Robbins-Johnson Debate Fizzles
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Ian Watt, the Rise of the Novel: Studies in Defoe, Richardson and Fielding (Chatto & Windus 1957; Rep
Ian Watt, The Rise of the Novel: Studies in Defoe, Richardson and Fielding (Chatto & Windus 1957; rep. Univ. of California Press 1957). Note: this copy has been made from a PDF version of the 1957 California UP edition. The footnotes in that editon have been transposed to endnotes here and the page-numbers have been omitted. Chapter I: Realism and the Novel Form THERE are still no wholly satisfactory answers to many of the general questions which anyone interested in the early eighteenth-century novelists and their works is likely to ask: Is the novel a new literary form? And if we assume, as is commonly done, that it is, and that it was begun by Defoe, Richardson and Fielding, how does it differ from the prose fiction of the past, from that of Greece, for example, or that of the Middle Ages, or of seventeenth-century France? And is there any reason why these differences appeared when and where they did? Such large questions are never easy to approach, much less to answer, and they are particularly difficult in this case because Defoe, Richardson and Fielding do not in the usual sense constitute a literary school. Indeed their works show so little sign of mutual influence and are so different in nature that at first sight it appears that our curiosity about the rise of the novel is unlikely to find any satisfaction other than the meagre one afforded by the terms ‘genius’ and ‘accident’, the twin faces on the Janus of the dead ends of literary history. We cannot, of course, do without them: on the other hand there is not much we can do with them. -
In Search of Enlightenment by Reading Samuel Beckett’S Waiting for Godot
LITERARIA An International Journal of New Literature Across the World ISSN: 2229-4600 VOL. 5, No. 1-2, JAN-DEC 2015 In Search of Enlightenment by Reading Samuel Beckett’s Waiting for Godot SYED ISMYL MAHMOOD RIZVI Patna University, Patna ABSTRACT Beckett’s philosophical indebtedness has long been recognised – especially in conjunction with Dante, Descartes and Geulincx. In this article, I examine Beckettian universal values of Enlightenment, which will be exposed as self-serving mystifications that rationalize and instrumentalize the meaning of life. In this context, the awareness of the Enlightenment nature of Beckett’s writing in Waiting for Godot will be analysed along with the freedom appeal of his reader as he strives to attain the enlightenment. ‘For enlightenment, all that is needed is freedom.’ (Kant 1991 [1784]) Suppose an individual in the world which is a hard shell that he attempts to toss it away, but for what; to think beyond it, and to relocate him beyond it in order to attain enlightenment. Whenever he looks above into the sky, the high sky, the clouds, the flying birds, the stars, the moon, the sun and the cosmos, those make him to forget the hard shell for a while until his eyes fell upon it and he is recaptured. Still into the pupil of his eyes he is reflecting the cosmos. This energy within him, within anyone has vitality and potentiality to reflect the cosmos, and to look beyond the hard shell. Let’s say that he has had an enlightenment experience. Enlightenment is a fact. It is the Truth itself. -
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). -
Guide for the Selection of Commercial Explosives Detection Systems for Law Enforcement Applications
U.S. Department of Justice Office of Justice Programs National Institute of Justice National Institute of Justice ABOUT THELaw LAW Enforcement ENFORCEMENT and Corrections AND CORRECTIONS Standards and Testing Program Guide for the Selection of Commercial Explosives Detection Systems for Law Enforcement Applications NIJ Guide 100-99 U.S. Department of Justice Office of Justice Programs 810 Seventh Street N.W. Washington, DC 20531 Janet Reno Attorney General Raymond C. Fisher Associate Attorney General Laurie Robinson Assistant Attorney General Noël Brennan Deputy Assistant Attorney General Jeremy Travis Director, National Institute of Justice Office of Justice Programs National Institute of Justice World Wide Web Site World Wide Web Site http://www.ojp.usdoj.gov http://www.ojp.usdoj.gov/nij ABOUT THE LAW ENFORCEMENT AND CORRECTIONS STANDARDS AND TESTING PROGRAM The Law Enforcement and Corrections Standards and Testing Program is sponsored by the Office of Science and Technology of the National Institute of Justice (NIJ), U.S. Department of Justice. The program responds to the mandate of the Justice System Improvement Act of 1979, which created NIJ and directed it to encourage research and development to improve the criminal justice system and to disseminate the results to Federal, State, and local agencies. The Law Enforcement and Corrections Standards and Testing Program is an applied research effort that determines the technological needs of justice system agencies, sets minimum performance standards for specific devices, tests commercially available equipment against those standards, and disseminates the standards and the test results to criminal justice agencies nationally and internationally. The program operates through: The Law Enforcement and Corrections Technology Advisory Council (LECTAC) consisting of nationally recognized criminal justice practitioners from Federal, State, and local agencies, which assesses technological needs and sets priorities for research programs and items to be evaluated and tested. -
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. -
The Search for Meaning in Waiting for Godot
Praxis: The Journal for Theatre, Performance Studies, and Criticism 2013 Issue Deconstructing Consciousness: The Search for Meaning in Waiting for Godot Dan Ciba Samuel Beckett has long been recognized as a great playwright of the Theater of the Absurd, a theatrical genre identified by dramatic critic Martin Esslin. Early Absurdist playwrights were categorized by Esslin because of their use of narrative and character in order to expose the meaninglessness of a post-Nietzschean world. In his book the Theatre of the Absurd, Esslin states: “'Absurd' originally means 'out of harmony', in a musical context. Hence its dictionary definition: 'out of harmony with reason or propriety; incongruous, unreasonable, illogical'[...] In an essay on Kafka, Ionesco defined his understanding of the term as follows: 'Absurd is that which is devoid of purpose... Cut off from his religious, metaphysical, and transcendental roots, man is lost; all his actions become senseless, absurd, useless” (Esslin 1973, p.5). Because Esslin used Beckett as his first example, an Absurdist reading of Waiting for Godot has already been well explored by scholars and practitioners. Another popular reading is deeply rooted in the existential struggle of humanity after World War II. A deconstruction of this play offers the potential to explore Beckett beyond the existential and Absurdist readings that critics and audiences typically use to understand Beckettian plays. This paper examines Godot through a post-structural lens. By integrating the theoretical concept of deconstruction suggested by Jacques Derrida with the psychoanalytic theories of Jacques Lacan's symbolic language, I seek to identify and interpret the symbols in this play as signifiers. -
The Material of Film and the Idea of Cinema: Contrasting Practices in Sixties and Seventies Avant-Garde Film*
The Material of Film and the Idea of Cinema: Contrasting Practices in Sixties and Seventies Avant-Garde Film* JONATHAN WALLEY I In 1976, the American Federation of Arts organized a major program of American avant-garde films made since the early 1940s. In his introduction to the program’s catalog, Whitney film curator and series organizer John Hanhardt argued that the central preoccupation of filmmakers across the history of avant-garde cinema had been with the exploration of the material properties of the film medium itself: “This cinema subverts cinematic convention by exploring its medium and its properties and materials, and in the process creates its own history separate from that of the classical narrative cinema. It is filmmaking that creates itself out of its own experience.”1 Having traced the history of avant-garde film according to the modernist notion that an art form advances by reflexively scrutinizing the “properties and materials” of its medium, Hanhardt turned his attention to more recent developments. But these new developments were not entirely receptive to his modernist model. On the one hand, he argued, filmmakers were continuing to create works that engaged the physical materials of film—film strip, projector, camera, and screen—and the range of effects these made possible. On the other, this engagement appeared to be leading some filmmakers to create cinematic works challenging the material limits of the film medium as it had been defined for over eighty years. For example, in Anthony McCall’s Line Describing a Cone (1973), the focus of the viewer’s attention was not an image projected onto a screen, but the projector beam itself, which over the course of thirty minutes grew from a thin line of light to a cone—a three-dimensional light sculpture with which the viewer could interact. -
Thesis-Time-In-Beckett.Pdf
Masaryk University Faculty of Arts Department of English and American Studies English Language and Literature Miriam Zbíralová Time in the Plays of Samuel Beckett Bachelor‟s Diploma Thesis Supervisor: Mgr. Pavel Drábek, Ph. D. 2010 I declare that I have worked on this thesis independently, using only the primary and secondary sources listed in the bibliography. …………………………………………….. Author‟s signature I would like to thank my supervisor, Mgr. Pavel Drábek, Ph.D., for his valuable advice during the whole process of writing the thesis. Table of Contents: Introduction ....................................................................................................................... 5 1 Time and the Performance ............................................................................................. 6 1.1 The Unity of Time and Fictional versus Performance Time .................................. 6 1.2 Tempo ..................................................................................................................... 8 2 Time and the Structure of the Plays ............................................................................. 11 2.1 Cyclical Development ........................................................................................... 11 2.2 Suspense ................................................................................................................ 14 3 Time and the Characters .............................................................................................. 16 3.1 The Past and the Future -
Miranda, 4 | 2011 “Close Your Eyes and Listen to It”: Schizophonia and Ventriloquism in Beckett
Miranda Revue pluridisciplinaire du monde anglophone / Multidisciplinary peer-reviewed journal on the English- speaking world 4 | 2011 Samuel Beckett : Drama as philosophical endgame ? “Close your eyes and listen to it”: schizophonia and ventriloquism in Beckett’s plays Lea Sinoimeri Electronic version URL: http://journals.openedition.org/miranda/1924 DOI: 10.4000/miranda.1924 ISSN: 2108-6559 Publisher Université Toulouse - Jean Jaurès Electronic reference Lea Sinoimeri, « “Close your eyes and listen to it”: schizophonia and ventriloquism in Beckett’s plays », Miranda [Online], 4 | 2011, Online since 24 June 2011, connection on 25 October 2018. URL : http:// journals.openedition.org/miranda/1924 ; DOI : 10.4000/miranda.1924 This text was automatically generated on 25 October 2018. Miranda is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License. “Close your eyes and listen to it”: schizophonia and ventriloquism in Beckett... 1 “Close your eyes and listen to it”: schizophonia and ventriloquism in Beckett’s plays Lea Sinoimeri 1 One of the most enigmatic and fascinating innovations of Beckett’s theatre is the use of a mediated voice as a character on stage. From Krapp’s Last Tape to Rockaby, Beckett explores radical solutions to sever voices from bodies, challenging the conventions of dramatic genre and reinventing dramatic character. Beckett's characters grow increasingly uncomfortable with their own voices as they split into twin opposites, a hearer and a speaker and voices move away from their bodies into artificial mouthpieces. The tension between aurality and visuality sustains a new dramatic economy in these plays, where the restless movement of voices functions in opposition to the fixity of the actors on stage. -
Modes of Being and Time in the Theatre of Samuel Beckett
f.'lODES Ol!' BEING AND TIME IN THE THEATRE OF SANUEL BECKETT MODES OF BEING AND TIME IN THE THEATRE OF SAMUEL BECKETT By ANNA E.V. PRETO, B.A., LICENCE ES LETTRES A Thesis Submitted to the School of Graduate Studies in Partial Fulfilment of the Requirements for the Degree TvIaster of Arts !-1cMaster Uni versi ty October 1974 MASTER OF ARTS (1974) McMASTER UNIVERSITY (Romance Languages) Hamilton, Ontario TITLE: Modes of Being and Time in the Theatre of Samuel Beckett AUTHOR: Anna E.V. Preto, B.A. (University of British Columbia) Licence es Lettres (Universite de Grenoble) SUPERVISOR: Dr. Brian S. Pocknell NUNBER OF PAGES: vi, 163 ii AKNOWLEDGEMENTS I wish to thank Dr. Brian S. Pocknell for his interest, his encouragement and counsel in the patient supervision of this dissertation. I also wish to thank McMaster University for its generous financial assistance. iii CONTENTS I An Introduction to the Beckett Situation 1 II Being on the Threshold to Eternity: Waiting for Godot and Endgame 35 III The Facets of the Prism: Beckett's Remaining Plays 74 IV The Language of the Characters and Time 117 Conclusion 147 Bibliography 153 iv PREFACE Beckett as an author has inspired an impressive range of critical studies to date. The imposing amounts of critical material bear witness to the richness of his writings, which present a wealth of themes and techniques. His plays concentrate for us the problem-themes that already concerned him in his earlier prose works, and bring them to the stage in a more streamlined form. The essential problem which evolves from Beckett's own earlier writings comes to the fore, downstage, in the plays: it is that of being in time, a purgatorial state, the lot of mankind and of Beckett's characters, who are representative of mankind. -
"Almost Lifeless, Like the Teller": the Instructive Performances of Samuel Beckett's Self-Aware Novels
“ALMOST LIFELESS, LIKE THE TELLER”: THE INSTRUCTIVE PERFORMANCES OF SAMUEL BECKETT’S SELF-AWARE NOVELS A thesis submitted to Kent State University in partial fulfillment of the requirements for the degree of Master of Arts by Garth Jerome Sabo May, 2011 Thesis written by Garth Jerome Sabo B.A., John Carroll University, 2009 M.A., Kent State University, 2011 Approved by _________Claire Culleton_________, Advisor _________Ronald Corthell________, Chair, Department of English _________Timothy Moerland______, Dean, College of Arts and Sciences ii TABLE OF CONTENTS Acknowledgments………………………………………………………………………..iv Introduction………………………………………………………………………………..1 “That which lurks behind, be it something or nothing” Chapter One………………………………………………………………………...……11 Transparency – Beckett and the Text as Art Chapter Two……………………………………………………………………………...41 Physicality – Beckett and the Text as Object Chapter Three…………………………………………………...............………………..70 Scatology – Beckett and the Text as Fart Chapter Four……………………………………………………………………..………98 Implications – Beckett and the Reader Notes………………………………………………………..…………………………..109 References……………………………………………………..….……….……………123 iii ACKNOWLEDGMENTS I would like to express my sincere gratitude to Dr. Claire Culleton for her assistance in the composition and revision of this thesis. Her words of encouragement and attentiveness were invaluable in the process of this project’s completion. I would also like to thank Dr. Tammy Clewell and Dr. Robert Trogdon for serving on my committee and offering their tacit support through the course of my efforts. Thanks are also due to Dr. Jeanne Colleran, without whom I never would have been introduced to the works of Samuel Beckett. Were it not for the studies of Krapp’s Last Tape and Waiting for Godot she prompted, this thesis would have been impossible. On a personal note, I would like to thank Michelle Rigsby for the support and solidarity she offered. -
The Element of Time in Waiting for Godot by Samuel Beckett
Journal of World Englishes and Educational Practices (JWEEP) ISSN: 2707-7586 DOI: 10.32996/jweep Journal Homepage: www.al-kindipublisher.com/index.php/jweep The Element of Time in Waiting for Godot by Samuel Beckett Shazia Abid M. Phil English (Literature & Linguistics) Department of English Studies, Qurtuba University 2017, Pakistan Corresponding Author: Shazia Abid, E-mail: [email protected] ARTICLE INFORMATION ABSTRACT Received: March 05, 2021 Samuel Beckett’s Waiting for Godot (1952) is one of the most puzzling plays of the Accepted: April 18, 2021 modern era. It is a play where nothing happens twice. Hence, the purpose of this Volume: 3 research paper to explore the element of time in Beckett’s masterpiece Waiting for Issue: 4 Godot (tragicomedy). The play is part of the ‘Theatre of Absurd’ and being an DOI: 10.32996/jweep.2021.3.4.3 absurdist playwright, Beckett tends to explore the internal states of individual’s mind. It also explores the absurdity of modern man that how they are dwelling in a twilight KEYWORDS state and unaware of their surroundings. This work is based on the belief that the universe is irrational, meaningless and the search for order brings the individuals into waiting, absurdism, loneliness, conflict with the universe. The study investigates existentialist’s point of views. In the existentialism, despair, physical play ‘Time’ represents very much dominating force as well as a tormenting tool to its suffering, nothingness, time characters. 1. Introduction 1 Samuel Beckett’s Waiting for Godot is a well-known drama of twentieth-century literature. He created completely a new kind of play and exhibits trepidation of human beings using comic style.