrounds it. -
Teaching Latin Love Poetry with Pop Music1
Teaching Classical Languages Volume 10, Issue 2 Kopestonsky 71 Never Out of Style: Teaching Latin Love Poetry with Pop Music1 Theodora B. Kopestonsky University of Tennessee, Knoxville ABSTRACT Students often struggle to interpret Latin poetry. To combat the confusion, teachers can turn to a modern parallel (pop music) to assist their students in understanding ancient verse. Pop music is very familiar to most students, and they already trans- late its meaning unconsciously. Building upon what students already know, teach- ers can reframe their approach to poetry in a way that is more effective. This essay shows how to present the concept of meter (dactylic hexameter and elegy) and scansion using contemporary pop music, considers the notion of the constructed persona utilizing a modern musician, Taylor Swift, and then addresses the pattern of the love affair in Latin poetry and Taylor Swift’s music. To illustrate this ap- proach to connecting ancient poetry with modern music, the lyrics and music video from one song, Taylor Swift’s Blank Space (2014), are analyzed and compared to poems by Catullus. Finally, this essay offers instructions on how to create an as- signment employing pop music as a tool to teach poetry — a comparative analysis between a modern song and Latin poetry in the original or in translation. KEY WORDS Latin poetry, pedagogy, popular music, music videos, song lyrics, Taylor Swift INTRODUCTION When I assign Roman poetry to my classes at a large research university, I re- ceive a decidedly unenthusiastic response. For many students, their experience with poetry of any sort, let alone ancient Latin verse, has been fraught with frustration, apprehension, and confusion. -
Travels with Samuel Beckett, 1928-1946
Beyond the Cartesian Pale: Travels with Samuel Beckett, 1928-1946 Charles Travis [I]t is the act and not the object of perception that matters. Samuel Beckett, “Recent Irish Poetry,” e Bookman (1934).1 Introduction he Irish Nobel laureate Samuel Beckett’s (1902-1989) early writings of the 1930s and 1940s depict the cities of Dublin, London and Saint-Lô Tin post-war France, with affective, comedic and existential flourishes, respectively. These early works, besides reflecting the experience of Beckett’s travels through interwar Europe, illustrate a shift in his literary perspective from a latent Cartesian verisimilitude to a more phenomenological, frag- mented and dissolute impression of place. This evolution in Beckett’s writing style exemplifies a wider transformation in perception and thought rooted in epistemological, cultural and philosophical trends associated with the Conti- nental avant garde emerging in the wake of the fin de siècle. As Henri Lefeb- vre has noted: Around 1910, the main reference systems of social practice in Eu- rope disintegrated and even collapsed. What had seemed estab- lished for good during the belle époque of the bourgeoisie came to an end: in particular, space and time, their representation and real- ity indissociably linked. In scientific knowledge, the old Euclidian and Newtonian space gave way to Einsteinian relativity. But at the same time, as is evident from the painting of the period—Cézanne first of all, then analytical Cubism—perceptible space and per- spective disintegrated. The line of horizon, optical meeting-point of parallel lines, disappeared from paintings.2 At the age of fourteen, Beckett, a son of the Protestant Anglo Irish bourgeoisie, witnessed in the largely Catholic nationalist uprising in Ireland, something Charles Travis is at Trinity College Dublin, Long Room Hub. -
University Microfilnns International 300 N
INFORMATION TO USERS This reproduction was made from a copy of a document sent to us for microfilming. While the most advanced technology has been used to photograph and reproduce this document, the quality of the reproduction is heavily dependent upon the quality of the material submitted. The following explanation of techniques is provided to help clarify markings or notations which may appear on this reproduction. 1.The sign or “target” for pages apparently lacking from the document photographed is “Missing Page(s)”. If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting through an image and duplicating adjacent pages to assure complete continuity. 2. When an image on the film is obliterated with a round black mark, it is an indication of either blurred copy because of movement during exposure, duplicate copy, or copyrighted materials that should not have been filmed. For blurred pages, a good image of the page can be found in the adjacent frame. If copyrighted materials were deleted, a target note will appear listing the pages in the adjacent frame. 3. When a map, drawing or chart, etc., is part of the material being photographed, a definite method of “sectioning” the material has been followed. It is customary to begin filming at the upper left hand comer of a large sheet and to continue from left to right in equal sections with small overlaps. If necessary, sectioning is continued again—beginning below the first row and continuing on until complete. -
Karaoke Book
10 YEARS 3 DOORS DOWN 3OH!3 Beautiful Be Like That Follow Me Down (Duet w. Neon Hitch) Wasteland Behind Those Eyes My First Kiss (Solo w. Ke$ha) 10,000 MANIACS Better Life StarStrukk (Solo & Duet w. Katy Perry) Because The Night Citizen Soldier 3RD STRIKE Candy Everybody Wants Dangerous Game No Light These Are Days Duck & Run Redemption Trouble Me Every Time You Go 3RD TYME OUT 100 PROOF AGED IN SOUL Going Down In Flames Raining In LA Somebody's Been Sleeping Here By Me 3T 10CC Here Without You Anything Donna It's Not My Time Tease Me Dreadlock Holiday Kryptonite Why (w. Michael Jackson) I'm Mandy Fly Me Landing In London (w. Bob Seger) 4 NON BLONDES I'm Not In Love Let Me Be Myself What's Up Rubber Bullets Let Me Go What's Up (Acoustative) Things We Do For Love Life Of My Own 4 PM Wall Street Shuffle Live For Today Sukiyaki 110 DEGREES IN THE SHADE Loser 4 RUNNER Is It Really Me Road I'm On Cain's Blood 112 Smack Ripples Come See Me So I Need You That Was Him Cupid Ticket To Heaven 42ND STREET Dance With Me Train 42nd Street 4HIM It's Over Now When I'm Gone Basics Of Life Only You (w. Puff Daddy, Ma$e, Notorious When You're Young B.I.G.) 3 OF HEARTS For Future Generations Peaches & Cream Arizona Rain Measure Of A Man U Already Know Love Is Enough Sacred Hideaway 12 GAUGE 30 SECONDS TO MARS Where There Is Faith Dunkie Butt Closer To The Edge Who You Are 12 STONES Kill 5 SECONDS OF SUMMER Crash Rescue Me Amnesia Far Away 311 Don't Stop Way I Feel All Mixed Up Easier 1910 FRUITGUM CO. -
Istanbul Bilgi University Institute of Social Sciences Clinical Psychology Master’S Degree Program
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Istanbul Bilgi University Library Open Access ISTANBUL BILGI UNIVERSITY INSTITUTE OF SOCIAL SCIENCES CLINICAL PSYCHOLOGY MASTER’S DEGREE PROGRAM THE ROLE OF PERCEIVED MATERNAL NARCISSISM AND DEPRESSION ON THE LATER DEVELOPMENT OF NARCISSISTIC PERSONALITY ORGANIZATION ÖYKÜ TÜRKER 115629007 ALEV ÇAVDAR SİDERİS, FACULTY MEMBER, PhD İSTANBUL 2018 The Role of Perceived Maternal Narcissism and Depression on the Later Development of Narcissistic Personality Organization Anneye Dair Algılanan Narsisizm ve Depresyonun Narsisistik Kişilik Örgütlenmesinin Gelişimine Etkisi Öykü Türker 115629007 Thesis Advisor: Alev Çavdar Sideris, Faculty Member, PhD: İstanbul Bilgi Üniversitesi Jury Member: Elif Göçek, Faculty Member, PhD: İstanbul Bilgi Üniversitesi Jury Member: Yasemin Sohtorik İlkmen, Faculty Member, PhD. : Yeditepe Üniversitesi Date of Thesis Approval: 19/06/2018 Total Number of Pages: 88 Anahtar Kelimeler (Turkish) Keywords (English) 1) Narsisizm 1) Narcissism 2) Depresyon 2) Depression 3) Çocuk Gelişimi 3) Child Development 4) Anne-Çocuk İlişkisi 4) Mother-Child Relationship 5) Kişilik Örgütlenmesi 5) Personality Organization TABLE OF CONTENTS ABSTRACT ...................................................................................................... vii ÖZET ................................................................................................................viii ACKNOWLEDGEMENTS ............................................................................... -
Legenden David Bowie Släpper Ny Singel Och Samling
2014-09-09 15:49 CEST LEGENDEN DAVID BOWIE SLÄPPER NY SINGEL OCH SAMLING Nya Deluxe samlingen ”Nothing Has Changed” som släpps den 17 november via Parlophone innehåller den nya singeln ”Sue (Or In A Season Of Crime)”. ALBUM: 3CD, 2CD, DUBBEL VINYL OCH DIGITAL DOWNLOAD SINGEL: LIMITERAD UPPLAGA OM 10" vinyl och digital download Femtio år efter sin första inspelning fortsätter David Bowie att vara i spetsen för samtida kultur som musiker, konstnär och ikon. ”Nothing Has Changed” samlar för första gången all Bowie’s musik från åren 1964-2014. Albumet (uppkallat efter en text från öppningsspåret "Sunday" från albumet "Heathen”) samlar låtarna från varje period av Bowies karriär – allt från hans tidigaste inkarnationer som "Liza Jane" och "Can’t Help Thinking About Me” enda fram till James Murphys "Hello Steve Reich Mix" av "Love Is Lost" från förra året. Albumet innehåller Bowies första nya musik sedan han släppte det kritikerrosade albumet ”The Next Day" förra året. Den nya singeln "SUE (Or In A Season Of Crime) spelades in särskilt för ”Nothing Has Changed” tillsammans med långtida samarbetspartnern Tony Visconti och kommer att släppas i en begränsad upplaga (10" singel och digital nedladdning) samma dag som albumet. Vid sidan av det helt nya spåret innehåller albumet den tidigare outgivna låten "Let Me Sleep Beside You" som togs fram från inspelningarna till mytomspunna albumet "TOY" som aldrig släpptes, låten "Your Turn To Drive" som gör debut på CD samt den fantastiska 2001 nyinspelningen av låten "Shadow Man" från år 1971. DAVID BOWIE -
Paul O'mahoney 8
Estudios Irlandeses , Number 8, 2013, pp. 93-104 __________________________________________________________________________________________ AEDEI On the Freudian Motifs in Beckett’s “First Love” Paul O’Mahoney Marino Institute of Education, Dublin Copyright (c) 2013 by Paul O’Mahoney. This text may be archived and redistributed both in electronic form and in hard copy, provided that the author and journal are properly cited and no fee is charged for access. Abstract. Beckett’s “First Love” is in part a literary experiment, being one of his first texts of length written in French. It is a story that is replete with allusions to Freudian psychoanalysis, both general ideas or theories and individual case studies. We argue here that its experimental status extends to this feature. Its incorporation of Freudian motifs represents the beginning of an attempt by Beckett to move beyond or improve upon his previous engagement with Freud in his fiction, with which he was somewhat dissatisfied. The change is signified in his parodic or unserious invocations of Freud, which differ from his earlier stories; while we concede that the approach is not very successful, in literary terms, in terms of Beckett’s corpus and development as a writer it deserves attention. Having identified many of his Freudian sources and the character of his deployment of them, we note the difficulties his chosen approach presents for both writers and readers or interpreters. We close by pointing out the critical shortcomings that must follow on failure to attend to the story’s essentially Freudian framework, exemplified in an essay on the story by Julia Kristeva. Key Words: Samuel Beckett, “First Love”, Freud, psychoanalysis, literary criticism Resumen. -
George Blake's Legacy
64pp Booklet GEORGE BLAKE’S LEGACY SONGS, TOASTS AND RECITATIONS of a Hampshire Gardener 1829-1916 Collected by Dr. George B. Gardiner TIM RADFORD Revised and updated 64pp booklet FTCD 209 GEORGE BLAKE’S LEGACY - Notes. GEORGE “Crutie” BLAKE'S Repertoire - Booklet Index. In alphabetical order All the songs, tunes and recitations on this recording were collected from one singer and countryman, BOLD = Recorded Song : ITALICS = Recorded Song Tune : Other = other Mr. George ‘Crutie’ Blake. It is not known how he got his nickname of ‘Crutie’, nor its meaning. He Song Title: . .Page: was a gardener by trade. A VIRGIN MOST PURE . .27 Dr. George B. Gardiner collected Mr. Blake’s repertoire in 1906-1907 with musical notation assistance ADIEU TO OLD ENGLAND . .25 from Southampton musician Mr. J.T. Guyer (L.R.A.M.), during Gardiner’s journey of collecting folk ATTENTION GIVE BOTH HIGH AND LOW . .22 songs in Hampshire and the South England from 1905-1909. All the songs were collected while Blake Barbara Allen . .45 was in the later years of his life, residing with his children in the Southampton suburbs of St. Denys Blackberry Fold (Tune - Banks of Sweet Dundee) . .46 and Bitterne Park. However, he had spent most of his time living and working in The New Forest, in and Bold Princess Royal, The . .47 around Lyndhurst. Gardiner collected 48 songs, one recitation and four toasts from Blake, some songs Botany Bay . .47 are complete, others are fragments, but tunes were notated for almost all of them. The dates of the Broken Token, The . -
Some Subtypes of Depression and Their Implications for Psychoanalytic Treatment
Int. J. Psycho-Anal. (1996) 77, 935 SOME SUBTYPES OF DEPRESSION AND THEIR IMPLICATIONS FOR PSYCHOANALYTIC TREATMENT HUGO B. BLEICH MAR, MADRID The author argues the case for the need to develop an integrative clinical psychoanalytic model of depression which takes into account various pathways leading to different subtypes of depression. Some factors intervening in the genesis and maintenance of depression (aggression, guill, narcissistic disorders, persecutory anxieties, ego deficits, masochism, identification with depressive parents and fixation to traumatic events in which the subject felt helpless) are examined, as well as certain dynamic interrelations between them. The relationship between aggression and depression is analysed, with particular attention devoted to the steps through which aggression turns into depression. The origins of guilt are reviewed, including those conditions which are independent of aggression. Psychoanalytic interventions that could be pertinent for a given subtype of depression, but which .could prove counterproductive when applied to another subtype are discussed. Clinical examples are given to provide support for the ideas presented, recognising that further studies are required to establish more specific correlations between the different depressive configurations and the types of psychoanalytic inter ventions best suited for changing them. In Mourning and Melancholia (the basic text companied by a persistence of the desire for for our psychoanalytic understanding of de that object and by a representation of its pression), Freud did not simply enumerate unattainability. That is, the object must be the symptoms of depression, but searched psychically constructed as lost. Freud points for a universal condition that would explain this out in Inhibitions, Symptoms and Anxiety the different types of depression.