Samuel Beckett Related Audio Material
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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. -
Wordback to CONTENTS P AGE 1 WHA T IS the WORD P an P AN
WHAT IS THE WORD WHAT PAN PAN PAN BACK TO CONTENTS PAGE 1 WHaT WOrD IS THE WHAT IS THE WORD WHAT PAN PAN PAN BACK TO CONTENTS PAGE 2 COnTEnTS WHAT IS THE WORD WHAT CONTENTS Contents Essay 4 Poems 8 Creatives 13 Creative Biographies 15 Speaker Biographies 20 CONTENTS BACK TO Pan Pan 32 PAGE 3 PAGE WHAT IS THE WORD WHAT Once more, with colour by Nicholas Johnson Speaking from experience, not everyone is overjoyed by an invitation to a poetry performance. It is not a clearly defined event with formal conditions: it could lead to a wide range of possible outcomes and feelings in the listener. The bardic tradition that sweeps across human cultures and histories — from the Homeric ESSAY epics to the Sufis, from the biwa hoshi of Japan to the filí of Ireland — shows both the depth and breadth of the human impulse to hear verse aloud. But in our cosmopolitan present, poetry being “voiced” could run the gamut from adolescent (painful sincerity at an open mic) to adult (earnest readings at university book launches) to transhuman (Black Thought’s ten-minute freestyle). Though poetry always transports us somewhere, the destination could be anywhere in Dante’s universe: infernal, purgatorial, or paradisiacal. This particular poetry performance is, perhaps fittingly for the year 2020, set in that everyday limbo that is the cinema. It is consciously conceived for the large-scale screen — a crucial gesture, when so much life is being lived on small screens — and as a physical, collective experience, with an audience in plush CONTENTS BACK TO seats, bathed in light, feeling the powerful surround-sound system within their bodies. -
James Baldwin As a Writer of Short Fiction: an Evaluation
JAMES BALDWIN AS A WRITER OF SHORT FICTION: AN EVALUATION dayton G. Holloway A Dissertation Submitted to the Graduate School of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY December 1975 618208 ii Abstract Well known as a brilliant essayist and gifted novelist, James Baldwin has received little critical attention as short story writer. This dissertation analyzes his short fiction, concentrating on character, theme and technique, with some attention to biographical parallels. The first three chapters establish a background for the analysis and criticism sections. Chapter 1 provides a biographi cal sketch and places each story in relation to Baldwin's novels, plays and essays. Chapter 2 summarizes the author's theory of fiction and presents his image of the creative writer. Chapter 3 surveys critical opinions to determine Baldwin's reputation as an artist. The survey concludes that the author is a superior essayist, but is uneven as a creator of imaginative literature. Critics, in general, have not judged Baldwin's fiction by his own aesthetic criteria. The next three chapters provide a close thematic analysis of Baldwin's short stories. Chapter 4 discusses "The Rockpile," "The Outing," "Roy's Wound," and "The Death of the Prophet," a Bi 1 dungsroman about the tension and ambivalence between a black minister-father and his sons. In contrast, Chapter 5 treats the theme of affection between white fathers and sons and their ambivalence toward social outcasts—the white homosexual and black demonstrator—in "The Man Child" and "Going to Meet the Man." Chapter 6 explores the theme of escape from the black community and the conseauences of estrangement and identity crises in "Previous Condition," "Sonny's Blues," "Come Out the Wilderness" and "This Morning, This Evening, So Soon." The last chapter attempts to apply Baldwin's aesthetic principles to his short fiction. -
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 Use of Internal and External “Fire and Heat Metaphors” in Some Rock Lyrics
STOCKHOLM UNIVERSITY Department of English Do You Really Want to Set Me on Fire, My Love ? The Use of Internal and External “Fire and Heat Metaphors” in some Rock Lyrics Kalle Larsen Linguistic C-essay Spring 2006 Supervisor: Christina Alm-Arvius Abstract The aim of this study has been to investigate whether metaphors in terms of fire and heat in rock lyrics can be interpreted figuratively as well as literally. The terms for these latter two categories are internal and external metaphors . Many rock lyrics are about love, a theme often described with the use of metaphors. One common type of metaphorisation for describing love is to use what in this study has been called “fire and heat metaphors”. These are metaphors that as their source use FIRE and HEAT/WARMTH and map some of these qualities on to the metaphorical target LOVE, which results in metaphorical constructions like I am on fire . Internal and external metaphors are terms coined by Alm-Arvius (2003:78) and they serve the purpose of separating the metaphors that cannot be taken literally from those that can also be given a literal meaning in another context. The main aim of this study has been to investigate whether a set of chosen metaphorical constructions taken from different rock songs can also be interpreted literally in relation to another universe of discourse. Moreover, the semantic and syntactic structures of the metaphor examples have been outlined, and some theories why the constructions should be regarded as internal or external metaphors have been presented. A number of related underlying cognitive structures ( conceptual metaphors ) were identified in this study, and (BEING IN) LOVE IS (EXPERIENCING) HEAT/WARMTH is a structure that allows external metaphorical constructions. -
First Love, a Novella Part One Illustrated Volume 27 the Last Marriage of Editor Lily Hibberd Published by Ellikon Press 2009 Space and Time John C
Lily Hibberd First Love A novella Part one Illustrated volume Edited by Lily Hibberd Contents 11 Preface 15 Ice, time, desire Lily Hibberd First Love, a novella Part one illustrated volume 27 The Last Marriage of Editor Lily Hibberd Published by Ellikon Press 2009 Space and Time John C. Welchman Printed by Ellikon Fine Printers 384 George Street, Fitzroy Victoria 3065 Australia 42 Bibliography Telephone: +61 3 9417 3121 Designed by Warren Taylor © Copyright of all text is held by the authors Lily Hibberd and John C. Welchman, and copyright of all images is held by the artist, Lily Hibberd. This publication and its format and design are copyright of the editor and designer. All rights reserved. Artworks from the exhibition First Love, 2009 Lily Hibberd is a lecturer in the Fine Art Department, Faculty of Art & Design, Monash University, and is represented by Karen Woodbury Gallery, Melbourne. The production of this volume coincides with the solo exhibition of First Love at GRANTPIRRIE gallery, Sydney, in June 2009, and was facilitated with the kind assistance of gallery staff. This book was created because of the encouragement and generosity of John C. Welchman, Anne Marsh, Lois Ellis, and Hélène 4-7 Photoluminescent oil Delta time Cixous. paintings on canvas Celestial navigation Available for sale. Contact GRANTPIRRIE Gallery, Sydney. grantpirrie.com Gravity of light National Library of Australia Cataloguing-in-Publication entry: Lunar mirror Author: Hibberd, Lily, 1972- Title: First love. Part one : illustrated volume / Lily Hibberd. 10-34 Ice Mirror 10 works selected ISBN: 9781921179549 (pbk.) Notes: Bibliography. Oil paintings on from 13 in the series, Subjects: Time--Philosophy. -
Waiting for Godot’
WEST YORKSHIRE PLAYHOUSE AND TALAWA THEATRE COMPANY 3 to 25 February Director Ian Brown Designer Paul Wills Lighting Designer Chris Davey Sound Designer Ian Trollope Movement Aline David Casting Director Pippa Ailion Cast: Fisayo Akinade, Guy Burgess, Cornell S John, Jeffery Kissoon, Patrick Robinson By Samuel Beckett Teacher Resource Pack Introduction Hello and welcome to the West Yorkshire Playhouse and Talawa Theatre Company’s Educational Resource Pack for their joint Production of ‘Waiting for Godot’. ‘Waiting for Godot’ is a funny and poetic masterpiece, described as one of the most significant English language plays of the 20th century. The play gently and intelligently speaks about hardship, friendship and what it is to be human and in this unique Production we see for the first time in the UK, a Production that features an all Black cast. We do hope you enjoy the contents of this Educational Resource Pack and that you discover lots of interesting and new information you can pass on to your students and indeed other Colleagues. Contents: Information about WYP and Talawa Theatre Company Cast and Crew List Samuel Beckett—Life and Works Theatre of the Absurd Characters in Waiting for Godot Waiting for Godot—What happens? Main Themes Extra Activities Why Godot? why now? Why us? Pat Cumper explains why a co-production of an all-Black ‘Waiting for Godot’ is right for Talawa and WYP at this time. Interview with Ian Brown, Director of Waiting for Godot In the Rehearsal Room with Assistant Director, Emily Kempson Rehearsal Blogs with Pat Cumper and Fisayo Akinade More ideas for the classroom to explore ‘Waiting For Godot’ West Yorkshire Playhouse / Waiting for Godot / Resource Pack Page 1 Company Information West Yorkshire Playhouse Since opening in March 1990, West Yorkshire Playhouse has established a reputation both nationally and internationally as one of Britain’s most exciting producing theatres, winning awards for everything from its productions to its customer service. -
Beckett and Nothing: Trying to Understand Beckett
Introduction Beckett and nothing: trying to understand Beckett Daniela Caselli Best worse no farther. Nohow less. Nohow worse. Nohow naught. Nohow on. Said nohow on. (Samuel Beckett, Worstward Ho) In unending ending or beginning light. Bedrock underfoot. So no sign of remains a sign that none before. No one ever before so – (Samuel Beckett, The Way)1 What not On 21 April 1958 Samuel Beckett writes to Thomas MacGreevy about having written a short stage dialogue to accompany the London production of Endgame.2 A fragment of a dramatic dia- logue, paradoxically entitled Last Soliloquy, has been identifi ed as being the play in question.3 However, John Pilling, in more recent research on the chronology, is inclined to date Last Soliloquy as post-Worstward Ho and pre-What Is the Word, on the basis of a letter sent by Phyllis Carey to Beckett on 3 February 1986, on the reverse of which we fi nd jottings referring to the title First Last Words with material towards Last Soliloquy.4 If we accept this new dating hypothesis, the manuscripts of this text (UoR MS 2937/1–3) – placed between two late works often associated with nothing – indicate two speakers, P and A (tentatively seen by Ruby Cohn as Protagonist and Antagonist) and two ways in which they can deliver their lines, D for declaim and A (somewhat confusingly) for normal.5 Unlike Cohn, I read A and P as standing for ‘actor’ and ‘prompter’, thus explaining why the text is otherwise puzzlingly entitled a soliloquy and supporting her hypothesis that the lines Daniela Caselli - 9781526146458 Downloaded from manchesterhive.com at 09/25/2021 06:16:53AM via free access 2 Beckett and nothing ‘Fuck the author. -
Women, Theater, and the Holocaust FOURTH RESOURCE HANDBOOK / EDITION a Project Of
Women, Theater, and the Holocaust FOURTH RESOURCE HANDBOOK / EDITION A project of edited by Rochelle G. Saidel and Karen Shulman Remember the Women Institute, a 501(c)(3) not-for-profit corporation founded in 1997 and based in New York City, conducts and encourages research and cultural activities that contribute to including women in history. Dr. Rochelle G. Saidel is the founder and executive director. Special emphasis is on women in the context of the Holocaust and its aftermath. Through research and related activities, including this project, the stories of women—from the point of view of women—are made available to be integrated into history and collective memory. This handbook is intended to provide readers with resources for using theatre to memorialize the experiences of women during the Holocaust. Women, Theater, and the Holocaust FOURTH RESOURCE HANDBOOK / EDITION A Project of Remember the Women Institute By Rochelle G. Saidel and Karen Shulman This resource handbook is dedicated to the women whose Holocaust-related stories are known and unknown, told and untold—to those who perished and those who survived. This edition is dedicated to the memory of Nava Semel. ©2019 Remember the Women Institute First digital edition: April 2015 Second digital edition: May 2016 Third digital edition: April 2017 Fourth digital edition: May 2019 Remember the Women Institute 11 Riverside Drive Suite 3RE New York,NY 10023 rememberwomen.org Cover design: Bonnie Greenfield Table of Contents Introduction to the Fourth Edition ............................................................................... 4 By Dr. Rochelle G. Saidel, Founder and Director, Remember the Women Institute 1. Annotated Bibliographies ....................................................................................... 15 1.1. -
Samuel Beckett and the Reception of Harold Pinter's Early
“Random dottiness”: Samuel Beckett and the reception of Harold Pinter’s early dramas Book or Report Section Accepted Version Bignell, J. ORCID: https://orcid.org/0000-0003-4874-1601 (2020) “Random dottiness”: Samuel Beckett and the reception of Harold Pinter’s early dramas. In: Rakoczy, A., Hori Tanaka, M. and Johnson, N. (eds.) Influencing Beckett / Beckett Influencing. Collection Karoli. L'Harmattan, Budapest & Paris, pp. 61-74. ISBN 9782343219110 Available at http://centaur.reading.ac.uk/95305/ It is advisable to refer to the publisher’s version if you intend to cite from the work. See Guidance on citing . Published version at: https://webshop.harmattan.hu/? id=aa725cb0e8674da4a9ddf148c5874cdc&p=termeklap&tkod=4605 Publisher: L'Harmattan All outputs in CentAUR are protected by Intellectual Property Rights law, including copyright law. Copyright and IPR is retained by the creators or other copyright holders. Terms and conditions for use of this material are defined in the End User Agreement . www.reading.ac.uk/centaur CentAUR Central Archive at the University of Reading Reading’s research outputs online (Published in: Anita Rákóczy, Mariko Hori Tanaka & Nicholas Johnson, eds. Infleuncing Beckett / Beckett Influencing. Budapest & Paris: L’Harmattan, 2020, pp. 61-74). “Random dottiness”: Samuel Beckett and the reception of Harold Pinter’s early dramas by Jonathan Bignell Abstract This essay analyzes the significance of Samuel Beckett to the British reception of the playwright Harold Pinter’s early work. Pinter’s first professionally produced play was The Birthday Party, performed in London in 1958. Newspaper critics strongly criticized it and its run was immediately cancelled. Beckett played an important role in this story, through the association of Pinter’s name with a Beckett “brand” which was used in reviews of The Birthday Party to sum up what was wrong with Pinter’s play. -
That Fall by Samuel Beckett
Wednesday, November 9, 2016 at 7:00 pm Thursday–Friday, November 10–11, 2016 at 7:00 and 9:00 pm Saturday, November 12, 2016 at 3:00, 7:00, and 9:00 pm All That Fall By Samuel Beckett Pan Pan Theatre Gavin Quinn , Director Aedín Cosgrove , Set and Lighting Designer Jimmy Eadie , Sound Designer VOICES Áine Ní Mhuirí , Mrs. Rooney Phelim Drew , Christy Daniel Reardon , Mr. Tyler David Pearse , Mr. Slocum Robbie O’Connor , Tommy John Kavanagh , Mr. Barrell Judith Roddy , Miss Fitt Nell Klemen čič, Dolly Andrew Bennett , Mr. Rooney Joey O’Sullivan , Jerry This performance is approximately 70 minutes long and will be performed without intermission. These performances are made possible in part by the Josie Robertson Fund for Lincoln Center. The Duke on 42nd Street Please make certain all your electronic devices aNEW42ND STREET ® proje ct are switched off. WhiteLightFestival.org MetLife is the National Sponsor of Lincoln Center. UPCOMING WHITE LIGHT FESTIVAL EVENTS: Artist Catering provided by Zabar’s and Zabars.com Thursday–Saturday, November 10–12 at 8:00 pm at Baryshnikov Arts Center, Jerome Robbins Theater American Airlines is the Official Airline of Lincoln (T)here to (T)here (World premiere) Center Liz Gerring Dance Company Liz Gerring , choreographer Nespresso is the Official Coffee of Lincoln Center In collaboration with Kay Rosen Dancers: Brandon Collwes, Joseph Giordano, Pierre NewYork-Presbyterian is the Official Hospital of Guilbault, Julia Jurgilewicz, Claire Westby Lincoln Center Post-performance discussion with Liz Gerring on November 11 Co-presented by Lincoln Center’s White Light “All That Fall” by Samuel Beckett is presented Festival and Baryshnikov Arts Center through special arrangement with Georges Borchardt, Inc. -
Samuel Beckett and Intermedial Performance: Passing Between
Samuel Beckett and intermedial performance: passing between Article Accepted Version McMullan, A. (2020) Samuel Beckett and intermedial performance: passing between. Samuel Beckett Today / Aujourd'hui, 32 (1). pp. 71-85. ISSN 0927-3131 doi: https://doi.org/10.1163/18757405-03201006 Available at http://centaur.reading.ac.uk/85561/ It is advisable to refer to the publisher’s version if you intend to cite from the work. See Guidance on citing . To link to this article DOI: http://dx.doi.org/10.1163/18757405-03201006 Publisher: Brill All outputs in CentAUR are protected by Intellectual Property Rights law, including copyright law. Copyright and IPR is retained by the creators or other copyright holders. Terms and conditions for use of this material are defined in the End User Agreement . www.reading.ac.uk/centaur CentAUR Central Archive at the University of Reading Reading’s research outputs online Samuel Beckett and Intermedial Performance: Passing Between Anna McMullan Professor in Theatre, University of Reading [email protected] This article analyses two intermedial adaptations of works by Beckett for performance in relation to Ágnes Petho’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 historic site-specific location in inner city Dublin, which incorporated projected sequences previously filmed in a different location.