Beckett and Nothing with the Negative Spaces of Beckett’S Theatre
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Beckett & Aesthetics
09/25/21 Beckett & Aesthetics | Goldsmiths, University of London Beckett & Aesthetics View Online 1. Beckett, S.: Watt. John Calder, London (1963). 2. Connor, S.: ‘Shifting Ground: Beckett and Nauman’, http://www.stevenconnor.com/beckettnauman/. 3. Tubridy, D.: ‘Beckett’s Spectral Silence: Breath and the Sublime’. 1, 102–122 (2010). 4. Lyotard, J.F., Bennington, G., Bowlby, R.: ‘After the Sublime, the State of Aesthetics’. In: The inhuman: reflections on time. Polity, Cambridge (1991). 5. Lyotard, J.-F.: The Sublime and the Avant-Garde. In: The inhuman: reflections on time. pp. 89–107. Polity, Cambridge (1991). 6. Krauss, R.: LeWitt’s Ark. October. 121, 111–113 (2007). https://doi.org/10.1162/octo.2007.121.1.111. 1/4 09/25/21 Beckett & Aesthetics | Goldsmiths, University of London 7. Simon Critchley: Who Speaks in the Work of Samuel Beckett? Yale French Studies. 114–130 (1998). 8. Kathryn Chiong: Nauman’s Beckett Walk. October. 86, 63–81 (1998). 9. Deleuze, G.: ‘He Stuttered’. In: Essays critical and clinical. pp. 107–114. Minnesota University Press, Minneapolis (1997). 10. Deleuze, G., Smith, D.W.: ‘The Greatest Irish Film (Beckett’s ‘Film’)’. In: Essays critical and clinical. pp. 23–26. Minnesota University Press, Minneapolis (1997). 11. Adorno, T.: ‘Trying to Understand Endgame’. In: Samuel Beckett. pp. 39–49. Longman, New York (1999). 12. Laws, C.: ‘Morton Feldman’s Neither: A Musical Translation of Beckett’s Text'. In: Samuel Beckett and music. pp. 57–85. Clarendon Press, Oxford (1998). 13. Cage, J.: ‘The Future of Music: Credo’. In: Audio culture: readings in modern music. pp. 25–28. -
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. -
Here Is Endlessness Somewhere Else
Here is Endlessness Somewhere Else TTrioreau White Office 26, rue George Sand, 37000 Tours Vernissage : vendredi 21 mai 2010 Exposition du 22 mai au 13 juin 2010 Titre : Here is Endlessness Somewhere Else (Bas Jan Ader (“here is always somewhere else”) + Samuel Beckett (“lessness” – “sans”)) James Joyce, “Ulysse” : “le froid des espaces interstellaires, des milliers de degrés en-dessous du point de congélation ou du zéro absolu de Fahrenheit, centigrade ou Réaumur : les indices premiers de l’aube proche.” Alphaville – Jean-Luc Godard Alfaville Mel Bochner & TTrioreau (4 affiches perforées sur mur gris – édition multiples : 5 + 2 EA) Here is Endlessness Somewhere Else TTrioreau (néon blanc sur mur gris – édition multiples : 5 + 2 EA) Here is Endlessness Somewhere Else TTrioreau (White Office – façade grise + fenêtre écran, format panavision 2/35) Here is Endlessness Somewhere Else TTrioreau (White Office – intérieur gris + projecteur 35mm, film 35mm vierge gris, format panavision 2/35 + néon blanc sur mur gris) Here is Endlessness Somewhere Else TTrioreau (White Office – intérieur gris + projecteur 35mm, film 35mm vierge gris, format panavision 2/35 + néon blanc sur mur gris) Annexes : Lessness A Story by SAMUEL BECKETT (1970) Ruins true refuge long last towards which so many false time out of mind. All sides endlessness earth sky as one no sound no stir. Grey face two pale blue little body heart beating only up right. Blacked out fallen open four walls over backwards true refuge issueless. Scattered ruins same grey as the sand ash grey true refuge. Four square all light sheer white blank planes all gone from mind. Never was but grey air timeless no sound figment the passing light. -
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). -
I:\28947 Ind Law Rev 47-1\47Masthead.Wpd
CITIGROUP: A CASE STUDY IN MANAGERIAL AND REGULATORY FAILURES ARTHUR E. WILMARTH, JR.* “I don’t think [Citigroup is] too big to manage or govern at all . [W]hen you look at the results of what happened, you have to say it was a great success.” Sanford “Sandy” Weill, chairman of Citigroup, 1998-20061 “Our job is to set a tone at the top to incent people to do the right thing and to set up safety nets to catch people who make mistakes or do the wrong thing and correct those as quickly as possible. And it is working. It is working.” Charles O. “Chuck” Prince III, CEO of Citigroup, 2003-20072 “People know I was concerned about the markets. Clearly, there were things wrong. But I don’t know of anyone who foresaw a perfect storm, and that’s what we’ve had here.” Robert Rubin, chairman of Citigroup’s executive committee, 1999- 20093 “I do not think we did enough as [regulators] with the authority we had to help contain the risks that ultimately emerged in [Citigroup].” Timothy Geithner, President of the Federal Reserve Bank of New York, 2003-2009; Secretary of the Treasury, 2009-20134 * Professor of Law and Executive Director of the Center for Law, Economics & Finance, George Washington University Law School. I wish to thank GW Law School and Dean Greg Maggs for a summer research grant that supported my work on this Article. I am indebted to Eric Klein, a member of GW Law’s Class of 2015, and Germaine Leahy, Head of Reference in the Jacob Burns Law Library, for their superb research assistance. -
Footfalls on the Boundary of Another World, Let Us Listen to Their Echoes and Take Note of the Indica Tions These May Afford
This is a reproduction of a library book that was digitized by Google as part of an ongoing effort to preserve the information in books and make it universally accessible. https://books.google.com ^arbaro (College ILtbrarg FROM THE GEORGE B. SOHIER PRIZE FUND "The surplus each year over and above what shall be required for the prize shall be expended for books for the library ' ' c FOOTFALLS ON THE Boundary of Another World. WITH NARRATIVE ILLUSTRATIONS. BY ROBERT DALE OWEN", FORMERLY MEMBER OF CONGRESS, AND AMERICAN MINISTER TO NAPLES. " As it is the peculiar method of the Academy to interpose no personal judgment, 1 mt. to admit those opinions which appear must probable, to compare arguments, and to set forth all that may be reasonably stated in favor of each proposition, and so, without obtruding any authority of its own. to leave the judgment of the hearers free and unprejudiced, we will retain this custom which has l>ecn handed down from Focrates ; and this method, dear brother Quintus, if you please, w - will adopt, as often as possible, in all our dialogues together." — Cicero ds. Divin. Lib, ii. §72. PHILADELPHIA: J. B LIPPINGOTT & CO. 18G5. * Entered according to Act of Congress, in the year 1859, by J. B. UPPIXCOTT & CO. in the Clerk's Office of the District Court of the United States for the Bantarr District of Penttsylvania. PREFACE. It may interest the reader, before perusing mis volume, to know some of the circumstances which preceded and pro duced it. • The subjects of which it treats came originally under my notice in a land where, except to the privileged foreigner, such subjects are interdicted, — at Naples, in the autumn of 1855. -
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. -
POSTMODERNISM and BECKETT's AESTHETICS of FAILURE Author(S): Laura Cerrato Source: Samuel Beckett Today / Aujourd'hui, Vol
POSTMODERNISM AND BECKETT'S AESTHETICS OF FAILURE Author(s): Laura Cerrato Source: Samuel Beckett Today / Aujourd'hui, Vol. 2, BECKETT IN THE 1990s (1993), pp. 21- 30 Published by: Brill Stable URL: http://www.jstor.org/stable/25781147 Accessed: 02-04-2016 06:10 UTC Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://about.jstor.org/terms JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Brill is collaborating with JSTOR to digitize, preserve and extend access to Samuel Beckett Today / Aujourd'hui This content downloaded from 132.174.254.12 on Sat, 02 Apr 2016 06:10:26 UTC All use subject to http://about.jstor.org/terms POSTMODERNISM AND BECKETT'S AESTHETICS OF FAILURE Is Beckett a modernist or is he a postmodernist? Probably, even before the appearance of this second term, Beckett had already chosen for himself (if we can think in terms of choice, concerning this question) when, in 1937, in his "German Letter", he decided: "Let us therefore act as the mad mathematician who used a different principle of measurement at each step of his calculation."1 But why is it suddenly so important to define Beckett in terms of Modernism or Postmodernism? Perhaps one of the reasons is that modernism has traditionally involved all the great and original writers who have transgressed the canon of their times, and because postmodernism has most often been described with regard to non-artistic and non-literary values. -
Katharine Worth Collection MS 5531
University Museums and Special Collections Service Katharine Worth Collection MS 5531 Production design material for the 1955 Waiting for Godot set by Peter Snow - including a model of the set; theatre memorabilia, correspondence, notes of Katharine Worth; Beckett related VHS and cassette tapes. The Collection covers the year’s 20th century. The physical extent of the collection is 5 boxes and 5 framed prints. MS 5531 A Research files 1950s-1990s MS 5531 A/1 Folder of research entitled Beckett Festival Dublin 1991 1991 Includes press cutting, press release, letters relating to the festival 1 folder Katharine Worth gave a lecture Beckett's Ghost, with C.V. for Katharine Worth and Julian Curry MS 5531 A/2 Folders of research entitled Beckett and Music 1980s-1995 Includes hand written notes and typed notes made by Katharine Worth and correspondence relating to her Samuel Beckett and Music article 2 folders MS 5531 A/3 Folders of research entitled Cascando 1981-1984 Includes letter from David Warrilow, annotated script for Cascando, 5 black and white photographs of a production, correspondence relating to the production of Cascando by Katharine Worth and David Clark of the University of London Audio-Visual Centre and some handwritten notes 2 folders MS 5531 A/4 Folders relating to Company 1989-1991 Includes Mise en Scene by Pierre Chabert for his stage adaptation of Compagnie [in French], correspondence relating to Page 1 of 13 University Museums and Special Collections Service a proposed production of Company by Katharine Worth and Iambic -
Hir Eth a a I Su
THE TAMA. RIND PAPERS A Journal of the Fine Print Volume Thirteen 1990 HIR ETH A A I SU Articles & Reviews by CLINTON ADAMS JOANN MOSER GARO ANTREASIAN NATHAN OLIVEIRA MARK ATTWOOD ELLEN SRAGOW RIVA CASTLEMAN SILVIE TURNER VAN DEREN COKE LINDA TYLER RUTH E. FINE SHARYN UDALL PAT GILMOUR GUSTAVE VON GROSCHWITZ LANIER GRAHAM BARRY WALKER RICHARD HAMILTON JUNE WAYNE EUGENIA PARRY JANIS GABRIEL P. WEISBERG BILL LAGATTUTA RUTH WEISBERG SUSAN LAMBERT BARBARA A. WOLANIN THIRTEEN 1 9 9 0 THE TAMARIND PAPERS EDITOR: Clinton Adams CONTRIBUTING EDITORS: Pat Gilmour Gabriel P. Weisberg ASSISTANT EDITOR: Linda Tyler EDITORIAL BOARD: Philip Dennis Cate Van Deren Coke Richard Field Robert Gardner Jules Heller Sinclair H. Hitchings Eugenia Parry Janis Lynton R. Kistler Peter Morse Joann Moser Gustave von Groschwitz Barry Walker Gabriel P. Weisberg Theodore F. Wolff The Tamarind Papers, an annual journal of the fine print, is published by SINGLE COPY PRICE, United States and Tamarind Institute, 108 Cornell Avenue, S.E. , Albuquerque, New Mexico Canada: $12.00 U.S.; elsewhere $14.00. 87106. Telephone 505:277-3901. Tamarind Institute is a division of the Uni SuBSCRIPTIONS, United States and versity of New Mexico. Canada: Two issues, $20.00 U.S.; elsewhere, $25.00 (surface mail). The editor welcomes submission of historical, critical, or technical articles on topics related to the fine print. Historical and critical articles should be limited © Tamarind Institute, 1990 to nineteenth- and twentieth-century subjects; technical articles may deal All rights reserved. with any print medium. Manuscripts and photographs will be returned only Printed in the United States of if accompanied by a stamped, self-addressed envelope. -
Filmography V6.Indd
a filmography Foreword by The Irish Film Institute For over 60 years, the Irish Film Institute has been dedicated to the promotion of film culture in Ireland and therefore is proud to present this filmography of Samuel Beckett’s work. Beckett remains one of Ireland’s most important and influential artists and Samuel Beckett – A Filmography provides a snapshot of the worldwide reach and enduring nature of his creativity. As part of the Beckett centenary celebrations held in April 2006, the Irish Film Institute organised a diverse programme of films relating to the work of Beckett, including a tour of the line-up to cinemas around the country. Prior to this, the Irish Film Institute provided the unique opportunity to view all 19 films in the ‘Beckett on Film’ series by screening the entire selection in February 2001. This filmography provides the perfect accompaniment to these previous programmes and it illustrates that Beckett’s work will continue to be adapted for film and television worldwide for years to come. Photograph by Richard Avedon Samuel Beckett – A Filmography was made possible though the kind support of the Department of Arts, Sport and Tourism and the Beckett Centenary Council and Festival Committee. Mark Mulqueen Director, The Irish Film Institute An Introduction Compiling a filmography of Beckett’s work is both a challenging and daunting prospect. It was important, from the outset, to set some parameters for this filmography. Therefore, to this end, I decided to focus on the key area of direct adaptations of Beckett’s work filmed for cinema or television.