DOCSLIB.ORG

Bibliography

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Bibliography BIBLIOGRApHY PUBLISHED WORKS BY SAMUEL BECKETT Beckett, Samuel. “Dante… Bruno. Vico.. Joyce.” In Poems, Short Fiction, Criticism. Vol. 4 of The Grove Centenary Edition, 495–510. New York: Grove, 2006. ———. Disjecta: Miscellaneous Writings and a Dramatic Fragment. Edited by Ruby Cohn. London: Calder, 1983. ———. Eleutheria. Paris: Les Éditions de Minuit, 1995. ———. Eleutheria. Translated by Barbara Wright. London: Faber, 1996. ———. Fin de Partie. Paris: Les Éditions de Minuit, 1957. ———. “First Love.” In Poems, Short Fiction, Criticism. Vol. 4 of The Grove Centenary Edition, 229–246. ———. Ill Seen Ill Said. In Poems, Short Fiction, Criticism. Vol. 4 of The Grove Centenary Edition, 451–470. ———. “La Fin.” In Nouvelles et Textes pour rien, 77–123. ———. L’Innommable. Paris: Les Éditions de Minuit, 2004. ———. Malone Dies. In Novels II. Vol. 2 of The Grove Centenary Edition, 171–281. ———. Malone Meurt. Paris: Les Éditions de Minuit, 2004. ———. Mal vu mal dit. Paris: Les Éditions de Minuit, 1981. ———. Mercier and Camier. In Novels I. Vol. 1 of The Grove Centenary Edition, 381–479. ———. Mercier et Camier. Paris: Les Éditions de Minuit, 1970. ———. Molloy. In Novels II. Vol. 2 of The Grove Centenary Edition, 1–170. ———. Molloy. Paris: Les Éditions de Minuit, 1982. ———. Murphy. In Novels I. Vol. 1 of The Grove Centenary Edition, 1–168. ———. Murphy. Paris: Les Éditions de Minuit, 1965. © The Author(s) 2018 213 T. Lawrence, Samuel Beckett’s Critical Aesthetics, https://doi.org/10.1007/978-3-319-75399-7 214 BIBLIOGRAPHY ———. Nouvelles et Textes pour rien, avec 6 illustrations d’Avigdor Arikha. Paris: Les Éditions de Minuit, 1958. ———. Pour finir encore et autres foirades. Paris: Les Éditions de Minuit, 1976. ———. Premier Amour. Paris: Les Éditions de Minuit, 1970. ———. Proust. In Poems, Short Fiction, Criticism. Vol. 4 of The Grove Centenary Edition, 511–554. ———. Têtes-Mortes. Rev. ed. Paris: Les Éditions de Minuit, 1972. ———. Texts for Nothing and Other Shorter Prose 1950–1976. Edited by Mark Nixon. London: Faber and Faber, 2010. ———. “The Capital of the Ruins.” In As the Story Was Told: Uncollected and Late Prose, 17–28. London and New York: John Calder, 1993. ———. “The Calmative.” In Poems, Short Fiction, Criticism. Vol. 4 of The Grove Centenary Edition, 261–274. ———. The Collected Poems of Samuel Beckett. Edited by Seán Lawlor and John Pilling. London: Faber, 2012. ———. “The End.” In Poems, Short Fiction, Criticism. Vol. 4 of The Grove Centenary Edition, 275–293. ———. “The Expelled.” In Poems, Short Fiction, Criticism. Vol. 4 of The Grove Centenary Edition, 247–259. ———. The Grove Centenary Edition. Edited by Paul Auster. 4 vols. New York: Grove, 2006. ———. The Letters of Samuel Beckett. Vol. 1, 1929–1940. Edited by Martha Dow Fehsenfeld and Lois More Overbeck. Cambridge: Cambridge University Press, 2008. ———. The Letters of Samuel Beckett. Vol. 2, 1941–1956. Edited by George Craig, Martha Dow Fehsenfeld, Dan Gunn and Lois More Overbeck. Cambridge: Cambridge University Press, 2011. ———. The Letters of Samuel Beckett. Vol. 3, 1957–1965. Edited by George Craig, Martha Dow Fehsenfeld, Dan Gunn and Lois More Overbeck. Cambridge: Cambridge University Press, 2014. ———. The Letters of Samuel Beckett. Vol. 4, 1966–1989. Edited by George Craig, Martha Dow Fehsenfeld, Dan Gunn and Lois More Overbeck. Cambridge: Cambridge University Press, 2016. ———. “The New Object.” In “Samuel Beckett: Out of the Archive.” Edited by Bryan Radley and Peter Fifield. Special issue,Modernism/modernity 18, no. 4 (2012): 873–880. ———. The Unnamable. In Novels II. Vol. 2 of The Grove Centenary Edition, 285–407. ———. “Three Dialogues with Georges Duthuit.” In Poems, Short Fiction, Criticism. Vol. 4 of The Grove Centenary Edition, 555–563. ———. Trois Dialogues. Translated by Beckett and Edith Fournier. Paris: Les Éditions de Minuit, 1998. BIBLIOGRAPH Y 215 ———. “Trois Poèmes”/“Three Poems.” Transition Forty-Eight 2 (1948): 96–97. ———. Watt. In Novels I. Vol. 1 of The Grove Centenary Edition, 169–479. ———. Watt. Translated by Ludovic and Agnès Janvier, in collaboration with Samuel Beckett. Paris: Les Éditions de Minuit, 2007. ARCHIVAL SOURCES Beckett, Samuel. “MacGreevy on Yeats.” Trinity College Dublin, TCD MS 9072, fols. 10–13. ———. “Notes on Philosophy.” Trinity College Dublin, TCD MS 10967. ———. “Notes on Psychology.” Trinity College Dublin, TCD MS 9072/7- 8. Duthuit, Georges. Letters to Samuel Beckett. Les Héritiers Matisse, Paris, Archive Duthuit MSS 108, 112, 208. SECONDARY SOURCES Acheson, James. “Beckett, Proust, and Schopenhauer.” Contemporary Literature 19, no. 2 (1978): 165–179. Ackerley, C.J. Demented Particulars: The Annotated Murphy. Rev. ed. Edinburgh: Edinburgh University Press, 2010. ———. Obscure Locks, Simple Keys: The Annotated Watt. Rev. ed. Edinburgh: Edinburgh University Press, 2010. ———. and S.E. Gontarski. The Faber Companion to Samuel Beckett. London: Faber, 2006. Adams, Ellen E. After the Rain: Surrealism and the Post-World War II Avant- garde, 1940–1950. PhD diss., New York University, 2007. Adamson, Natalie. Painting, Politics and the Struggle for the École de Paris. Farnham: Ashgate, 2009. Addyman, David. “En attendant Godot: A New Landscape.” In Samuel Beckett: Debts and Legacies, edited by Peter Fifield and David Addyman, 63–85. London: Bloomsbury, 2013. ———. “Where Now?: Beckett, Duthuit and The Unnamable.” In “Revisiting Molloy, Malone Meurt/Malone Dies and L’Innommable/The Unnamable,” edited by David Tucker, Mark Nixon and Dirk Van Hulle, special issue, Samuel Beckett Today/Aujourd’hui 26 (2014): 179–192. ———, and Matthew Feldman. “Samuel Beckett, Wilhelm Windelband, and the Interwar ‘Philosophy Notes’.” In “Samuel Beckett: Out of the Archive,” edited by Peter Fifield and Bryan Radley. Special issue,Modernism/modernity 18, no. 4 (2012): 755–770. Ades, Dawn and Simon Baker, eds. Undercover Surrealism: Georges Bataille and Documents. Cambridge, MA: MIT, 2006. 216 BIBLIOGRAPHY Adorno, Theodor. Aesthetic Theory. Edited by Gretel Adorno and Rolf Tiedemann. Edited and translated by Robert Hullot-Kentor. London: Continuum, 2004. ———. “Looking Back on Surrealism.” In Notes to Literature, vol. 1, edited by Rolf Tiedemann, translated by Shierry Weber Nicholsen, 86–90. New York: Columbia University Press, 1991. ———. “Notes on Beckett.” Translated by Dirk Van Hulle and Shane Weller. Journal of Beckett Studies 19, no. 2 (2010): 157–178. ———. and Max Horkheimer. Dialectic of Enlightenment. Translated by John Cumming. London and New York: Verso, 1997. Albright, Daniel. Beckett and Aesthetics. Cambridge: Cambridge University Press, 2003. Alvarez, A. Beckett. Fontana Modern Masters. Glasgow: Fontana and Collins, 1973. Antle, Martin. “Towards Re-Presentation: Spatiality and Voice in Roger Vitrac’s Surrealist Sketches.” Modern Language Studies 20, no. 2 (1990): 19–27. Appelqvist, Hanne. “Why Does Wittgenstein Say that Ethics and Aesthetics Are One and the Same?” In Wittgenstein’s Tractatus: History and Interpretation, edited by Peter Sullivan and Michael Potter, 40–58. Oxford: Oxford University Press, 2013. Ardoin, Paul. “Perception Sickness: Bergsonian Sensitivity and Modernist Paralysis.” In Understanding Bergson, Understanding Modernism, edited by Paul Ardoin, S.E. Gontarski and Laci Mattison, 128–140. London: Bloomsbury, 2013. Atik, Anne. How It Was: A Memoir of Samuel Beckett. London: Faber, 2001. Auerbach, Erich. “Figura.” Translated by Ralph Manheim, in Scenes from the Drama of European Literature, 11–78. Minneapolis: University of Minnesota Press, 1984. Bair, Deirdre. Samuel Beckett: A Biography. New York: Touchstone, 1993. Balakian, Anna. “The Post-surrealism of Aragon and Eluard.” Yale French Studies 2 (1948): 93–102. Barry, Elizabeth. Beckett and Authority: The Uses of Cliché. Basingstoke and New York: Palgrave Macmillan, 2006. ———. “One’s own Company: Agency, Identity and the Middle Voice in the Work of Samuel Beckett.” Journal of Modern Literature 31, no. 2 (2008): 115–132. Bataille, Georges. “Dernier Instant.” Œuvres completes, vol. 11, 116–25. Paris: Gallimard, 1980. ———. “Informe.” Documents 1 (1929): 382. ———. L’Impossible. In Romans et récits, 489–594. ———. “Le silence de Molloy.” In Œuvres complètes, vol. 12, 85–94. Paris: Gallimard, 1988. ———. “Le Surréalisme en 1947.” In Œuvres complètes, vol. 8, 259–261. Paris: Gallimard, 1976. BIBLIOGRAPH Y 217 ———. Madame Edwarda. In Romans et récits, 313–348. ———. Madame Edwarda. Translated by Austryn Wainhouse. In The Bataille Reader, edited by Fred Botting and Scott Wilson, 223–236. Oxford and Cambridge, MA: Blackwell, 1997. ———. “Non-savoir, rire et larmes.” In Œuvres complètes, vol. 8, 214–233. Paris: Gallimard, 1976. ———. Romans et récits. Edited by Jean-François Louette, Gilles Ernst, Marina Galletti, Cécile Moscovitz, Gilles Philippe and Emmanuel Tibloux. Bibliothèque de la Pléiade. Paris: Gallimard, 2004. ———. “Surrealism in 1947.” In The Absence of Myth: Writings on Surrealism, edited and translated by Michael Richardson, 68–70. London and New York: Verso, 1994. ———. “The Surrealist Religion.” In The Absence of Myth: Writings on Surrealism, edited and translated by Michael Richardson, 71–90. London and New York: Verso, 1994. ———. “The Ultimate Instant.” Translated by Thomas Whalton. Transition Forty-Eight 1 (1948): 60–69. ———. “Un chien andalou.” Documents 4 (1929): 216. ———. “Un-knowing: Laughter and Tears.” Translated by Annette Michelson. October 36, Georges Bataille: Writings on Laughter, Sacrifice, Nietzsche, Un-Knowing (Spring 1986): 89–102. York: Grove Press, 2006. Bayraktar,
Load more

Recommended publications
  • 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).
    [Show full text]
  • Trauma, Company and Witnessing in Samuel Beckett's Post-War Drama
    TRAUMA, COMPANY AND WITNESSING IN SAMUEL BECKETT’S POST-WAR DRAMA, 1952-61 A thesis submitted to The University of Manchester for the degree of Doctor of Philosophy in the Faculty of Humanities 2014 ELECTRA GEORGIADES SCHOOL OF ARTS, LANGUAGES AND CULTURES 2 LIST OF CONTENTS Abstract 3 Declaration 4 Copyright Statement 5 Acknowledgements 6 1. Introduction 7 1.1. Beckett and Trauma: The Theoretical Framework 12 1.2. Performing Testimony 25 1.3. Human Company: The Other as a Witness 36 1.4. Thesis Structure 41 2. In Need of a Witness: Beckett’s Testimonial Drama (1952-61) 45 2.1. Trauma, Testimony and the Theatre 48 2.2. Beside History: Beckett’s Testimonial Drama 66 2.2.1 Performing Trauma 69 2.2.2 Performing and Responding to Testimony 86 3. Acting out the Trauma: Memory, Language and the Body 99 3.1. Memory 109 3.2. Language 133 3.3. The Body 142 4. Reclaiming Witnessing in the Post-war Period: Human Company in Beckett’s Drama Trilogy 158 4.1. Human Company and Trauma 161 4.2. Resisting the Trauma: Company and Witnessing 189 5. Conclusion: Trauma, Company and Witnessing in Samuel Beckett’s Post-war Drama 205 5.1. Beckett and Trauma 208 5.2. The Human Other 212 Bibliography 217 Primary Sources 217 Secondary Sources 218 Words: 80,551 3 ABSTRACT The present thesis examines the interrelation between the dynamics of human company and the psychoanalytic concept of witnessing in Samuel Beckett’s major post-war drama. The analysis provided concentrates primarily on Waiting for Godot (1952), Endgame (1957), and Happy Days (1962) and situates these plays within a post-war framework, while examining their stylistic qualities and thematic concerns within the context of trauma studies.
    [Show full text]
  • Beckett in Black and Red: the Translations for Nancy Cunard's Negro
    University of Kentucky UKnowledge French and Francophone Literature European Languages and Literatures 2000 Beckett in Black and Red: The Translations for Nancy Cunard's Negro Alan Warren Friedman University of Texas Click here to let us know how access to this document benefits ou.y Thanks to the University of Kentucky Libraries and the University Press of Kentucky, this book is freely available to current faculty, students, and staff at the University of Kentucky. Find other University of Kentucky Books at uknowledge.uky.edu/upk. For more information, please contact UKnowledge at [email protected]. Recommended Citation Friedman, Alan Warren, "Beckett in Black and Red: The Translations for Nancy Cunard's Negro" (2000). French and Francophone Literature. 10. https://uknowledge.uky.edu/upk_french_and_francophone_literature/10 IRISH LITERATURE, HISTORY, AND CULTURE Jonathan Allison, General Editor Advisory Board George Bornstein, University of Michigan Elizabeth Butler Cullingford, University of Texas James S. Donnelly Jr., University ofWisconsin Marianne Elliott, University of Liverpool Roy Foster, Hertford College, Oxford David Lloyd, Scripps College Weldon Thornton, University of North Carolina This page intentionally left blank BECI<ETT . In BLACIZ and The Translations for RED Nancy Cunard's NEGRO (1934) EDITED BY ALAN WARREN FRIEDMAN THE UNIVERSrrY PRESS OF KENIUCKY Publication of this volume was made possible in part by a grant from the National Endowment for the Humanities. Copyright © 2000 by The University Press of Kentucky Scholarly publisher for the Commonwealth, serving Bellarmine College, Berea College, Centre College of Kentucky, Eastern Kentucky University, The Filson Club Historical Society, Georgetown College, Kentucky Historical Society, Kentucky State University, Morehead State University, Murray State University, Northern Kentucky University, Transylvania University, University of Kentucky, University of Louisville, and Western Kentucky University.
    [Show full text]
  • The Work of Poverty
    THE WORK OF POVERTY • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • The Work of Poverty SAMUEL BECKEtt’S VAGABONDS AND THE THEATER OF CRISIS Lance Duerfahrd THE OHIO STATE UNIVERSITY PRESS • COLUMBUS Copyright © 2013 by The Ohio State University. All rights reserved. Library of Congress Cataloging-in-Publication Data Duerfahrd, Lance Alfred, 1967– The work of poverty : Samuel Beckett's vagabonds and the theater of crisis / Lance Duerfahrd. p. cm. Includes bibliographical references and index. ISBN-13: 978-0-8142-1237-0 (cloth : alk. paper) ISBN-10: 0-8142-1237-9 (cloth : alk. paper) ISBN-13: 978-0-8142-9339-3 (cd-rom) ISBN-10: 0-8142-9339-5 (cd-rom) 1. Beckett, Samuel, 1906–1989. En attendant Godot. English—Criticism and interpreta- tion. 2. Beckett, Samuel, 1906–1989—Influence. I. Title. PQ2603.E378Z618 2013 842'.914—dc23 2013022653 Cover design by Jennifery Shoffey-Forsythe Text design by Juliet Williams Type set in Palatino Printed by Thomson-Shore, Inc. The paper used in this publication meets the minimum requirements of the American National Standard for Information Sciences—Permanence of Paper for Printed Library Materials. ANSI Z39.48–1992. 9 8 7 6 5 4 3 2 1 Contents • • • • • • • • • • • List of Illustrations vi Acknowledgments vii INTRODUCTION Begging Context 1 CHAPTER 1 Godot behind Bars 12 CHAPTER 2 Waiting for Godot in Sarajevo and New Orleans 63 CHAPTER 3 La Pensée Vagabonde: Vagabond Thought 112 CHAPTER 4 Textual Indigence: The Reader in an Aesthetics of Poverty 143 AFTERWORD Staging Godot in
    [Show full text]
  • “The Human Condition” in Samuel Beckett's Waiting for Godot Michiko
    “The Human Condition” in Samuel Beckett’s Waiting for Godot Michiko Tsushima, University of Tsukuba, Japan The Asian Conference on Arts & Humanities 2020 Official Conference Proceedings Abstract In his essay about two painters, the van Velde brothers, Samuel Beckett presents a view that both men share a profound interest in “the human condition,” which precedes their interest in painting. This view relates to Beckett’s own conception of art. He himself was interested in “the human condition” in his creation of art. Beckett experienced the devastation of the Second World War. Through his work (e.g., Waiting for Godot, Endgame, and Happy Days), he explored the condition of those who survive in the world in its extremity. This paper sheds light on “the human condition” revealed in the act of waiting in Waiting for Godot, a French play written in 1949. The play depicts the human condition as the condition of being “tied to Godot.” This condition implies the human finitude—the tormenting in-between condition—being short of the world and that of never being able to escape from the here and now. At the same time, this condition of being “tied to Godot” indicates one last ounce of belief in the world. By disclosing this invisible “tie,” Waiting for Godot evokes “the link between man and the world” (Deleuze) in the audience’s mind. Keywords: Samuel Beckett, The Human Condition, Waiting iafor The International Academic Forum www.iafor.org Introduction In his essay about two brother-painters, Bram and Geer van Velde, “La peinture des van Velde ou le Monde et le Pantalon” (1945), Samuel Beckett presents a view that both men share a profound interest in “the human condition,” which precedes their interest in painting.
    [Show full text]
  • THE BECKETT CIRCLE LE CERCLE DE BECKETT O N E W S L E T T E R O F T H E S a M U E L B E C K E T T S O C I E T Y
    THE BECKETT CIRCLE LE CERCLE DE BECKETT O N e w s l e t t e r o f t h e S a m u e l B e c k e t t S o c i e t y Oh les beaux jours ply float up into the blue.” In Andreu’s set, it is not so much Winnie who sinks down into at the Théâtre du the mound between acts one and two, as the mound that rises up to her neck and seems Vieux-Colombier to carry her skyward. The mound is a beauti- fully wrought sand-coloured canvas evocative After En attendant Godot in 1978 and Fin de par- of an absurdly sumptuous garment that both tie in 1988, Oh les beaux jours belatedly entered magnifies Winnie and keeps her body tightly the repertoire of the Théâtre Français under constrained; it is matched by an equally in- Frederick Wiseman’s direction at the Théâtre triguing hat, a light metallic structure which du Vieux-Colombier, the Comédie Française’s seems to point her upwards. home in the Latin Quarter that offers a wide Taking her cue from Andreu’s set, Catherine range of contemporary classics. Wiseman is Samie’s Winnie looks as if she were going to an American filmmaker who has made some “float up into the blue” at any moment – if thirty-five full-length documentary films deal- she only could. She is a remarkably strong, ing with American institutions and society wilful woman, not a frail creature faltering on and with Western culture in general.
    [Show full text]
  • Soup of the Day Chowder of the Day Homemade Chili Irish Goat Cheese Salad Spicy Chicken Salad Smoked Pheasant Salad Smoked Salmo
    Soup of the Day Irish Goat Cheese Salad Smoked Pheasant Salad Served with brown bread & Irish butter Mixed greens tossed with sundried Smoked pheasant with rocket, Cup 3. Bowl 6. tomatoes, roasted red pepper, cherry shaved Irish cheddar, dried fruit, tomatoes, candied nuts crumbled candied nuts, red onion & shaved Chowder of the Day goat cheese, topped with a warm goat carrot 12. Served with brown bread & Irish butter cheese disc 10. Cup 3. Bowl 6. Smoked Salmon Salad Spicy Chicken Salad Chopped romaine lettuce, tomato, Homemade Chili Chopped romaine, bacon, tomato, Irish cheddar, peppers, red onion , Served with corn bread, scallions, cheese & scallions cup fried chicken tossed in blue cheese topped with slices of Irish oak Cup 3. Bowl 6. and buffalo sauce 12. smoked salmon 14. Frittatas Choice of smoked salmon & Irish cheddar, Irish sausage & bacon, shrimp & spinach or vegetarian. Served with choice of fruit, side salad or Sam’s spuds 12. Irish Breakfast Dalkey Benedict Mitchelstown Eggs Two bangers, two rashers, two black & white Slices of oak smoked salmon on top of two An Irish muffin with sautéed spinach, pudding, potato cake, eggs & baked beans, poached eggs with a potato cake base and poached eggs and hollandaise sauce 12. with Beckett’s brown bread 15. topped with hollandaise sauce 12. Tipperary Tart Baileys French Toast Roscrea Benedict A quiche consisting of leeks and Irish Cashel Brioche with a mango chutney and syrup. An Irish muffin topped with poached eggs blue cheese in a pastry shell. Served with a Served with choice of fruit or Sam’s spuds 12.
    [Show full text]
  • Miranda, 4 | 2011 Eleutheria―Notes on Freedom Between Offstage and Self-Reference 2
    Miranda Revue pluridisciplinaire du monde anglophone / Multidisciplinary peer-reviewed journal on the English- speaking world 4 | 2011 Samuel Beckett : Drama as philosophical endgame ? Eleutheria―Notes on Freedom between Offstage and Self-reference Shimon Levy Electronic version URL: http://journals.openedition.org/miranda/2019 DOI: 10.4000/miranda.2019 ISSN: 2108-6559 Publisher Université Toulouse - Jean Jaurès Electronic reference Shimon Levy, “Eleutheria―Notes on Freedom between Offstage and Self-reference”, Miranda [Online], 4 | 2011, Online since 24 June 2011, connection on 16 February 2021. URL: http:// journals.openedition.org/miranda/2019 ; DOI: https://doi.org/10.4000/miranda.2019 This text was automatically generated on 16 February 2021. Miranda is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License. Eleutheria―Notes on Freedom between Offstage and Self-reference 1 Eleutheria―Notes on Freedom between Offstage and Self-reference Shimon Levy 1 Samuel Beckett’s works have long and profoundly been massaged by numerous philosophical and semi-philosophical views, methods and “isms”, ranging from Descartes, Geulincx and Malebranche to existentialism à la Sartre and Camus, to logical positivism following Frege, Wittgenstein and others―to name but a few. P. J. Murphy rightly maintains that “the whole question of Beckett’s relationship to the philosophers is pretty obviously in need of a major critical assessment”.1 In many, if not most studies, “a philosophy” has been superimposed on the
    [Show full text]
  • Meaninglessness of Life in the Works Named Waiting for Godot and Clinton Godson
    Şahin, E. (2018). Meaninglessness of life in the works named Waiting for Godot and Clinton Godson. Uluslararası Türkçe Edebiyat Kültür Eğitim Dergisi, 7(3), 1713-1728. Uluslararası Türkçe Edebiyat Kültür Eğitim Dergisi Sayı: 7/3 2018 s. 1713-1728, TÜRKİYE Araştırma Makalesi MEANINGLESSNESS OF LIFE IN THE WORKS NAMED WAITING FOR GODOT AND CLINTON GODSON Elmas ŞAHİN Geliş Tarihi: Şubat, 2018 Kabul Tarihi: Ağustos, 2018 Abstract This article is a comparative study of Waiting for Godot (1948) by Samuel Beckett and Clinton Godson (1970) by Leyla Erbil. The first one is an absurd play; the second one is a short absurd story that the traditional forms in modern literature were rejected. In this study focused on the concepts absurdity and meaninglessness of life in Beckett‟s and Erbil‟s works, the endless waitings and questionings that have no solutions aside from absurd and meaningless conversations, in other words futile questionings and waitings ironically covered the both works will be discussed and evaluated in the light of the method of comparative literature. Keywords: Meaninglessness, absurd, irony, humor, postmodernism, existentialism, nihilism. GODOT’YU BEKLERKEN VE CLINTON GODSON ADLI ESERLERDE YAŞAMIN ANLAMSIZLIĞI Öz Bu makale Samuel Beckett‟ın Godot’yu Beklerken (1948) ile Leyla Erbil‟in Clinton Godson (1970) adlı eserlerinin karşılaştırmalı bir çalışmasıdır. İlki absürd bir oyun; ikincisi, modern edebiyatta geleneksel formları yıkan kısa absürd bir öyküdür. Beckett ve Erbil‟in eserlerindeki saçmalık ve yaşamın anlamsızlığı kavramları üzerine odaklı olan bu çalışmada, her iki eseri de kapsayan saçma ve anlamsız konuşmalar bir yana, hiçbir çözüme ulaşamayan sonsuz bekleyiş ve sorgulayışlar, bir başka deyişle beyhude sorgulayışlar ve ironik bekleyişler karşılaştırmalı edebiyat yöntemi ışığında tartışılacak ve değerlendirilecektir.
    [Show full text]
  • ©2016 Emily Kevlin Zubernis ALL RIGHTS RESERVED
    ©2016 Emily Kevlin Zubernis ALL RIGHTS RESERVED MINIMALISM, MODERNISM, AND THE AESTHETICS OF SCALE by EMILY KEVLIN ZUBERNIS A Dissertation submitted to the Graduate School – New Brunswick Rutgers, the State University of New Jersey in partial fulfillment of the requirements for the degree of Doctor of Philosophy Graduate Program in Literatures in English written under the direction of Rebecca L. Walkowitz and approved by _________________________ _________________________ _________________________ _________________________ New Brunswick, New Jersey October, 2016 ABSTRACT OF THE DISSERTATION MINIMALISM, MODERNISM, AND THE AESTHETICS OF SCALE By EMILY KEVLIN ZUBERNIS Dissertation Director: Rebecca L. Walkowitz This dissertation argues that literary minimalism is rightfully understood as an effort to make literature unproductive. Minimal fiction retreats from the production of meaning as literature’s epiphenomenon. It thus carries out a revaluation of textual surfaces and a critique of the logic of accumulation that inevitably subsumes sensuous particularity. Literary minimalism has previously been considered a movement among late- twentieth-century American short fiction writers who embraced a kind of brevity and tonal flatness that is invariably achieved through a deliberate process of exclusion in their fiction. Against this narrow view of minimalism, the project traces an original literary history of formal subtraction in the transnational narrative experiments of the last century. Through readings of Henry James, James Joyce, Virginia Woolf, Samuel Beckett, and Lydia Davis, I show how minimal writing renounces some of fiction’s most powerful tools. These writers often choose not to generate meaning by communicating and organizing information; they seek to build contingency, rather than significance, into their representations of the world.
    [Show full text]
  • Cuaderno-31-Esperando-A-Godot.Pdf
    Centro CUADERNOS Dramático TEMPORADA Nacional 2012 / 2013 PEDAGÓGICOS Dirección Ernesto Caballero 31 Teatro Valle-Inclán ESPERANDO A GODOT de Samuel Beckett Versión Ana María Moix Dirección Alfredo Sanzol TEATRO MARÍA GUERRERO TEATRO MARÍA GUERRERO SALA DE LA PRINCESA lOs COnsERJEs dE sAn fElipE AnOMiA de José luis Alonso de santos Texto y dirección: «La vía del actor» en el Eugenio Amaya taciones Represen Laboratorio Rivas Cherif SPAÑOL Martes 25 de septiembre TEATROE Dirección: Hernán Gené a domingo 21 de octubre de 2012 Miércoles 19 de septiembre a domingo 14 de octubre de 2012 ATlAs dE GEOGRAfÍA hUMAnA de Almudena Grandes dOñA pERfECTA Dirección: Juanfra Rodríguez de Benito pérez Galdós Adaptación: Luis García-Araus Dirección: Ernesto Caballero Viernes 23 de noviembre Viernes 2 de noviembre a domingo 30 de diciembre de 2012 a domingo 30 de diciembre de 2012 CiClO «d E lA nOVElA Al TEATRO » YERMA lA REndiCión de federico García lorca de Toni Bentley Dirección: Miguel Narros Dirección: Sigfrid Monleón Viernes 11 de enero Adaptación: Isabelle Stoffel a domingo 17 de febrero de 2013 Viernes 18 de enero a domingo 17 de febrero de 2013 CiClO «d E lA nOVElA Al TEATRO » TRAnsiCión de Alfonso plou y Julio salvatierra Dirección: Carlos Martín KAfKA EnAMORAdO y Santiago Sánchez de luis Araújo Viernes 8 de marzo Dirección: José Pascual a domingo 7 de abril de 2013 Viernes 15 de marzo a domingo 28 de abril de 2013 CiClO «d E lA nOVElA Al TEATRO » lA MOnJA AlféREz de domingo Miras Dirección: Juan Carlos Rubio ARizOnA Miércoles 24 de abril de Juan Carlos Rubio a domingo 2 de junio de 2013 Dirección: Ignacio García Martes 14 de mayo a domingo 16 de junio de 2013 El RéGiMEn dEl piEnsO de Eusebio Calonge Dirección: Paco de La Zaranda Martes 18 de junio a domingo 7 de julio de 2013 Teatro Valle-Inclán ESPERANDO A G G TEMPORADA GODOT 2012 / 2013 Índice El autor y su obra 7 Análisis de la obra 11 Entrevista con el director Alfredo Sanzol 15 Los personajes.
    [Show full text]
  • The Performance of Beckett: an Essay for the Staging Beckett Website, 2015
    1 ROSEMARY POUNTNEY The Performance of Beckett: An essay for the Staging Beckett website, 2015 The performance of Beckett’s shorter plays for the theatre makes exceptional demands on the actor, audience, technicians and director alike. This lecture will discuss the stringency of Beckett’s requirements in these areas and consider to what extent the exacting nature of such demands may present problems for the continuing life of the plays, both today and in the future. To begin with the actor: Jack MacGowran described the camera narrowing steadily in on his face in Beckett’s television play Eh Joe, exposing his haunted eyes, as ‘the most gruelling 22 minutes I have ever had in my life’, and Brenda Bruce described ‘Beckett placing a metronome on the floor to keep me on the rhythm he wanted, which drove me into such a panic that I finally broke down’.1 Billie Whitelaw similarly remarked that, when rehearsing Not I Beckett told her that she had ‘paused for two dots instead of three’.2 Whitelaw also describes in her autobiography losing self-confidence unexpectedly when rehearsing Happy Days with Beckett and asking advice from Dame Peggy Ashcroft, who said: ‘He’s impossible. Throw him out’.3 Dame Peggy herself appeared uncomfortable in her early performances as Winnie (at the Old Vic London in 1975) though she had grown into the role by the time Happy Days transferred to the Lyttelton in 1976, as the National Theatre’s opening production.4 Albert Finney too appeared uneasy in Krapp’s Last Tape in 1973, lacking his usual mastery of a role.5 Contemplating such uncharacteristic discomfort from both actors one wondered whether, in trying to achieve what Beckett wanted, they had found themselves acting against their own theatrical instincts and had thus not fully integrated into their roles.
    [Show full text]