Bibliography

Total Page:16

File Type:pdf, Size:1020Kb

Bibliography Bibliography Admussen, Richard, The Samuel Beckett Manuscripts: a Study, G. K. Hall, Boston, 1979. Aldington, Richard, Life for Life’s Sake: a Book of Reminiscences, Cassell, London, 1968. Armstrong, Gordon S, Samuel Beckett, W. B. Yeats and Jack Yeats: Images and Words, Bucknell University Press, Lewisburg, 1990. Arnold, Bruce, Jack Yeats, Yale University Press, New Haven and London, 1998. Aslan, Odette, Roger Blin, La Manufacture, Paris, 1990. Atik, Anne, How It Was: A Memoir of Samuel Beckett, Faber and Faber, London, 2001. Bailey, Kenneth C, A History of Trinity College Dublin 1892–1945, Hodges, Figgis & Co. Ltd, Dublin, 1947. Bair, Deirdre, Samuel Beckett: a Biography, Jonathan Cape, London, 1978. Bald, Wambly, On The Left Bank 1929–1933, edited by Benjamin Franklin V, Ohio University Press, Athens, 1987. Beach, Sylvia, Shakespeare and Company, Faber and Faber, London, 1960. Beevor, Antony and Artemis Cooper, Paris After the Liberation 1944–1949, Hamish Hamilton, London, 1994. Belmont, Georges, Souvenirs d’outre-monde: histoire d’une naissance, Calmann- Lévy, Paris, 2001. Benstock, Shari, Women of the Left Bank: Paris 1900–1940, Virago, London, 1987 Bernold, André, Amitiés de Beckett, Hermann, Paris, 1992. Bowles, Patrick, ‘How to fail: notes on talks with Samuel Beckett’, PN Review, 96, 1994, 24–38. Brown, Terence, Ireland: a Social and Cultural History 1922–79, Fontana, London, 1981. Bryden, Mary, Julian Garforth and Peter Mills (eds), Beckett at Reading: Catalogue of the Beckett Manuscript Collection at the University of Reading, Whiteknights Press/Beckett International Foundation, 1998. Calder, John, Pursuit: the Uncensored Memoirs of John Calder, John Calder, London, 2002. Campbell, James, Paris Interzone, Secker and Warburg, London, 1994. Cerrato, Laura, Génesis de la poética de Samuel Beckett: apuntes para una teoria de la despalabra, Fundo de Cultura Económica, Buenos Aires, 1999. Chisholm, Anne, Nancy Cunard, Penguin Books, Harmondsworth, 1981. Cioran, E M, Cahiers 1957–1972, Gallimard, Paris, 1997. ———, Anathemas and Admirations (‘Beckett: some meetings’), translated by Richard Howard, Arcade/Little, Brown & Co, New York, 1991, 129–36. Connolly, Thomas E, James Joyce’s Books, Portraits, Manuscripts, Notebooks, Typescripts, Page Proof (together with critical essays about some of his works), The Edwin Mellen Press, Lewiston, New York, 1997 (includes ‘The Personal Library of James Joyce: a descriptive bibliography [Fifth Edition]’, 1–91; the notes 243 244 A Samuel Beckett Chronology Beckett took for Joyce from Heinrich Zimmer’s Maya der indische Mythos [1936] are on 70–3). Coughlan, Patricia and Alex Davis (eds) Modernism and Ireland: the Poetry of the 1930s, Cork University Press, Cork, 1995. Cohn, Ruby, A Beckett Canon, University of Michigan Press, Ann Arbor, 2001. Coffey, Brian, ‘Memory’s Murphy Maker: some notes on Samuel Beckett’, Eonta, 1:1, 1991, 3–8. Courtney, Cathy, Jocelyn Herbert: a Theatre Workbook, Art Books International, London, 1993. Crawford, Lynn Todd, ‘A Sprig of Jasmine: the Friendship of Samuel Beckett and Mary Hutchinson’, Charleston Magazine, 21, 2000, 39–42. Cronin, Anthony, Samuel Beckett: the Last Modernist, HarperCollins, London, 1996. Cunard, Nancy, These Were the Hours, Southern Illinois University Press, Carbondale, 1969. D’Aubarède, Gabriel, ‘En attendant … Beckett’ [interview], Nouvelles Littéraires, 16 February 1961, I, 17. Davis, R. J., J. R. Bryer, M. C. Friedman and P. C. Hoy, Calepins de bibliographie: Samuel Beckett, Minard, Paris, 1972. De Bartillat, Christian, Deux Amis: Beckett et Hayden, Les Presses du Village, Etrepilly, 2000. Delavenay, Emile, Témoignage: d’un village Savoyard au village mondial 1905–1991, Diffusion Edisud, La Calade, Aix-en-Provence, 1992. Doyle, Charles, Richard Aldington: a Biography, Southern Illinois University Press, Carbondale, 1989. Driver, Tom, ‘Beckett by the Madeleine’, [interview], Columbia University Forum, Summer 1961, 21–5. Dufay, François and Pierre- Bertrand Dufont, Les normaliens: de Charles Péguy à Bernard Henri-Lévy, un siècle d’histoire, Lattèes, Paris, 1993 (Beckett and Pelorson 111–118). Dufresne, Jean-Luc (ed.), Henri Hayden 1883–1970, catalogue of an exhibition at the Musée Thomas-Henry, Cherbourg, Isoète, Cherbourg, 1997. Elborn, Geoffrey, Francis Stuart: a Life, Raven Arts Press, Dublin, 1990. Ellmann, Richard, James Joyce, new and rev. edn (corrected), Oxford University Press, New York, 1983. ———, Four Dubliners (‘Samuel Beckett: Nayman of Noland’), Hamish Hamilton, London, 1987. ——— (ed.), Letters of James Joyce, vols II and III, Faber and Faber, London, 1966. ——— (ed.), Selected Letters of James Joyce, Faber and Faber, London, 1975. Esslin, Martin, Mediations: Essays on Brecht, Beckett and the Media, Eyre Methuen, London, 1980. Federman, Raymond and John Fletcher, Samuel Beckett, His works and His Critics: an Essay in Bibliography, University of California Press, Berkeley, 1970. Fielding, Daphne, Emerald and Nancy: Lady Cunard and Her Daughter, Eyre and Spottiswoode, London, 1968. Fitch, Noel Riley, Sylvia Beach and the Lost Generation: a History of Literary Paris in the Twenties and Thirties, Penguin Books, Harmondsworth, 1988. Flanner, Janet, Paris Journal 1944–65, edited by William Shawn, Atheneum, New York, 1965. ———, Paris Was Yesterday, edited by Irving Drutman, Viking, New York, 1972. Foot, MRD, S O E in France: an Account of the Work of the British Special Operations Executive in France 1940–44, HMSO, London, 1966. Ford, Hugh, Published in Paris: American and British Writers, Painters, and Publishers in Paris 1920–1939, Macmillan, New York, 1975. ——— (ed.), The Left Bank Revisited, Pennsylvania State University Press, University Park, 1972. ——— (ed.), Nancy Cunard: Brave Poet, Indomitable Rebel, Chilton, Philadelphia, 1968. Foster, RF, WB Yeats: The Apprentice Mage 1865–1914, Oxford University Press, 1998. ———, W. B. Yeats: The Arch-Poet 1915–39, Oxford University Press, 2003. Franck, Dan, The Bohemians: the Birth of Modern Art, translated by Cynthia Hope Liebow, Weidenfeld and Nicolson, London, 2001. Friedman, Alan Warren (ed.), Beckett in Black and Red: the Translations for Nancy Cunard’s NEGRO (1934), University Press of Kentucky, Lexington, 2000. Gaffney, Phyllis, ‘Dante, Manzoni, De Valera, Beckett …? Circumlocutions of a Storekeeper: Beckett and Saint-Lô’, Irish University Review, 29, 1999, 256–80. ———, ‘Neither Here nor There: Ireland, Saint-Lô, and Beckett’s First Novel in French’, Journal of Beckett Studies, (n.s.) 9, 1999, 1–26. ———, Healing Among the Ruins, A and A Farmar, Dublin, 1999. Gilbert, Stuart, Reflections on James Joyce: Stuart Gilbert’s Paris, (eds.) Thomas F. staley and Lewis Randolph, University of Texas Press, Austin, 1993. ——— (ed.), Letters of James Joyce, Faber and Faber, London, 1957. Gill, Anton, Peggy Guggenheim: the Life of an Art Addict, HarperCollins, London, 2001. Girodias, Maurice, Une journée sur la terre, Editions de la Différence, Paris, 1990, especially vol. 2, ch. 6 Giroud, Vincent, ‘Transition to Vichy: the case of Georges Pelorson’, Modernism/Modernity, 7:2 (2000), 221–48 Glenavy, Beatrice Lady, Today We Will Only Gossip, Constable, London, 1964. Gontarski, S. E., The Intent of Undoing in Samuel Beckett’s Dramatic Texts, Indiana University Press, Bloomington, 1985. ——— (ed.), The Grove Press Reader 1951–2001 (‘Samuel Beckett and Barney Rosset: Letters 1953–1955’), Grove Press, New York, 2001, 25–39. Gordon, Lois, The World of Samuel Beckett 1906–1945, Yale University Press, New Haven and London, 1996. Gorman, Herbert, James Joyce: a Definitive Biography, Farrar and Rinehart, New York, 1940; John Lane, London, 1941. Gregory, Augusta, Lady Gregory’s Journals, edited by Daniel J Murphy, Colin Smythe, Gerrards Cross, 1978, 1986, 1987. Gullette, David, ‘A Visit with Beckett’, Ploughshares, 1:2, 1972, 65–9. Guggenheim, Peggy, Out of This Century: Confessions of an Art Addict, André Deutsch, London, 1980 (first published in 1946 by Dial Press, New York, with the subtitle The Informal Memoirs of Peggy Guggenheim). Hacker, P. M. S. (ed.), The Renaissance of Gravure: the Art of Stanley William Hayter, Clarendon Press, Oxford, 1988. Harmon, Maurice (ed.), No Author Better Served: the Correspondence of Samuel Beckett and Alan Schneider, Harvard University Press, London, 1998. 245 246 A Samuel Beckett Chronology Harvey, Lawrence E, Samuel Beckett: Poet and Critic, Princeton University Press, Princeton, 1970. Haynes, John and James Knowlson, Images of Beckett, Cambridge University Press, Cambridge, 2003. Herring, Phillip, Djuna: the Life and Work of Djuna Barnes, Penguin, Harmondsworth, 1996. Hobson, Bulmer (ed.), The Gate Theatre Dublin, The Gate Theatre, Dublin, 1934. Hogan, Robert and Michael O’Neill, Joseph Holloway’s Abbey Theatre: a selection from His Unpublished Journal, “Impressions of a Dublin Playgoer”, with a preface by Harry T Moore, Southern Illinois University Press, Carbondale, 1967. Huddlestone, Miles, James Stern: a Life in Letters 1904–1993, Michael Russell, Norwich, 2002. Hutchins, Patricia, James Joyce’s World, Methuen, London, 1957. Janvier, Ludovic, Pour Samuel Beckett, Editions de Minuit, Paris, 1966. ———, Beckett par lui-même, Editions du Seuil, Paris, 1969. ———, and Agnès Vaquin-Janvier. ‘Traduire avec Beckett: Watt’, Revue d’esthé- tique, numéro spécial hors série Samuel Beckett, 1986, 57–64. Jolas, Eugene, Man from Babel, edited, annotated and introduced by Andreas Kramer and Rainer Rumold, Yale University Press, New Haven and London, 1998. Jones, Alan, ‘Beckett
Recommended publications
  • Look at Life on Talking Pictures TV Talking Pictures TV Are Delighted to Bring to the ‘Small Screen’ the ‘Big Screen’ Production: “Look at Life”
    Talking Pictures TV www.talkingpicturestv.co.uk Highlights for week beginning SKY 328 | FREEVIEW 81 Mon 3rd May 2021 FREESAT 306 | VIRGIN 445 Look at Life on Talking Pictures TV Talking Pictures TV are delighted to bring to the ‘small screen’ the ‘big screen’ production: “Look at Life”. All shot on 35mm, this iconic Rank production, made from the late 50s through to the early 60s, was a mainstay at all rank cinemas. Enjoy the cars, fashions, transport, and much more when you “Look at Life” again on Talking Pictures TV. The films will be airing throughout May. Monday 3rd May 12:10pm Tuesday 4th May 6:30pm Bank Holiday (1938) The Net (1953) Drama. Director: Carol Reed. Thriller. Director: Anthony Asquith. Stars: John Lodge, Margaret Lockwood, Stars: James Donald, Phyllis Calvert, Hugh Williams, Rene Ray, Wally Patch, Robert Beatty, Herbert Lom. A scientist Kathleen Harrison, Wilfrid Lawson and in a supersonic flight project risks his life. Felix Aylmer. A group of people encounter strange situations when they Wednesday 5th May 8:45am visit a resort to spend the weekend. The Sky-Bike (1967) Director: Charles Frend. Stars: Monday 3rd May 3pm Liam Redmond, William Lucas, Ian Ellis, Pollyanna (2002) Ellen McIntosh, Spencer Shires, Drama. Director: Sarah Harding. Della Rands, John Howard, Bill Shine, Stars: Amanda Burton, Georgina Terry David Lodge and Guy Standeven. and Kenneth Cranham. Adaptation of Young Tom builds a flying machine. the classic tale. Young orphan Pollyanna goes to stay with Aunt Polly, bringing Wednesday 5th May 12:20pm mirth and mayhem to her new home.
    [Show full text]
  • The Dublin Gate Theatre Archive, 1928 - 1979
    Charles Deering McCormick Library of Special Collections Northwestern University Libraries Dublin Gate Theatre Archive The Dublin Gate Theatre Archive, 1928 - 1979 History: The Dublin Gate Theatre was founded by Hilton Edwards (1903-1982) and Micheál MacLiammóir (1899-1978), two Englishmen who had met touring in Ireland with Anew McMaster's acting company. Edwards was a singer and established Shakespearian actor, and MacLiammóir, actually born Alfred Michael Willmore, had been a noted child actor, then a graphic artist, student of Gaelic, and enthusiast of Celtic culture. Taking their company’s name from Peter Godfrey’s Gate Theatre Studio in London, the young actors' goal was to produce and re-interpret world drama in Dublin, classic and contemporary, providing a new kind of theatre in addition to the established Abbey and its purely Irish plays. Beginning in 1928 in the Peacock Theatre for two seasons, and then in the theatre of the eighteenth century Rotunda Buildings, the two founders, with Edwards as actor, producer and lighting expert, and MacLiammóir as star, costume and scenery designer, along with their supporting board of directors, gave Dublin, and other cities when touring, a long and eclectic list of plays. The Dublin Gate Theatre produced, with their imaginative and innovative style, over 400 different works from Sophocles, Shakespeare, Congreve, Chekhov, Ibsen, O’Neill, Wilde, Shaw, Yeats and many others. They also introduced plays from younger Irish playwrights such as Denis Johnston, Mary Manning, Maura Laverty, Brian Friel, Fr. Desmond Forristal and Micheál MacLiammóir himself. Until his death early in 1978, the year of the Gate’s 50th Anniversary, MacLiammóir wrote, as well as acted and designed for the Gate, plays, revues and three one-man shows, and translated and adapted those of other authors.
    [Show full text]
  • Samuel Beckett (1906- 1989) Was Born in Dublin. He Was One of the Leading Dramatists and Writers of the Twentieth Century. in Hi
    Samuel Beckett (1906- 1989) was born in Dublin. He was one of the leading t dramatists and writers of the twentieth century. In his theatrical images and t prose writings, Beckett achieved a spare beauty and timeless vision of human suffering, shot through with dark comedy and humour. His 1969 Nobel Prize for Literature citation praised him for ‘a body of work that in new forms of fiction and the theatre has transmuted the destitution of modern man into his exaltation’. A deeply shy and sensitive man, he was often kind and generous both to friends and strangers. Although witty and warm with his close friends, he was intensely private and refused to be interviewed or have any part in promoting his books or plays. Yet Beckett’s thin angular countenance, with its deep furrows, cropped grey hair, long beak- like nose and gull-like eyes is one of the iconic faces of the twentieth century. Beckett himself acknowledged the impression his Irish origin left on his imagination. Though he spent most of his life in Paris and wrote in French as well as English, he always held an Irish passport. His language and dialogue have an Irish cadence and syntax. He was influenced by Becke many of his Irish forebears, Jonathan Swift, J.M. Synge, William and Jack Butler Yeats, and particularly by his friend and role model, James Joyce. When a journalist asked Beckett if he was English, he replied, simply, ‘Au contraire’. Family_ Beckett was born on Good Friday, 13th April 1906, in the affluent village of Foxrock, eight miles south of Dublin.
    [Show full text]
  • The Evocation of the Physical, Metaphysical, and Sonic Landscapes in Samuel Beckett's Short Dramatic Works
    Trinity College Trinity College Digital Repository Senior Theses and Projects Student Scholarship Spring 2012 The Evocation of the Physical, Metaphysical, and Sonic Landscapes in Samuel Beckett's Short Dramatic Works Theresa A. Incampo Trinity College, [email protected] Follow this and additional works at: https://digitalrepository.trincoll.edu/theses Part of the Dramatic Literature, Criticism and Theory Commons, Performance Studies Commons, and the Theatre History Commons Recommended Citation Incampo, Theresa A., "The Evocation of the Physical, Metaphysical, and Sonic Landscapes in Samuel Beckett's Short Dramatic Works". Senior Theses, Trinity College, Hartford, CT 2012. Trinity College Digital Repository, https://digitalrepository.trincoll.edu/theses/209 The Evocation of the Physical, Metaphysical and Sonic Landscapes within the Short Dramatic Works of Samuel Beckett Submitted by Theresa A. Incampo May 4, 2012 Trinity College Department of Theater and Dance Hartford, CT 2 Table of Contents Acknowledgements 5 I: History Time, Space and Sound in Beckett’s short dramatic works 7 A historical analysis of the playwright’s theatrical spaces including the concept of temporality, which is central to the subsequent elements within the physical, metaphysical and sonic landscapes. These landscapes are constructed from physical space, object, light, and sound, so as to create a finite representation of an expansive, infinite world as it is perceived by Beckett’s characters.. II: Theory Phenomenology and the conscious experience of existence 59 The choice to focus on the philosophy of phenomenology centers on the notion that these short dramatic works present the theatrical landscape as the conscious character perceives it to be. The perceptual experience is explained by Maurice Merleau-Ponty as the relationship between the body and the world and the way as to which the self-limited interior space of the mind interacts with the limitless exterior space that surrounds it.
    [Show full text]
  • Susannah Buxton - Costume Designer
    SUSANNAH BUXTON - COSTUME DESIGNER THE TIME OF THEIR LIVES Director: Roger Goldby. Producer: Sarah Sulick. Starring: Joan Collins and Pauline Collins. Bright Pictures. POLDARK (Series 2) Directors: Charles Palmer and Will Sinclair. Producer: Margaret Mitchell. Starring: Aiden Turner and Eleanor Tomlinson. Mammoth Screen. LA TRAVIATA AND THE WOMEN OF LONDON Director: Tim Kirby. Producer: Tim Kirby. Starring: Gabriela Istoc, Edgaras Montvidas and Stephen Gadd. Reef Television. GALAVANT Directors: Chris Koch, John Fortenberry and James Griffiths. Producers: Chris Koch and Helen Flint. Executive Producer: Dan Fogelman. Starring: Timothy Omundson, Joshua Sasse, Mallory Jansen, Karen David Hugh Bonneville, Ricky Gervais, Rutger Hauer and Vinnie Jones. ABC Studios. LORD LUCAN Director: Adrian Shergold. Producer: Chris Clough. Starring: Christopher Ecclestone, Michael Gambon, Anna Walton and Rory Kinnear. ITV. BURTON & TAYLOR Director: Richard Laxton. Producer: Lachlan MacKinnon. Starring: Helena Bonham-Carter and Dominic West. BBC. RTS CRAFT AND DESIGN AWARD 2013 – Best Costume Design. 4929 Wilshire Blvd., Ste. 259 Los Angeles, CA 90010 ph 323.782.1854 fx 323.345.5690 [email protected] DOWNTON ABBEY (Series I, Series II, Christmas Special) Directors: Brian Percival, Brian Kelly and Ben Bolt. Series Producer: Liz Trubridge. Executive Producer: Gareth Neame. Starring Hugh Bonneville, Jim Carter, Brendan Coyle, Michelle Dockery, Joanne Froggatt, Phyllis Logan, Maggie Smith and Elizabeth McGovern. Carnival Film & Television. EMMY Nomination 2012 – Outstanding Costumes for a Series. BAFTA Nomination 2012 – Best Costume Design. COSTUME DESIGNERS GUILD (USA) AWARD 2012 – Outstanding Made for TV Movie or MiniSeries. EMMY AWARD 2011 – Outstanding Costume Design. (Series 1). Emmy Award 2011 – Outstanding Mini-Series. Golden Globe Award 2012 – Best Mini Series or Motion Picture made for TV.
    [Show full text]
  • UCC Library and UCC Researchers Have Made This Item Openly Available
    UCC Library and UCC researchers have made this item openly available. Please let us know how this has helped you. Thanks! Title Revisiting Irish poetic modernisms Author(s) Whittredge, Julia Katherine Publication date 2011-03 Original citation Whittredge, Julia Katherine, 2011. Revisting Irish Poetic Modernisms. PhD Thesis, University College Cork. Type of publication Doctoral thesis Link to publisher's http://library.ucc.ie/record=b2006564~S0 version Access to the full text of the published version may require a subscription. Rights © 2011, Julia Katherine Whittredge http://creativecommons.org/licenses/by-nc-nd/3.0/ Embargo information Pages 25-346 have been restricted Item downloaded http://hdl.handle.net/10468/324 from Downloaded on 2021-10-01T07:01:51Z Revisiting Irish Poetic Modernisms Dissertation submitted in candidacy for the degree of doctor of philosophy at the School of English, College of Arts, National University of Ireland, Cork, by Julia Katherine Whittredge, MA Under the Supervision of Professor Patricia Coughlan and Professor Alex Davis Head of Department: Professor James Knowles March 2011 Over years, and from farther and nearer, I had thought, I knew you— in spirit—I am of Ireland. Thomas MacGreevy, “Breton Oracles” 2 For John 3 ACKNOWLEDGEMENTS Thanks to my parents for their encouragement, endless support, love, and for sharing their own love of books, art and music, for being friends as well as amazing parents. And for understanding my love for a tiny, rainy island 3,000 miles away. Thank you to my sister, Em, for her life-long friendship. Her loyalty and extraordinary creative and artistic talent are truly inspiring.
    [Show full text]
  • 'Muting the Klaxon: Poetry, History, and Irish Modernism'1
    1 Tim Armstrong 1 ‘Muting the Klaxon: Poetry, History, and Irish Modernism’ This is an uncorrected and reset version of the original article which appeared as: ‘Muting the Klaxon: Poetry, History, and Irish Modernism,’ in Modernism and Ireland: The Poetry of the 1930s , ed. Patricia Coughlan and Alex Davies (Cork: Cork University Press, 1995), pp.43-74. In the winter of 1923-24 a periodical called The Klaxon appeared in Dublin. It was the only issue of what was hopefully announced as a ‘seasonal’ quarterly. The table of contents makes interesting reading: 2 Confessional . L. K. E. Beauty Energised . F. R. H. The Midnight Court (from the Irish). Percy Ussher North. H. Stuart Cheese . .John W. Blaine The Will of God. Sechilienne The Ulysses of Mr. James Joyce . Lawrence K. Emery Cleopatra. F. R. Higgins An Inghean Dubh. G. Coulter Picasso, Mamie Jellett and Dublin Criticism. Thomas McGreevy Seeking, as its editorial note suggests, to link itself to International Modernism, The Klaxon has a Brancusi-like cover device and a ‘Negro sculpture in wood’ as frontispiece. The ‘Confessional’ by Lawrence Emery which opens this Irish Blast has a fine ranting tone: ‘We railed against the psychopedantic parlours of our elders and their old maidenly consorts, hoping the while with an excess of Picabia and banter, a whiff of Dadaist Europe to kick Ireland into artistic wakefulness.’ The aggressive Modernism of the doomed journal, and the harshness of the context it expects to insert itself into, is evident in its defense of Joyce and Picasso against philistine taste. The inclusion of Ussher’s translation of ‘The Midnight Court’ also carries a political weight – its bawdy invoking a different Irish tradition from that of the Celtic Twilight (it was to be republished in 1926 with an polemical introduction by Yeats).
    [Show full text]
  • 1,000 Films to See Before You Die Published in the Guardian, June 2007
    1,000 Films to See Before You Die Published in The Guardian, June 2007 http://film.guardian.co.uk/1000films/0,,2108487,00.html Ace in the Hole (Billy Wilder, 1951) Prescient satire on news manipulation, with Kirk Douglas as a washed-up hack making the most of a story that falls into his lap. One of Wilder's nastiest, most cynical efforts, who can say he wasn't actually soft-pedalling? He certainly thought it was the best film he'd ever made. Ace Ventura: Pet Detective (Tom Shadyac, 1994) A goofy detective turns town upside-down in search of a missing dolphin - any old plot would have done for oven-ready megastar Jim Carrey. A ski-jump hairdo, a zillion impersonations, making his bum "talk" - Ace Ventura showcases Jim Carrey's near-rapturous gifts for physical comedy long before he became encumbered by notions of serious acting. An Actor's Revenge (Kon Ichikawa, 1963) Prolific Japanese director Ichikawa scored a bulls-eye with this beautifully stylized potboiler that took its cues from traditional Kabuki theatre. It's all ballasted by a terrific double performance from Kazuo Hasegawa both as the female-impersonator who has sworn vengeance for the death of his parents, and the raucous thief who helps him. The Addiction (Abel Ferrara, 1995) Ferrara's comic-horror vision of modern urban vampires is an underrated masterpiece, full- throatedly bizarre and offensive. The vampire takes blood from the innocent mortal and creates another vampire, condemned to an eternity of addiction and despair. Ferrara's mob movie The Funeral, released at the same time, had a similar vision of violence and humiliation.
    [Show full text]
  • Beckett and His Biographer: an Interview with James Knowlson José Francisco Fernández (Almería, Spain)
    The European English Messenger, 15.2 (2006) Beckett and His Biographer: An Interview with James Knowlson José Francisco Fernández (Almería, Spain) James Knowlson is Emeritus Professor of French at the University of Reading. He is also the founder of the International Beckett Foundation (previously the Beckett Archive) at Reading, and he has written extensively on the great Irish author. He began his monumental biography, Damned to Fame:The Life of Samuel Beckett (London: Bloomsbury, 1996) when Beckett was still alive, and he relied on the Nobel Prize winner’s active cooperation in the last months of his life. His book is widely acknowledged as the most accurate source of information on Beckett’s life, and can only be compared to Richard Ellmann’s magnificent biography of James Joyce. James Knowlson was interviewed in Tallahassee (Florida) on 11 February 2006, during the International Symposium “Beckett at 100: New Perspectives” held in that city under the sponsorship of Florida State University. I should like to express my gratitude to Professor Knowlson for giving me some of his time when he was most in demand to give interviews in the year of Beckett’s centennial celebrations. José Francisco Fernández JFF: Yours was the only biography on or even a reply to the earlier biography of authorised by Beckett. That must have been Deirdre Bair. It needs to stand on its own two a great responsibility. Did it represent at any feet. And I read with great fascination the time a burden? Knowing that what you wrote biography of Deirdre Bair and have never said would be taken as ‘the truth’.
    [Show 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.
    [Show full text]
  • 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.
    [Show full text]
  • The Astray Belonging—The Perplexity of Identity in Paul Muldoon's Early
    International Conference on Humanities and Social Science (HSS 2016) The Astray Belonging—The Perplexity of Identity in Paul Muldoon’s Early Poems Jing YAN Sichuan Agricultural University, Dujiangyan, Chengdu, Sichuan Province, China Keywords: Paul Muldoon, Northern Ireland, Identity, Perplexity. Abstract. As a poet born in a Catholic family in Northern Ireland but deeply influenced by the British literary tradition, Paul Muldoon’s identity is obviously multiple and complex especially from 1970s to 1980s when Northern Ireland was going through the most serious political, religious and cultural conflicts, all of which were unavoidably reflected in the early poems of Paul Muldoon. This thesis attempts to study the first four anthologies of Paul Muldoon from the perspective of Diaspora Criticism in Cultural Studies to discuss the issues of identities reflected in Muldoon’s poems. Obviously, the perplexity triggered by identities is not only of the poet himself but also concerning Northern Irish issues. Muldoon’s poems relating cultural identities present the universal perplexity of Irish identity. Introduction While Ireland is a small country in Western Europe, this tiny piece of magical land has given birth to countless literary giants. From Jonathan Swift and Richard Sheridan in the 18th century, to Oscar Wilde in the 19th century and all the way to James Joyce, George Bernard Shaw, Butler Yeats, Samuel Beckett and Seamus Heaney in the 20th century, there are countless remarkable Irish writers who help to build the reputation of Irish literature. Since 1960s or 1970s, the rise of Irish poetry began to draw world attention, particularly after poet Seamus Heaney won the Nobel Prize for Literature in 1995, Following Heaney, the later poets in Ireland are also talented in poetic creation, of whom ,the 2003 Pulitzer Prize winner Paul Muldoon is undoubtedly a prominent representative.
    [Show full text]