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Writing Before the Letter in Samuel Beckett S Drama A WRITING BEFORE THE LETTER IN SAMUEL BECKETT S DRAMA A THESIS SUBMITTED TO THE GRADUATE SCHOOL OF SOCIAL SCIENCES OF MIDDLE EAST TECHNICAL UNIVERSITY BY MAHSASADAT SHOJAEI IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS IN THE DEPARTMENT OF ENGLISH LITERATURE OCTOBER 2020 Approval of the thesis: WRITING BEFORE THE LETTER IN SAMUEL BECKETT S DRAMA submitted by MAHSASADAT SHOJAEI in partial fulfillment of the requirements for the degree of Master of Arts in English Literature, the Graduate School of Social Sciences of Middle East Technical University by, Prof. Dr. Yaşar KONDAKÇI Dean Graduate School of Social Sciences Prof. Dr. Çiğdem SAĞIN ŞİMŞEK Head of Department Department of Foreign Language Education Prof. Dr. Nurten BIRLIK Supervisor Department of Foreign Language Education Assist. Prof. Dr. Corry M. SHORES Co-Supervisor Department of Philosophy Examining Committee Members: Assoc. Prof. Dr. Nil KORKUT NAYKI (Head of the Examining Committee) Middle East Technical University Department of Foreign Language Education Prof. Dr. Nurten BIRLIK (Supervisor) Middle East Technical University Department of Foreign Language Education Assist. Prof. Dr. Corry M. SHORES Middle East Technical University Department of Philosophy Assoc. Prof. Dr. Şebnem KAYA Hacettepe University Department of English Language and Literature Assist. Prof. Dr. Zümre Gizem YILMAZ KARAHAN Social Sciences University of Ankara Department of English Language and Literature I hereby declare that all information in this document has been obtained and presented in accordance with academic rules and ethical conduct. I also declare that, as required by these rules and conduct, I have fully cited and referenced all material and results that are not original to this work. Name, Last Name: Mahsasadat Shojaei Signature: iii ABSTRACT “WRITING BEFORE THE LETTER” IN SAMUEL BECKETT S DRAMA Shojaei, Mahsasadat M.A., Department of Englısh Literature Supervisor: Prof. Dr. Nurten Birlik Co-Supervisor: Assist. Prof. Dr. Corry M. Shores October 2020, 164 pages This thesis aims to re-read the questions of language, subjectivity, and expression in selected short plays of Samuel Beckett. It explores the violence of writing in music in Words and Music and Cascando and the violence of writing in bodily/inner voice in Footfalls, Not I, and Rockaby. By revealing the problematics of the metaphysics of music, the metaphysics of voice, and “the logic of supplementarity” in the interpretations of these texts, it hopes to open them to a different reading, focusing on the Dionysian force of différance in these texts within which “expression” neither can be attached to an “origin” nor can be said to arrive at a telos, but rather deferred in an infinite “chain of supplementarity.” This thesis offers “the complicity of origins” instead of “the myth of the simplicity of origin,” the embracement of force instead of the effacement of it. It offers the possibility of reading the infinite movement— différance—as the aporia in language, subjectivity, and expression, that is, is the possibility and the impossibility of language, subjectivity, and expression. iv Keywords: Language, Expression, Metaphysics of Music, Metaphysics of Bodily/Inner voice, Writing/Différance. v ÖZ SAMUEL BECKETTIN OYUNLARINDAKI “WRITING BEFPORE THE LETTER” Shojaei, Mahsasadat Yüksek Lisans, Ingiliz Edebiyati Bölümü Tez Yöneticisi: Prof. Dr. Nurten Birlik Ortak Tez Yôneticisi: Assist. Prof. Dr. Corry M. Shores Ekim 2020, 164 sayfa Bu tez, Samuel Beckett'in seçilmiş kısa oyunlarında dil, öznellik ve ifade sorularına yeni bir okuma yöntemi getirmeyi amaçlamaktadır. Words and Music [Sözcükler ve Müzik] ve Cascando’da müzikteki “yazım eylemini” ve Footfalls [Ayak Sesleri], Not I [Ben Değil] ve Rockaby’de bedensel/içsel sesteki “yazım eylemini” mercek altına alır. Müziğin metafiziğini, sesin metafiziğini ve bu metinlerin yorumlarındaki “supplementarity” sorunsallarını ortaya çıkararak, bu metinleri farklı bir okumaya açmayı amaçlar. Bu metinlerdeki Dionysoscu farklılık gücüne odaklanarak, “ifade” ne bir “kökene” bağlanabilir ne de bir telos’a ulaştığı söylenebilir, bunun yerine sonsuz bir tamamlayıcılık zincirinde ertelenebilir, sonucuna varır. Bu tez, bu sonsuz hareketi, farklılığı, dilde, öznellikte ve ifadede aporia, yani dil, öznellik ve ifadenin olasılığı ve imkansızlığı olarak okuma imkânı sunar. Anahtar Kelimeler: Dil, Ifade, Müzik Metafiziği, Bedensel/Içsel Ses Metafiziği, Writing/Différance. vi ACKNOWLEDGMENTS I am profoundly indebted to my supervisor Prof. Dr. Nurten Birlik. Since I started my graduate studies at METU, she has always supported me wholeheartedly. Her great trust and tremendous support has always given me heart. Alongside her continiued support, she has always had a significant influence on me; her thought-provoking and inspiring courses have had a fundamental role in my educational and personal life. I always left her classes with demanding and stimulating questions on my mind which made me think for days and weeks. Some of these questions have always been with me. She also allowed me the freedom not only to take courses from the department of philosophy but also carry out interdisciplinary research. I am also greatly indebted to my co-supervisor Assist. Prof. Dr. Corry M. Shores. His endlessly fascinating and deeply inspiring courses have contributed enormously to my philosophical knowledge. I feel lucky not only to have been able to take these courses but also to have had the opportunity to meet such a person. He has been a unique influence on me. I feel immensly grateful to both my supervisors for their helpful guidance, positive encouragement, constructive feedback, and invaluble comments and suggestions. I am extremely thankful for their patience and understanding. I would like to express my deep gratitute to Merve Günday who helped me with the Turkish summary. Her help was exceptionally valuable. I would also like to thank all the professors in our department for having contributed to my knowledge and research skills, and all the jury members for their comments and suggestions. vii TABLE OF CONTENTS PLAGIRISM………………………………………………………….......……iii ABSTRACT……………………………………………………..………..……iv ÖZ……………………………………………………………………………….v ACKNOWLEDGMENTS…………………………………………..…………vi TABLE OF CONTENTS…………………………………..……………....….vii LIST OF ABBREVIATIONS………………………………………..……..….ix CHAPTERS 1.INTRODUCTION………………………………………..…...………………1 1.1.“The Ruins of the Logos” in the Reception of Beckett’s Drama...............5 1.1.1.“Music Platonism”…..………...........................................................8 1.1.2.The Discourse of the Chora and the Separation……….......…...…16 1.2.The Trajectory of This Thesis..................................................................21 2.THEORETICAL BACKGROUND: FROM “WRITING IN THE NARROW SENSE TO “WRITING BEFORE THE LETTER........................................23 2.1.Logocentrism/Phonocentrism, and the Debasement of Writing………..23 2.1.1.Rousseau, Writing, and the Supplement..........................................26 2.1.2.Rousseau’s Inheritors and the Supplement of Writing……………31 2.2.The Logic of the Supplement…..…...….……….....................................35 2.3.Re-Thinking Writing as Différance………….....………………………43 3.THE VIOLENCE OF WRITING IN MUSIC: RE-EADING MUSIC IN WORDS AND MUSIC AND CASCANDO……………………...………….51 3.1.Dissolution of Originary Metaphors in Words and Music……………...52 3.1.1“Music Platonism” and Words and Music………..….…..………...54 3.1.2.Words, Music and the Force of Différance in Words and Music ....67 viii 3.2.Dissolution of Originary Metaphors in Cascando……..…………...…..77 3.2.1.“Music Platonism” and Cascando…….....…..………………..…..78 3.2.2.Voice, Music, and the force of Différance in Cascando...…...…....85 3.3.Croak, Opener, and the Question of “Origin”.……..……...…..………..88 4.THE VIOLENCE OF WRITING IN VOICE: RE-READING THE BODILY/INNER VOICE IN FOOTFALLS, NOT I, AND ROCKABY……………...…………..…………….………………....……...96 4.1.Dissolution of Originary Metaphors in Footfalls.……...………….…....97 4.1.1.Footfalls and the Stories of Origin………………………...…...….99 4.1.2.The Force of Différance in Footfalls………..…………..…..…...104 4.2.Dissolution of Originary Metaphors in Not I and Rockaby…………...108 4.2.1.Voice and the Stories of Origin in Not I and Rockaby…...………113 4.2.2.The Force of Différance in Not I and Rockaby……....…..………124 4.3.Narration/Narrator(s) and the Question of “Origin” in Footfalls, Not I, and Rockaby….....……………………..……………………………….134 5.CONCLUSION….…………………………....………………………...…144 REFERENCES……………………..…………...…………………..……….148 APENDICES A. TURKISH SUMMARRY / TÜRKÇE ÖZET……………………….……156 B. THESIS PERMISSION FORM / TEZ İZİN FORMU……………………164 ix LIST OF ABBREVIATIONS CDW The Complete Dramatic Works D Dissemination MO Monolingualism of the Other; or The Prothesis of Origin MP Margins of Philosophy OG Of Grammatology OL “The Other’s Language: Jacques Derrida Interviews Ornette Coleman” P Positions PTD Proust and Three Dialogues SP Speech and Phenomena and Other Essays on Husserl’s Theory of Signs T Trilogy: Molloy; Mallone Dies; The Unnamable WD Writing and Difference x CHAPTER 1 INTRODUCTION [O]ne says “language” for action, movement, thought, reflection, consciousness, unconsciousness, experience, affectivity, etc. Now we tend to say “writing” for all that and more. (Derrida, OG 9; emphasis added) It goes without saying that Beckett’s drama does not fit into the classic definition of drama.1 It not only troubles the boundary between mimesis and diegesis2 but also the boundary between
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