Continuum 18314

Teaching, Learning and the Curricula of Modernism

Steven Barﬁeld

Chapter Overview

Introduction 1 Geographical Variation 2 Periodisation 2 Novels and Novelists 3 Poetry and Poets 5 Drama and Dramatists 8 Specialist Modules, Interdisciplinarity and Internationalism 9 Critical, Secondary Sources 10 Learning and Teaching Methods 10 Comparing Curriculum Structure and Assessment in North American and Britain 11 Conclusion 12 Sources for Further Research 12

Introduction This section of the handbook considers the texts typically studied on modernist courses, the themes most frequently discussed, and moreover outlines typical approaches to learning, teaching and assessment methods. The data is derived from reviewing a selected 50 undergraduate courses concerned principally with modernism, from various universities in British and North American university English departments, offering a series of snapshots of the principles and trends in the modernist undergraduate curriculum. © Steven Barﬁeld 2009, The Modernism Handbook, www.continuumbooks.com

1 The Modernism Handbook

Geographical Variation One key issue revealed by the survey is the differences on courses according to the geographical variation of the universities, with for instance overwhelm- ingly T.S. Eliot’s The Waste Land being adopted in both Britain or North America, while speciﬁcally British-based introductory courses are much less likely than their North American counterparts to include either American poets such as William Carlos Williams and Gertrude Stein or their American novelists such as William Faulkner, Ernest Hemingway or the writers of the Harlem Renaissance that their American counterparts. This attests to the complexity inherent in the fact that Anglo-American modernism, as the hyphen suggests, is the ﬁrst ‘period’ of English literature in which British and American literature courses to a large extent converge (and which would not be the case in most other area of literary study). Certain key continental European texts occur in British and American courses on modernism – the Futurist manifestos, Brecht and Baudelaire with some frequency – but they do so most usually in translation and perhaps primarily serve as contextual sources to help understand Anglo-American modernism, rather than being considered equally as texts within their own right.

Periodization Another issue relevant to course selection is that of periodization and the scope of texts examined. There has been a notable critical attempt in recent years to problematicise any approach that equates modernism with a series of canonical texts that occupy a specific historical and aesthetic moment (sometimes called ‘high modernism’) from typically about 1910 to the late 1920s. Certain texts from the 1930s for instance may not be included in a classic modernist course, since in terms of periodization they might be regarded by some as problematic, and therefore be considered elsewhere on the curriculum such as courses focusing on the 1930s as a decade. Other texts may be included on courses structured around a general survey of twentieth-century writing, which fall outside the scope of the data collected for this study. Generally is conceded by university English staff teaching this field that modernist texts presuppose an idea of the ‘difficulty’ of interpretation for their readers and that this can be taken as a prime index of their value within the subject of English literature. It is also important that this is how modernism was regarded when it first entered the university curriculum as an object of study after World War II. Such an emphasis on difficulty and the process of teaching students how to interpret such difficult texts ensures that in an average module over the period of a semester often little time remains for foregrounding much apart from key modernist texts, how they can be read

2 Teaching, Learning and the Curricula of Modernism and how such texts relate to wider cultural and political concerns. In practice approaches such as new historicism have struggled to make inroads in the structure or inﬂection of modernist courses.

Novels and Novelists Among other genres introductory courses dealing with modernism typically feature key modernist novels, most particularly three novels and novelists commonly studied. Virgina Woolf’s novels were represented in all of the courses examined apart from two and her most popular novel for adoption by a large margin was Mrs Dalloway, featuring three times more than To the Lighthouse, although The Waves did find occasional favour (seven instances). Woolf’s essays in Three Guineas were reasonably popular and at least nine of the courses surveyed used some of her short stories. Almost equally popular is James Joyce’s work and again virtually all courses, bar one, featured some of his work, with an almost equal balance between courses which used Dubliners or Portrait of the Artist as a Young Man and those that offered Ulysses. North American universities were not only more likely to offer single author courses on Joyce, but much more likely to use Joyce’s earlier texts on introductory courses to modernism instead of Ulysses when compared to their British counterparts. Joyce and Ulysses have been increasingly seen as central to modernism in the past two decades, but the difficulties and length of the text means that it just as commonly taught in terms of individual chapters than as a whole text (the choice of chapters seem to vary considerably or are not specified in the available course materials). Many degree courses that did not include Ulysses in their initial introductory modernism courses, but settled for his earlier and more accessible texts, nevertheless had specific follow-on courses on modernist novels or on Joyce alone which included this text in its entirety. The third novelist who is almost as commonly taught as Woolf and Joyce is Joseph Conrad, though only by means of one novella, Heart of Darkness. His other novels are seldom used on introductory modernist courses, although they do occur in more specialist courses concerned with the modernist novel. The approach to using novels is therefore highly canonical on introductory undergraduate courses to modernism, with very few courses that do not include a novel by Woolf, Joyce or Conrad. It is however worth saying that none of these authors would have been unknown a generation ago nor regarded as being marginal to the modernist canon, so the solidification or re- centring of the new teaching canon around these writers has occurred at the expense of various other novelists such as D.H. Lawrence and E.M. Forster who typified the study of modernism until the 1990s. Currently the texts chosen (perhaps with the exception of Ulysses) also seem determined by the

3 The Modernism Handbook needs of student accessibility and their ability to open up modernism into wider historical and thematic contexts, as well as to provide criteria for defining the concept. While Mrs Dalloway might not be considered a thor- oughgoing modernist text by some and more a text that is transitional to modernism, its popularity probably lies in both its accessibility to students as a whole text due to its short length, its relevance to historically locating modernism in terms of the aftermath of World War I and its account of a distinct- ively gendered and metropolitan experience. In the case of Joyce one suspects that the difficulty of doing Ulysses both in terms of its length and it thorough- going modernist experimentation in prose, has led to some courses choosing his earlier and more accessible work, while others have felt it is essential to do at least part of Ulysses, if not indeed to try to do the whole novel. Conrad’s Heart of Darkness (which is also short) equally offers accessibility for students and demonstrates the transition between realism and modernism, while in this case allows explicit linkages to questions of the representation of ethnicity (in the book’s terms ‘race’) and the processes of imperialism and European colonization that may be otherwise difficult to explore with many modernist texts. Despite recent expansion of the modernist canon by criticism to include a number of previously marginalized novels and writers, teachers of modernism are still more or less concentrating on a re-centered if familiar canon, rather than offering any wholesale transformation of it to students and this canon seems more determined by the need to explain modernism as a cultural and aesthetic movement to students than it is a list of great modernist writers. After the ‘big three’ novelists and in the secondary rankings one finds a considerable amount of variation in novels and novelists taught on introductory modernist courses suggesting that the teaching canon of modernist fiction is more determined at the centre rather than elsewhere. E.M. Forster is less common than one might have imagined with A Passage to India and Howard’s End placing him in only fourth position with a considerable gap in frequency from the primary three novelists, though the former text may now have been largely taken over by courses that do not centre on modernism and which explore issues of colonialism and Empire, so this may explain the result. D.H. Lawrence is also less common than one might have expected even though he is in joint fifth position overall, though Women in Love and Sons and Lovers when combined do appear on about 30 per cent of introductory modernist courses. This may be because Lawrence has fallen out of fashion for his alleged reactionary views on women, although it is worth noting that he usually appears on more specialist modernist novel courses and is the subject of several single author courses. William Faulkner is almost as popular as Lawrence, his selected texts being The Sound and The Fury or As I Lay Dying, and interestingly in many British modernist courses he is the sole example of a modernist American writer. In contrast, and this represents a key difference

4 Teaching, Learning and the Curricula of Modernism from Britain, there is a much broader range of American novels and short stories on introductory modernist courses that originate in North America, with such writers as F. Scott Fitzgerald, Ernest Hemingway, John Dos Passos, Ralph Ellison and members of the Harlem Renaissance, Faulkner, all reasonably likely to be studied as modernists. (In introductory modernist courses in British universities they barely register for the reasons already discussed, while in North American universities they all remain safely in the top ten of modernist novelists studied.) Beyond the novels and fiction cited above, the full range studied is extremely diverse, suggesting very possibly that courses often feature the diversity of academic staff’s individual research and scholarly interests, and courses often investigate various theoretical approaches to modernism, exploring the rela- tionship between canonical and more marginal texts. Despite such diversity, nevertheless the overall picture indicates certain inflections of the possibilities of reading that are more likely to be taken up in courses that explore the modernist novel as a genre such as gender. Women novelists studied include such figures as May Sinclair, Djuna Barnes, Rebecca West, Dorothy Richardson, the early work of Jean Rhys and of the short story writer Katherine Mansfield. Gender and the unreliability of narration is essential to Henry James ubiquitous ‘The Turn of the Screw’, which although more likely to feature on courses on the gothic, does sometimes appears as a very early modernist or proto- modernist text. In terms of ethnic variations, or themes of Empire, Irish writers studied might include Flann O’Brien and the early work of Samuel Beckett such as Murphy, and the equally experimental work of British writers such as Ford Maddox Ford (The Good Soldier), Wyndham Lewis (Tarr) and even Richard Aldington (Death of A Hero). There are certain overarching features, as all of the above novels in one way or other represent modernist themes such as stylistic experimentation and innovation, while reflecting a growing interest in rediscovered authors and new critical approaches.

Poetry and Poets In terms of introductory modernist courses the use of poetry is similar to that of the novel, but in a more pronounced fashion since the central canon of modernist poetry is even more homogeneous. In addition, much like the study of Romanticism, poetry is largely seen as intrinsic to any understanding of modernist aesthetics, accounting for its importance within introductory courses. Most courses surveyed consist of an equal amount of poetry and prose, limiting variation of genre and thus perhaps resulting in a concentration on canonical texts. There are some difﬁculties in collecting data for occurrences of poetry, as in many cases course outlines and reading lists include data on a poet or poets, but not in terms of the speciﬁc poems taught.

5 The Modernism Handbook

In what follows therefore authors, rather than specific poems, are referred to unless more specific textual reference is made and readily available. Where individual poems are identifiable then current teaching of these texts suggests a number of issues characteristic of pedagogical approaches to modernism. Perhaps unsurprisingly T.S. Eliot’s The Waste Land was present on all introductory courses to modernism surveyed, except those where it had already been studied at another course at the same institution (such as in North America with broad survey courses). What is more interesting, however, is that the poem was not always taught as an entirety, but sometimes only through specific sections, although this seemed mostly to be the case in North American survey style courses (although perhaps one might conclude that possibly The Waste Land might be taught in its entirety in some classes, but that students are being directed in advance to a specific section via web sites to prepare). Also very common on introductory courses were Eliot’s other early poems, principally ‘Prufrock’ and ‘Portrait of A Lady’ and the majority of introductory courses taught one or both of these poems which were often specified as such. Eliot’s other long poem, Four Quartets, was less commonly placed on introductory courses on modernism but more often occurred in either courses on modernist poetry or on courses that analysed literary production in the 1930s. One conclusion is that it is Eliot’s The Waste Land functions as synecdoche for modernism when it comes to introducing the subject to students, perhaps more so even than novels such as Mrs Dalloway or Ulysses. This concentration in the curriculum around a single ‘long’ poem (albeit a relatively short ‘long’ poem), is quite unusual in teaching any literary movement or period and it has the implication that at least for student learners’ definitions of modernism, The Waste Land becomes seen as a representative work in spite (or because) of its notorious inaccessibility. To be able to successfully read The Waste Land with all its disconsolate fragments, abrupt changes of narrative and style and its blurring of the traditional demarcation of poetry and prose means for students that they have come to terms with the inherent difficulty of interpretation of the poem and also have learnt to recognize that their ability to interpret what is intrinsically difficult is of consequent value to them. Such a movement within the curriculum seems implicit from the cen- trality of Eliot’s poem and when combined with the similar response to Joyce becomes itself the determining strategy for approaching most modernist texts. That this strategy also validates the core subject specific skill in English literature of ‘close reading’ or ‘practical criticism’ is not incidental for this strategy and indeed, this is a skill whose importance within the subject of literary studies is greatly aided by the intrinsic difficulty of modernist texts. Yeats’ poetry occurs almost as many times as Eliot’s, and in therefore almost as ubiquitous on introductory courses. Yeats’ poetry though is probably

6 Teaching, Learning and the Curricula of Modernism chosen as much for its accessibility to and popularity with students as because it marks the transition between romantic poetry and its modernist counterpart and it also helpfully focuses a number of key modernist themes. Academic interest in his earlier work in particular, is consistent with the growth of the fin de siècle as a topic of research and teaching. Yeats’ poetry is unlike Eliot in that it is frequently lyrical, political and concerned with the value of personal experience, which makes it quite different from The Waste Land. There is no evidence that Yeats’ longer narrative poems are chosen, and some indications do suggest his shorter poems are preferred on courses. In certain ways, Yeats functions as something of a potential coun- terbalance to Eliot in terms of definitions of modernist difficulty on courses, although in terms of the scope of this survey it is difficult to know exactly which poems are taught, how his poetry is taught and whether his work is located chronologically before Eliot in courses or not. However, it is clear that Eliot and Yeats are by far the most canonical poets as far as the teaching of introductory courses on modernism is concerned. Yeats is also a more popular choice than Eliot for specialist single author modules because of the long span of his career taking in as it does late Victorian as well as modernist culture and because he is also central to postcolonial and other debates. Imagist poetry is popular and after Eliot and Yeats is the third most frequently occurring body of work, in part because it is frequently anthologized. While it is often hard to tell which specific poets and poems are utilized, they would very likely include H.D., Richard Aldington, Amy Lowell and Ezra Pound. Imagism also has the virtue of consisting of short poems with many of them written by women poets. Pound himself is much less clearly part of the canon for introductory modernist courses than either Yeats or Eliot and only one of his longer poems, Hugh Selwyn Mauberley has a relatively limited pres- ence in the courses surveyed, appearing less than nine times overall. In terms of Pound’s Cantos individual poems are offered rather than the whole text. Several courses made use of Lewis’ poetry as well as other writings in extracts from Blast, perhaps as much because of its exciting, typographical forceful- ness in presenting the movement of Vorticism as for anything else. Other British poets on the syllabus included Hugh MacDiarmid and David Jones, as well as translations of individual poems by such key modernists as Baudelaire. However, most poetry apart from Eliot, Yeats and a selection from the Imagists is much more commonly part of the curricula of various specialist courses on modernist poetry which are discussed below. As has been already mentioned a signal distinction between British and North American courses is that they are more likely to include work of American modernist poets such as Gertrude Stein, William Carlos Williams, Wallace Stevens and others than their British counterparts.

7 The Modernism Handbook

In conclusion, the core canon of poetry in the curricula of introductory courses on modernism, parallels the case of the novel in being extremely centralized and it has not changed much from the original inception on modernism in university departments in Britain and North America in the period after World War II. Even the situation of Pound is very much the same as it was, his views of modernism are discussed and his short poems are analysed in class, but what he himself thought of as his most important longer work is not dealt with at any length in introductory courses.

Drama and Dramatists Modernist drama presents particular problems for educators, or at least it does in English and in English literature departments. The majority of modernist introductory survey courses tended to ignore drama completely and while there are some specialist courses on modernist novels and poetry that usually follow on from introductory courses, there were no courses on modernist drama in the universities surveyed. If a dramatic text is included in a course on modernism, then it is most likely to be Beckett’s post World War II play Waiting For Godot (on 14 courses), despite the incongruity of the fact that this play was written long after the end of the period of high modernism and was of course, originally written in French. Other examples of plays taught include: translations of Mother Courage or The Good Person of Szechwan by Brecht (on 2 courses), though he cannot really be regarded as part of English literature; W.H. Auden and Christopher Isherwood’s The Ascent F 6 (also on 2 courses) which is from the later period of the 1930s; and various poetic plays by W.B. Yeats (on 5 courses), though Yeats’ plays perhaps seem more typical on course that emphasize Irish modernism. In one sense it is surprising that Yeats’ plays are not used more as they are from the correct period and Yeats is a central ﬁgure within modernism. However, Yeats’ drama is also modernist insofar that it emulates aspects of Noh drama and deploys Irish mythology and both of these aspects may make it harder to perceive as modernist drama on introductory courses for students. Before jumping to the conclusion that this merely represents the fact that there is simply little modernist drama, we should note that drama degrees frequently offer courses on modernist drama as part of their core curriculum: the problem is therefore rather that there is relatively little well-known modernist drama of the period within English, compared to the richness of European examples. It is thus the implied deﬁnition of modernism as primarily Anglo-American that is at stake in this feature of the construction of the curriculum and the growth of disciplinary distinctiveness and identity in theatre and performance studies departments on the one hand, and English literature departments on the other, appears likely to maintain this feature. If

8 Teaching, Learning and the Curricula of Modernism a student wishes to study modernist drama they can often just take a module offered outside of an English department in today’s world of student centred learning and choice, so there is little tendency for English departments to develop courses on modernist drama it seems.

Specialist Modules, Interdisciplinarity and Internationalism Specialist modules ranged from courses on a specific author (Joyce and Woolf were most common as topics, followed by Yeats [although not all of his work may be considered modernist] although there were also several course on Pound), on a modernist genre such as the modernist novel or modernist poetry or less commonly, a particular theme or approach (the most common of these was on ‘women modernists’, of which there were six very different examples). It is also common for such modules on modernism as well as their more specialized follow-on modules to demonstrate the application of complex theoretical approaches and methodologies to texts both from the canon and from its margins. Philosophical or theoretical material was also often deployed in even introductory courses on modernism with Nietzsche (10 times) and Freud (11 times) being relatively common, although other figures such as Bergson and Barthes (perhaps somewhat anachronistically) also appeared. While this suggests that this non-literary or non-English material is used primarily in a contextual fashion within such introductory courses, it is nonetheless evidence of innovation in the evolving teaching of modernism as practice. Courses on single authors, however, did assume a diverse range of pur- poses and allowed the exploration of different theoretical approaches. This is not to say that introductory modules did not display theoretical sophistica- tion, but rather that the space within these courses was more limited and the difficulty of the texts placed an emphasis on explication rather than the different ways in which they might be read. Courses on canonical authors such as Joyce, Woolf or Pound allowed the investigation of a complex array of feminist, postcolonial, postnational, materialist, poststructuralist and psycho- analytic methodologies to be brought into play by these author’s texts, according to the module designer’s intentions, so much so that such modules served as excellent ways of bridging the gap between literary theory and its practices. Students’ engagement and application of specific theoretical approaches is often an explicit expectation and assessed accordingly. In contrast, courses on the modernist novel or poetry served as the principal means by which the work of writers more marginal to the canon could be explored alongside their canonical peers and provided the main location for examining a variety of texts: work by women novelists such as May Sinclair or Dorothy Richardson; longer works by poets such as H.D.’s ‘Tribute to Freud’ or Wallace Stevens’ ‘The Main With the Blue Guitar’; female poets such as Gertrude Stein;

9 The Modernism Handbook extensive selections from Pound’s Cantos; and even non-modernist novelists such as Arnold Bennett or H.G. Wells. While gendered readings are part of almost all the introductory courses on offer, these courses on modernist novels and poetry also provided the largest number of specialist thematic modules on modernism that offered the opportunity to focus on the relation- ship of women to modernism.

Critical, Secondary Sources It is hard to generalize meaningfully about the use of secondary and further sources as the speciﬁc examples surveyed had bibliographies that varied considerably in their length and may not be the same as on the working outlines used in class. However, almost all modules gave students a secondary reading list (though North American universities were more inclined to provide web resources), and the material included on these varies according to the level of the course, the writers and works being studied and to some extent the individual orientation of the lecturer or professor teaching the class. With the exception of general collections of essays on modernism to serve as intro- ductions, there seemed to be many options to cover most of the texts being studied and British and North American academics were more likely to set books written by scholars within their own research communities, unless there really were only a few options to cover an emerging literary ﬁgure or topic. At the level of detail provided by the material which could be surveyed it was hard to discern how students were intended to use this critical material, whether as an essential part of the course or to select from in order to write essays on particular topics or to serve as keys to further research of their own: it was probably therefore a mixture of all three dependent upon the level of the course in question and the form of assessment.

Learning and Teaching Methods It is characteristic of learning and teaching with British and North American universities that learning and teaching methods are given much greater importance within the curriculum as a whole than they were some decades ago and about 65 percent of the course materials surveyed mentioned these methods. The dominant learning mode is discussion-based seminars, with teacher presentation or seminars supplemented by more formal mass lectures. Modernism lends itself to seminars because of the emphasis on interpreta- tive activity by the student, which is in part because the texts themselves foreground active reading and interpretation as part of their textual fabric and in part because modernism’s signiﬁcance within the academy is so far tied to the principle of guided interpretation through the process of ‘close reading’.

10 Teaching, Learning and the Curricula of Modernism

While this is not to say that there is no place for lectures on modernism, they do seem to be less fundamental than the student’s experience of struggling with the texts’ meaning and being able to articulate this in classroom discussion and then in an assessed form of coursework of some kind. It is also worth noting that a signiﬁcant number of courses on modernism make use of illustrative material from the other arts, most typically this is undertaken by showing examples of modernist art, sculpture or design using PowerPoint, but several courses chose innovative strategies such as a visit to a local art gallery, and at least in North America, creative academics gave students the chance to write their own poetry or short stories in modernist style as a method of learning. Teaching strategies in many of the courses examined also introduced students to material in translation from foreign languages, which while unusual within courses in English literature does something to gesture towards the international phenomenon of modernism and modernist practice and is now much easier than it was thanks to the growing ranks of anthologies that represent primary source materials in translation.

Comparing Curriculum Structure and Assessment in North American and Britain Unlike many introductory courses based around literary periods, those on modernism concentrate more on defining what modernism is, rather than offering a survey of the scope of modernist work, the latter tendency is also mitigated against by the considerable problem of modernism being both an international and broadly based artistic movement as has been discussed above. There were no examples found of introductory courses on modernism which broke the subject down into a particular topic or sub-period. In British universities modernism modules are typically offered in a student’s second or third year, and are followed by associated special options in the final year, although these are becoming more the province of taught MAs. Usually modernism modules are compulsory ‘core’ courses, functioning as an essential part of the degree. The absence of many modernism modules in the first year of degree courses suggests that modernist texts are seen as intrinsically too difficult to be taught as initial modules and is indicative of a broader view of such texts and with the exception of certain novels such as Mrs Dalloway and Heart of Darkness, most modernist texts have also quietly disappeared from AS and A2 level (the exams representing British equivalent to those taken at the end of High School in America) courses over the last couple of decades, although at one point Eliot’s The Waste Land or Yeats’ Last Poems were a common A-Level option text until the late 1980s (the British equivalent of the High school certificate). In North America, 4-year degrees are the norm and ensure that students

11 The Modernism Handbook begin with introductory courses across a range of disciplines taken in the ﬁrst year, before choosing their ‘Major’ subject(s) in the second year. Majors can be changed more than once and do not prevent students from taking a high percentage of courses in other subjects; thus introductory courses on modernist literature may represent the student opting for the discipline, rather than taking a compulsory course within an entry level chosen degree as in Britain. These broad survey modules, typically organized around genre and covering much longer periods of literary history than they would in the UK, also suggest that students may be as likely to discover individual modernist texts within these courses, as in a distinct introductory course. In practical terms, this means that the introduction of modernism as a literary practice may occur in specialized courses such as the Modernist Novel or Modernist Poetry in the degree’s later stages. In addition, as we have discussed, American texts are more common in all these modules than in those of their British counterparts, which is in part permitted by the different organization of the overall degree scheme in North America.

Conclusion Modernist curricula for introductory courses typically involve a relatively small, centralized canon of core texts at the introductory level with considerable diversity beyond this small core which is available to meet the needs of course designers. Much more diversity is available in follow on in a variety of speciality courses and within such courses there is an admirable range of teaching approaches and practices produced by the key debates within critical work on modernism, such courses are often research-led while trying to recruit potential students in competition with other modules, dealing with problems of the length and availability of primary texts, and ﬁtting within more general regulations in the structure of university degrees. Such chal- lenges often leads to productive and exciting choices about what should be included within a particular course, pedagogic reﬂection about why it should be and modernism offers classroom teachers ample opportunities to shape its enacted curriculum and the ways that their students learn about it.

Sources for Further Research Links to a range of English departments at universities worldwide can be found at: http://www.nyu.edu/gsas/dept/english/links/dptsa-c.html and in Britain at the English Subject Centre: http://www.english.heacademy.ac.uk/ﬁnd/depts/index.php.

12 Teaching, Learning and the Curricula of Modernism

Steve Barﬁeld is a Senior Lecturer in English at the University of Westminster. His major research interests are in the work of Samuel Beckett (especially the intersections of psychoanalysis, philosophy and performance theory with his work), as well as contemporary British drama and theatre, fantasy/children’s literature and postcolonial literature. Among his publications are ‘Beckett and Heidegger: A Critical Survey’ in Richard Lane (ed.), Beckett and Philosophy, Palgrave, 2002 and ‘Philosophy, Psychoanalysis and Parody: Exceedingly Beckett’ (with Philip Tew) and ‘The Resources of Unrepresentability: A Lacanian Glimpse of Beckett’s Three Dialogues’ both in Samuel Beckett Today/ Aujourd’hui.