<p>Beckett &amp; Aesthetics | Goldsmiths, University of London <br>09/25/21 </p><p>Beckett &amp; Aesthetics </p><p>View Online </p><p>1. Beckett, S.: Watt. John Calder, London (1963). </p><p>2. Connor, S.: ‘Shifting Ground: Beckett and Nauman’, <a href="/goto?url=http://www.stevenconnor.com/beckettnauman/" target="_blank">http://www.stevenconnor.com/beckettnauman/. </a></p><p>3. Tubridy, D.: ‘Beckett’s Spectral Silence: Breath and the Sublime’. 1, 102–122 (2010). </p><p>4. Lyotard, J.F., Bennington, G., Bowlby, R.: ‘After the Sublime, the State of Aesthetics’. In: The inhuman: reflections on time. Polity, Cambridge (1991). </p><p>5. Lyotard, J.-F.: The Sublime and the Avant-Garde. In: The inhuman: reflections on time. pp. 89–107. Polity, Cambridge (1991). </p><p>6. Krauss, R.: LeWitt’s Ark. October. 121, 111–113 (2007). <a href="/goto?url=https://doi.org/10.1162/octo.2007.121.1.111" target="_blank">https://doi.org/10.1162/octo.2007.121.1.111. </a></p><p>1/4 <br>Beckett &amp; Aesthetics | Goldsmiths, University of London <br>09/25/21 </p><p>7. Simon Critchley: Who Speaks in the Work of Samuel Beckett? Yale French Studies. 114–130 (1998). </p><p>8. Kathryn Chiong: Nauman’s Beckett Walk. October. 86, 63–81 (1998). </p><p>9. Deleuze, G.: ‘He Stuttered’. In: Essays critical and clinical. pp. 107–114. Minnesota University Press, Minneapolis (1997). </p><p>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). </p><p>11. Adorno, T.: ‘Trying to Understand Endgame’. In: Samuel Beckett. pp. 39–49. Longman, New York (1999). </p><p>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). </p><p>13. Cage, J.: ‘The Future of Music: Credo’. In: Audio culture: readings in modern music. pp. 25–28. Continuum, New York (2004). </p><p>14. Lerm Hayes, C.M.: ‘Nauman...Beckettt...Beckett.Nauman: the necessity of working in an interdisciplinary way’. </p><p>2/4 <br>Beckett &amp; Aesthetics | Goldsmiths, University of London <br>09/25/21 </p><p>15. Johns, J.: ‘Untitled Statement (1959)’, ‘Interview with G.R. Swenson (1964)’, ‘Sketchbook Notes (1965)’. In: Theories and documents of contemporary art: a sourcebook of artists’ writings. pp. 323–326. University of California Press, Berkeley (1996). </p><p>16. Tajiri, Y.: Samuel Beckett and the prosthetic body: the organs and senses in modernism. Palgrave Macmillan, Basingstoke (2007). </p><p>17. Blanchot, M.: ‘Where now? Who now?’ In: Samuel Beckett. pp. 93–98. Longman, New York (1999). </p><p>18. Certeau, M. de, Rendall, S.: ‘Walking in the City’. In: The practice of everyday life. pp. 91–110. University of California Press, Berkeley (1984). </p><p>19. Lewitt, S.:&nbsp;’Drawing Series 1968 (Fours), ‘Paragraphs on Conceptual Art’, ‘Sentences on Conceptual Art’. In: Theories and documents of contemporary art: a sourcebook of artists’ writings. pp. 822–827. University of California Press, Berkeley (1996). </p><p>20. Kathryn Chiong: Nauman’s Beckett Walk. October. 86, 63–81 (1998). </p><p>21. Beckett, S., Duthuit, G.:&nbsp;’Three Dialogues". In: Disjecta: miscellaneous writings and a dramatic fragment. pp. 138–145. Grove, New York (1984). </p><p>3/4 <br>Beckett &amp; Aesthetics | Goldsmiths, University of London <br>09/25/21 </p><p>22. Jessica Prinz: ‘Foirades/Fizzles’/Beckett/Johns. Contemporary Literature. 21, 480–510 (1980). </p><p>23. Oppenheim, L.: ‘Female Subjectivity in Not I and Rockaby’. In: Women in Beckett: performance and critical perspectives. pp. 217–227. University of Illinois Press, Urbana (1992). </p><p>24. Mouffe, C.: ‘For an Agonistic Model of Democracy’. In: The democratic paradox. pp. 80–107. Verso, New York (2000). </p><p>25. De Certeau, M.: Chapter 9ꢀ: ‘Walking in the City’. In: The cultural studies reader. pp. 126–133. Routledge, London (2007). </p><p>4/4 </p>