Relevant bibliographies by topics / Beckett

Academic literature on the topic 'Beckett'

Author: Grafiati
Published: 4 June 2021
Last updated: 9 March 2023

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Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Journal articles on the topic "Beckett":

1

Wojtyna, Miłosz. "Libera’s Beckett." Tekstualia 4, no. 55 (December 18, 2019): 95–108. http://dx.doi.org/10.5604/01.3001.0013.3470.

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Antoni Libera, a Beckett ambassador, a translator and a writer himself, has produced a complex network of references to Beckett’s work and biography. This article summarizes aspects of the author-author relationship (anxiety of infl uence, intertextuality, stylistic inspirations, biographical nuances, phantasies, infatuation, anticelebritism) that are revealed in Libera’s writing, as well as claims that the perception of Becket in Poland has been strongly affected by Libera’s writing and biography.
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Bexte, Peter. "Beckett im Labor." Zeitschrift für Ästhetik und Allgemeine Kunstwissenschaft 57, no. 2 (2012): 56–67. http://dx.doi.org/10.28937/1000107593.

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Samuel Becketts künstlerische und Hans-Jörg Rheinbergers wissenschaftshistorische Arbeiten mögen völlig unterschiedlich wirken. Überraschenderweise aber zeigen sich beide durchdrungen von einer speziellen grammatikalischen Form: dem Futur II. Die Grammatik der vollendeten Zukunft rührt an Freuds schwierigen Begriff der Nachträglichkeit. Die skeptische Frage lautet, ob man das Ende einer Serie bestimmen kann, in der man noch steckt – sei es das Leben (Beckett) oder seien es Experimente (Rheinberger). In all diesen Fällen ist es prinzipiell ausgeschlossen, das Ende zu bestimmen. Es handelt sich um ein typisches Beckett-Problem, das Rheinberger in die Wissenschaftsgeschichte eingetragen hat. Die Schlussfolgerung lautet: »Am Ende« wird die Wissenschaftsgeschichte einer Beckett-Story nicht unähnlich geworden sein.<br><br>What Samuel Beckett did in art seems to be far away from what Hans-Jörg Rheinberger did in the history of science. Surprisingly enough both share a fascination for a quite special grammatical form: the future perfect. Using the future perfect touches upon Freud’s tricky notion of deferred action (»Nachträglichkeit«). A certain skepticism concerning the structure of a series is implied whenever an observer tries to look back at what he/she is still doing – for instance living (Beckett) or experimenting (Rheinberger). In all these cases it is principally impossible to know if a certain series is finished or is still going on. It may be a typical problem of Beckett’s; but Rheinberger has raised it for writing history of science. The conclusion is simple: »In the end« the history of science will have taken the appearance of a Beckett story.
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White, Kathryn. "Why ‘Teach’ Beckett?" Journal of Beckett Studies 29, no. 1 (April 2020): 27–41. http://dx.doi.org/10.3366/jobs.2020.0281.

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Samuel Beckett's impact on literature and theatre is unquestionable but what is the impact of his work within the classroom and how do we quantify the effect on student minds? With an emphasis on why, as opposed to how, this article investigates the rationale for teaching Beckett in Higher Education. It raises questions about curriculum design and delivery, and the pedagogical motivation for exposing students to Beckett's work in the twenty-first century. Adopting a qualitative approach from the positionality of the Beckett educator within an Anglophone-Irish context, the phenomenological accounts of teaching Beckett detailed here offer some substantive observations regarding the study of Beckett and education. Providing insight into pedagogical practice in relation to Beckett from literary and practice-based perspectives, each account demonstrates how Beckett's work is effective in creating significant learning experiences which have application for the wider field of literary pedagogy at higher education level.
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Weiss, Katherine. "James Joyce and Sergei Eisenstein: Haunting Samuel Beckett's Film." Journal of Beckett Studies 21, no. 2 (September 2012): 181–92. http://dx.doi.org/10.3366/jobs.2012.0045.

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Samuel Beckett's Film has been the focus of several articles in the past decade. While current investigations of Beckett's film are diverse, what most of them share is their dependence on biographical data to support their readings. Many scholars who have written on Beckett's failed cinematic excursion, for example, point to Beckett's letter of 1936 to Sergei Eisenstein. However, the link between Beckett's interest in film and his admiration for James Joyce has sadly been overlooked. Both Irish writers saw the artistic possibilities in film and both admired the Russian silent film legend, Sergei Eisenstein. Although there is no record of Joyce and Beckett discussing cinema or of Beckett knowing about Joyce's meeting with Eisenstein in 1929, it seems unlikely that Beckett would not have known something about these meetings or Joyce's much earlier film enterprise, the Volta. By re-examining Film and speculating on the possible three way connections between Eisenstein, Joyce and Beckett, I wish to add a footnote to Beckett studies which hopefully will lead others to wander on the Beckett-Joyce-Eisenstein trail and which will open up further discussions of Film. Beckett's film is haunted by the memory of his friendship with James Joyce and his admiration for Eisenstein's talent, both of which are visible in the screen images and theme of Film.
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Meihuizen, N. "Beckett and Coetzee: The aesthetics of insularity." Literator 17, no. 1 (April 30, 1996): 143–52. http://dx.doi.org/10.4102/lit.v17i1.590.

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The permutations of sentence elements in Beckett's Watt have the impersonality (almost) of mathematics. The variations of combinations of the same elements in certain sections of the book could have been performed by a computer. It is noteworthy that J.M. Coetzee indeed subjects Beckett’s work to computer analysis, as if he responds to aspects of it by mirroring in his approach to it the essence of its automatism/autism/insularity. Coetzee’s own insularity, though, takes its bearing primarily from the socio-political state; Beckett’s, if linked to this, primarily from the individual estranged by the contemporary world. But Beckett shares with Coetzee the informing thrift necessary for the establishment of an aesthetics of insularity.
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Nasir, Muhammad Saeed, Muhammad Riaz, and Sadia Rahim. "Crossing the Borders: Beckett in the Eastern World." Global Language Review V, no. II (June 30, 2020): 145–50. http://dx.doi.org/10.31703/glr.2020(v-ii).15.

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Beckettian scholars are of the view that Beckett is an autonomous artist and has never been a religious scholar, so his works should be read as an artistic expression without using any 'religious barometer. Beckett's obsessed quest about theology and his selected plethora of references about Christianity and God almost always capture the attention of critics by encouraging them to read Beckett through a religious angle. Such a stance of Beckett leads the scholars to categorise him as a secular writer who freely deals with religious themes. It is interesting to note that most of Beckett's religious scholarship revolves around Christianity and Western critical traditions. This means that Beckett's connection with other religions or religious traditions has been overlooked. This paper examines Beckett's attachment with religions, namely Buddhism, Hinduism, and Taoism. In conclusion, the paper advocates that Beckett was aware of Eastern religious traditions.
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Feldman, Matthew. "Beckett and Popper, Or, "What Stink of Artifice": Some Notes on Methodology, Falsifiability, and Criticism in Beckett Studies." Samuel Beckett Today / Aujourd'hui 16, no. 1 (June 26, 2006): 373–91. http://dx.doi.org/10.1163/18757405-016001039.

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The following attempts to identify an implicit theoretical divergence already existing in Beckett Studies. Contrasting methodologies, albeit oftentimes implicitly, continue to approach Beckett's writing from markedly different perspectives. One contributing factor to this dilemma is found in Beckett's art and (now archived) supporting materials, which shall also be considered. This article concludes that theorising from a position of empirical accuracy, especially in Beckett Studies, is inherently preferable in demonstrably increasing scholarly knowledge of our shared subject, Samuel Beckett.
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Garre García, Mar. "The Translation of Samuel Beckett’s 'mirlitonnades' by Three Spanish Authors." Complutense Journal of English Studies 28 (November 24, 2020): 71–80. http://dx.doi.org/10.5209/cjes.65523.

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The mirlitonnades are short poems written by Samuel Beckett between 1976 and 1978. These minimalistic pieces reflect the poetic idiosyncrasies in his literary career and also in his personal life. Although Spanish literary culture has not been significantly affected by the work of Samuel Beckett —with some notable exceptions— it is surprising that the mirlitonnades have been translated five times into Spanish. In this study, I will focus on three of those versions —Loreto Casado (1998), Jenaro Talens (2000) and José Luis Reina Palazón (2014)— with the objective of identifying common sources of interest for these translators in Beckett's poems. Attention will also be paid to the main points of convergence among the different versions, as well as their dissimilarities. In addition, the predominant methods that they adopted in translating the mirlitonnades will be examined. The study of their lexical choices will ultimately reveal different approaches to Beckett’s work, as well as the various images of Beckett as a poet that Spanish readers might have acquired through each of these versions.
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Van Hulle, Dirk. "Beckett's Principle of Reversibility: Chiasmus and the “Shape of Ideas”." Samuel Beckett Today / Aujourd'hui 21, no. 1 (February 1, 2010): 179–92. http://dx.doi.org/10.1163/18757405-021001013.

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As a tribute to Marius Buning, in his capacity as Joyce and Beckett scholar, this article starts from the -shape on the page of the Book of Kells, discussed in Joyce's . This -shape is relevant to Beckett's treatment of the Manichaean separation of light and darkness in . Beckett's notes on this “wild stuff” from the reveal a chiastic “shape of ideas” that mattered to both Joyce and Beckett. But whereas Joyce employed the chiasmus as a stylistic device to mark his characters' epiphanies, Beckett turned it into a structural principle of reversibility.
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Malufe, Annita Costa. "A repetição em Beckett e Deleuze." Eutomia 1, no. 20 (February 19, 2018): 153. http://dx.doi.org/10.19134/eutomia-v1i20p153-171.

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Partindo da relação entre a literatura de Samuel Beckett e a filosofia de Gilles Deleuze, o artigo tem como objetivo discutir o papel da repetição na escrita de Beckett, não somente como procedimento técnico ou retórico, mas como parte de seu projeto poético mais amplo. Para tanto, parte-se da constatação dos diálogos existentes entre as obras dos autores, e de seu projeto comum de subversão da representação, para se chegar ao argumento de que a repetição, que se faz mais e mais presente no estilo maduro de Beckett, consiste em uma repetição do diferente, pensada nos termos propostos por Deleuze.Palavras-chave: Samuel Beckett; Gilles Deleuze; Repetição; Diferença.Abstract: This article aims to discuss the role of repetition procedure in Samuel Beckett’s writings as a part of his major poetic project. In order to do that, we start from dialogues between Beckett’s literature and Gilles Deleuze philosophy, specially their common aim of the representation subversion. Our objective is to argument that the repetition, which is more and more present in Beckett’s style, consists in a repetition of the different, conceived in Deleuze’s terms.Key words: Samuel Beckett; Gilles Deleuze; Repetition; Difference.
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Journal articles Dissertations / Theses Books

Dissertations / Theses on the topic "Beckett":

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Locke, Aiden. "Beckett's telling stills : Samuel Beckett and photography." Thesis, University of Cambridge, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.326628.

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Schubert, Gesa. "Die Kunst des Scheiterns : die Entwicklung der kunsttheoretischen Ideen Samuel Becketts." Berlin [u.a.] Lit, 2007. http://deposit.d-nb.de/cgi-bin/dokserv?id=2976401&prov=M&dokv̲ar=1&doke̲xt=htm.

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Baker, Philip Paul. "Beckett and psychoanalysis." Thesis, University of Oxford, 1993. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.334953.

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Melnyk, Davyd. "Beckett and interruption." Thesis, University of Cambridge, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.580321.

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Walker, Dominic. "Beckett & economics." Thesis, University of Sussex, 2018. http://sro.sussex.ac.uk/id/eprint/78229/.

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Ferrini, Jean-Pierre. "Dante et Beckett." Paris 7, 2002. http://www.theses.fr/2002PA070074.

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Dante est un des écrivains que Samuel Beckett a le plus cité. De ses premières fictions ou poèmes de jeunesse, à la tonalité plutôt satirique, jusqu'aux textes de la maturité, comme "Comment c'est", "Le dépleupleur" ou "Compagnie", des mots, des personnages, des paysages de "La Divine Comédie" apparaissent avec une régularité exemplaire. À partir d'un relevé systématique de ces "relations textuelles", ce travail dégage la manière dont se sont sédimentés, dans les livres de Samuel Beckett, les emprunts de Beckett à Dante. L'oeuvre de Samuel Beckett, par rapport aux trois livres qui composent la "Commedia" (Enfer, Purgatoire, Paradis), est prise entre le Purgatoire et l'Enfer. Elle est un "antipurgatoire" qui n'ouvre pas mais referme la porte du Paradis. Il n'y a pas de thèmes particuliers qui rapprochent Dante et Beckett, sinon ce mouvement "du purgatoire à l'enfer" qui déconstruit la "divinité" du poème de Dante. Seule la conjonction "et" traduit la disjonction qui coordonne Dante et Beckett comme deux extrémités, un zénith et un nadir, qui ne coi͏̈ncident pas. La lecture de Beckett n'est pas admirative, elle est brutale, parodique, drôle aussi, et retire presque toujours à Dante son contexte. L'ironie ou l'humour est souvent le "rasoir" que Beckett utilise pour séparer la "Commedia" des illusions qu'elle génère. La statue de Dante, qui domine notre culture occidentale, tomberait en morceaux, les ruines dispersées dans l'oeuvre de Samuel Beckett qui constituerait la conséquence historique de six siècles de lecture, Beckett incarnant peut-être le premier l'écart, "il lungo silenzio", qui nous sépare maintenant de Dante
Dante is one of the most mentioned author in Samuel Beckett' s work. From his first youth fictions or poems, written in a satirical tone, to his period of maturity with works such as "How it is", "The Lost Ones" or "Compagny", words, characters, landscapes "of The Divine Comedy" appear extremely regularly. Such systematic textual relationships bring out the closeness between Dante and Beckett. Samuel Beckett's work is caught between Dante' Purgatory and Hell. His work is an "antipurgatory" which doesn't open, but closes the doors of paradise. No evident themes link Dante and Beckett except the flow from purgatory to hell, which undoes the "divinity" of Dante's poem. The conjundion "and" is the only one to translate the "disjonction" witch coordinates Dante and Beckett as two extremities, the zenith and the nadir, which never coincide. Beckett's reading is not admiring, but brutal, parodic, burlesque, and harms Dante's context. Irony and humour is the "razor" used by Beckett in order to separate "The Comedy" from the generated illusions. Dante' s statue which dominates our western culture would fall into pieces and the scattered ruins would constitute the historical consequence of six centuries of reading. Beckett maybe the first to incarnate the distance,"il lungo silenzio", which now separates us from Dante
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Campbell, Sam Nicole. "Blend it Like Beckett: Samuel Beckett and Experimental Contemporary Creative Writing." Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/etd/3769.

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Samuel Beckett penned novels, short stories, poetry, stage plays, radio plays, and scripts—and he did each in a way that blended genre, challenged the norms of creative writing, and surprised audiences around the globe. His experimental approach to creative writing included the use of absurdism, genre-hybridization, and ergodicism, which led to Beckett fundamentally changing the approach to creative writing. His aesthetics have trickled down through the years and can be seen in contemporary works, including Aimee Bender’s short story collection The Girl in the Flammable Skirt and Mark Z. Danielewski’s novel House of Leaves[1]. By examining these works in comparison to Beckett, this project hopes to illuminate the effects of Beckett’s experimentation in form and genre on contemporary creative writing. [1] The word ‘house’ appears in blue to honor Danielewski’s decision to have the word printed in that color each time it appears in his novel.
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Poiana, Peter. "Entre la voix et le texte : quelques modeles de rhetorique dans trois oeuvres de Samuel Beckett /." Title page, contents and summary only, 1986. http://web4.library.adelaide.edu.au/theses/09ARM/09armp749.pdf.

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Jones, Robert. "Beckett and the philosopher." Diss., Connect to the thesis, 2004. http://hdl.handle.net/10066/684.

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Davies, William. "Samuel Beckett and the Second World War : historicising Beckett's post-humanism." Thesis, University of Reading, 2018. http://centaur.reading.ac.uk/80000/.

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This thesis examines the impacts and traces of the Second World War in the work of Samuel Beckett. The thesis uses a conceptual framework that identifies Beckett’s historical sensibilities within his literary and philosophical engagements with the traditions of humanism and shows how these manifests in the various responses to history that his work produces. Using archival and historical sources, the thesis shows how Beckett’s intellectual attitudes to history and its relationship with art and writing develop across the wartime and post-war period in conjunction with his work’s mounting engagement with the presumptions and promises of modern humanism. By reading Beckett’s writing in the context of his encounters with the politics of the Irish Free State, Nazi Germany, Vichy France and post-Liberation Paris, this thesis both grounds Beckett’s work in its historical moment and shows how his writing incorporates, critiques, mocks and resists many of the dominant historical and political narratives of the period. The project offers new ways to consider Beckett’s use of history within his writing and shows that his treatment of history and his historical contexts frequently inform the most important elements of his literary achievements.
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Books on the topic "Beckett":

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Juez, Brigitte Le. Beckett before Beckett. London: Souvenir, 2008.

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Marius, Buning, Ruyter-Tognotti Danièle de, Engelberts Matthijs, and Houppermans Sjef, eds. Beckett versus Beckett. Amsterdam: Rodopi, 1998.

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Warren, Friedman Alan, Rossman Charles, and Sherzer Dina, eds. Beckett translating/translating Beckett. University Park: Pennsylvania State University Press, 1987.

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O'Brien, Eoin. The Beckett country: Samuel Beckett's Ireland. (Monkstown): Black Cat in association with Faber, 1986.

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O'Brien, Eoin. The Beckett country: Samuel Beckett's Ireland. Dublin, Ireland: Black Cat Press in association with Faber and Faber, London, 1986.

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Moorjani, Angela B. Early modern Beckett ; Beckett between. Amsterdam: Rodopi, 2012.

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Alvarez, A. Beckett. 2nd ed. London: Fontana, 1992.

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Banier, François-Marie. Beckett. Göttingen: Steidl, 2009.

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A, Alvarez. Beckett. 2nd ed. London: Fontana, 1992.

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Enoch, Brater, ed. Beckett at 80 / Beckett in context. New York: Oxford University Press, 1986.

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Book chapters on the topic "Beckett":

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Miller, Lawrence. "Beckett Criticism and Beckett’s Criticism." In Samuel Beckett: The Expressive Dilemma, 1–18. London: Palgrave Macmillan UK, 1992. http://dx.doi.org/10.1007/978-1-349-12634-7_1.

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Hesse, Gisela. "Samuel Beckett." In Kindler Kompakt: Drama des 20. Jahrhunderts, 129–31. Stuttgart: J.B. Metzler, 2017. http://dx.doi.org/10.1007/978-3-476-04526-3_27.

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Bair, Deirdre. "Samuel Beckett." In The Craft of Literary Biography, 199–215. London: Palgrave Macmillan UK, 1985. http://dx.doi.org/10.1007/978-1-349-07452-5_13.

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Tönnies, Merle. "Beckett, Samuel." In Kindlers Literatur Lexikon (KLL), 1. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_7966-1.

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Füger, Wilhelm. "Samuel Beckett." In Kindler Kompakt Französische Literatur 20. Jahrhundert, 109–15. Stuttgart: J.B. Metzler, 2016. http://dx.doi.org/10.1007/978-3-476-05533-0_23.

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McGrath, John. "Improvising Beckett." In Samuel Beckett, Repetition and Modern Music, 124–47. Abingdon, Oxon ; New York, NY : Routledge, 2018.: Routledge, 2017. http://dx.doi.org/10.4324/9781315607566-7.

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O’Neill, Shane. "Bouche En Feu …’: A Genetic Manuscript Study Of Samuel Beckett’S Self-Translation Of NOT I." In Samuel Beckett and Translation, edited by José Francisco Fernández and Mar Garre García, 21–38. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474483827.003.0002.

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This chapter examines the importance of genetic manuscript studies in relation to Samuel Beckett’s self-translation process. The author considers the reasons for Beckett’s failure and eventual success at translating Not I into French. He also studies the ways in which Beckett recaptured the musical cadences of Not I, while still preserving the text’s negativity and punctured rhythms in Pas moi. Throughout the translation process, according to O’Neill, Beckett refined the text, carefully selecting French words and expressions that matched those from Not I. Keeping the frantic pace of the English original in French was paramount for Beckett, so that if there was an excess of words in the translation of certain expressions, or if the sounds in French produced a different effect from the original, Beckett took pains to search for a better solution. The author highlights Beckett’s preference for ‘Beckettian’ terms in his own translation, so that this particular work resonates with echoes of his whole literary production.
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Engelberts, Matthijs. "Are Beckett’S Texts Bilingual? ‘Long After Chamfort’ And Translation." In Samuel Beckett and Translation, edited by José Francisco Fernández and Mar Garre García, 157–74. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474483827.003.0010.

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Matthijs Engelberts appoints “Long after Chamfort” as the only work in Beckett’s oeuvre that has “structuraly been published as a bilingual text”. The Chamfort poems consist of eight short pieces, adaptations of a series of maxims by French playwright and conversationalist Sébastien Chamfort, written by Beckett in the first years of the 1970s. This work might be considered as “minor” within the Beckett canon, but for Engelberts it could rather be discussed in other “productive ways”. For this purpose, Engelberts analyses the short doggerel poems and addresses three fundamental questions: “Is Beckett’s work bilingual?”, “What does ‘translation’ amount to (when it is apparently not a burden) for Beckett?” and “Must Beckett mean what he translates (and writes)?”. According to the author’s close examination of these hypotheses, the very short “Long after Chamfort” can contribute to offer new perspectives to the interrogations addressed in this chapter.
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Bodenheimer, Rosemarie. "First-Person Singular." In Samuel Beckett, 60—C3.P93. Oxford University PressOxford, 2022. http://dx.doi.org/10.1093/oso/9780192858733.003.0004.

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Abstract Chapter 3 offers a detailed appreciation of Beckett’s great postwar novel trilogy, Molloy, Malone Dies, and The Unnamable, in the context of Beckett’s experiences during the German occupation of France, and his mother’s gradual decline from Parkinson’s disease. His turn to writing in French first-person narration coincided with the birth of the Beckettian character, who wanders or waits for death in states of physical deterioration and mental inventiveness. The mixture of comedy and pathos in these novels comes from the characters’ humanly adaptive responses to the bizarre circumstances in which Beckett places them, and from the perpetual motion of their minds as they assert, doubt, have second thoughts, or reject what they had embraced in a previous sentence. Like Beckett himself, his writer-protagonists tell their own stories by projecting them onto characters they invent, while calling attention to the ever fluid boundaries between themselves and their fictions.
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"After Beckett / D’après Beckett." In Nostromo, edited by Anthony Uhlmann, Sjef Houppermans, and Bruno Clément, 120. BRILL, 2004. http://dx.doi.org/10.1163/9789004488830_015.

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Conference papers on the topic "Beckett":

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O'Dwyer, Néill, Nicholas Johnson, Rafael Pagés, Jan Ondřej, Konstantinos Amplianitis, Enda Bates, David Monaghan, and Aljoša Smolić. "Beckett in VR." In SIGGRAPH '18: Special Interest Group on Computer Graphics and Interactive Techniques Conference. New York, NY, USA: ACM, 2018. http://dx.doi.org/10.1145/3230744.3230774.

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Fribourg, Thomas Hunkeler Université de. "Samuel Beckett lecteur de Scève." In Maurice Scève, Délie, Object de plus haulte vertu. Fabula, 2013. http://dx.doi.org/10.58282/colloques.1809.

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Flanagan, John W., Jeremy D. Cutter, and Gaute Mo. "The Realisation of the Samuel Beckett Bridge - Dublin, Ireland." In IABSE Symposium, Venice 2010: Large Structures and Infrastructures for Environmentally Constrained and Urban ised Areas. Zurich, Switzerland: International Association for Bridge and Structural Engineering (IABSE), 2010. http://dx.doi.org/10.2749/venice.2010.0106.

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O'Dwyer, Neill, Nicholas Johnson, Enda Bates, Rafael Pages, Jan Ondrej, Konstantinos Amplianitis, David Monaghan, and Aljosa Smolic. "Virtual Play in Free-Viewpoint Video: Reinterpreting Samuel Beckett for Virtual Reality." In 2017 IEEE International Symposium on Mixed and Augmented Reality (ISMAR-Adjunct). IEEE, 2017. http://dx.doi.org/10.1109/ismar-adjunct.2017.87.

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Dolatkhah, Simin. "The Debt of Roy Anderson’s Dark Humor to Samuel Beckett and the New Objectivity." In The European Conference on Media, Communication & Film 2021. The International Academic Forum(IAFOR), 2021. http://dx.doi.org/10.22492/issn.2188-9643.2021.4.

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Degenève, Jonathan. "Pour commencer et pour finir, parlons d’autre chose (Le Monde et le Pantalon de Beckett)." In Le début et la fin. Roman, théâtre, B.D., cinéma. Fabula, 2007. http://dx.doi.org/10.58282/colloques.768.

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Gerodetti, Natalia, and Darren Nixon. "“University Challenges”: Addressing Transition and Retention through Games-Based Learning." In Third International Conference on Higher Education Advances. Valencia: Universitat Politècnica València, 2017. http://dx.doi.org/10.4995/head17.2017.5239.

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In the changing UK Higher Education landscape, addressing student retention and attrition rates is of increasing importance. In this paper, after first reviewing literature on the factors influencing student retention and attrition, we explore how the transition to university life for first-year students might be addressed through a games-based learning approach. We explore the benefits of facilitating ‘students as (games) producers’ and incorporating ‘student intelligence’ into university teaching and learning practices before presenting ‘University Challenges’, a new-traditional board game produced through a collaborative staff-student project between sociology students and lecturers at Leeds Beckett University. Drawing on data from student evaluations from three different academic courses, we reflect on how playing ‘University Challenges’ can help first-year students develop the kinds of skills and knowledge basis that contributes to a better experience of the transition and acculturation into university life in all of its facets.
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Shulman, Ami, and Jorge Soto-Andrade. "Um passeio aleatório na dança estocástica." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.71.g70.

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A música estocástica, desenvolvida no século passado por Xenakis, tem avatares mais antigos, como Mozart, que mostrou como compor minuetos lançando dados, da mesma forma que o coreógrafo contemporâneo Cunningham desmontou os elementos estruturais do que foi considerado uma obra coreográfica coesa (incluindo movimento, som, luz, cenário e trajes) e os reconstruiu de maneiras aleatórias. Pretendemos explorar um análogo enativo e experiencial da música estocástica, no reino da dança, onde a poesia de um padrão coreográfico espacial/de solo é eliciada por um processo estocástico matemático, a saber, um passeio aleatório — uma espécie de dança estocástica. Entre muitos passeios aleatórios possíveis, consideramos dois exemplos simples, concretizados nos seguintes cenários, propostos aos alunos/bailarinos: um sapo, saltando aleatoriamente sobre uma fila de pedras, escolhendo a direita e a esquerda como se fosse jogar uma moeda; uma pessoa andando aleatoriamente em uma grade quadrada, começando um determinado nó e escolhendo cada vez aleatoriamente, igualmente provável N, S, L ou O, e andando sem parar ao longo da aresta correspondente, até o próximo nó, e assim por diante. Quando os dançarinos se deparam com estas situações, questões bastante naturais surgem para o coreógrafo, como ”onde estará o andador/dançarino daqui a pouco?” Surgem várias ideias para uma coreografia, que são mais complexas do que apenas ter um ou mais dançarinos realizando o passeio aleatório, e que transformam, de fato, nosso processo aleatório em um determinístico. Por exemplo, para o primeiro passeio aleatório, 16 dançarinos partem de um mesmo nó de uma linha discreta no palco e executam, cada um, um caminho diferente dos 16 possíveis 4 caminhos de salto que o sapo pode seguir. Eles precisariam concordar primeiro sobre como fazer isto. Curiosamente, eles podem prosseguir sem um Magister Ludi distribuindo os roteiros para cada dançarino. Depois de chegar ao nó/posição final, eles poderiam tentar refazer seus passos, para voltar todos ao nó inicial; analogamente, para o passeio aleatório da grade, onde podemos ter agora 16 dançarinos encenando os 16 caminhos possíveis de 2 arestas do andador. Os dançarinos também podem entrar no palco (a grade ou algum outro padrão geométrico para caminhar), um por um, sequencialmente, descrevendo diferentes caminhos aleatórios, ou caminhos determinísticos entrelaçados, no espírito do Quadrado de Beckett. Além disso, os dançarinos poderiam escolher sua direção ad libitum, depois de alguns giros, a cada vez, em um palco sem grade, mas mantendo o mesmo comprimento de passo, como no modelo estatístico de Pearson para um voo aleatório de um mosquito. Estamos interessados em vários possíveis desdobramentos dessas coreografias, que entrelaçam dança e cognição matemática — por exemplo, quando os dançarinos escolhem, cada um, um caminho diferente, eles perceberão que sua distribuição final nos nós é desigual (surgem formas interessantes). Deste modo, apenas em movimento, coreógrafo e dançarino encontram uma resposta quantitativa para a pergunta impossível: “onde estará o andador/dançarino daqui a pouco?” Na verdade, a porcentagem de dançarinos que terminam em cada nó dá a probabilidade de o caminhante aleatório pousar ali.
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Lemnaru, Ana Cristina. "Symbols And Gestures In Samuel Beckett’s Theatre." In EduWorld 2018 - 8th International Conference. Cognitive-Crcs, 2019. http://dx.doi.org/10.15405/epsbs.2019.08.03.248.

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Shulman, Ami, and Jorge Soto-Andrade. "Una caminata aleatorio en la danza estocástica." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.71.g69.

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Abstract:
La música estocástica, desarrollada el siglo pasado por Xenakis, tiene avatares más antiguos como Mozart, que mostró cómo componer minuetos lanzando dados, de manera similar a como el coreógrafo contemporáneo Cunningham desarmó los elementos estructurales de lo que se consideraba una obra coreográfica cohesiva (incluyendo movimiento, sonido, luz, escenografía y vestuario) y los reconstruyó de manera aleatoria. Tenemos la intención de explorar un análogo enactivo y experiencial de la música estocástica en el ámbito de la danza, donde la poesía de un patrón espacialcoreográfico es provocada por un proceso estocástico matemático, es decir, una caminata aleatoria, una especie de danza estocástica. Entre las muchas posibles caminatas al azar consideramos dos ejemplos simples plasmados en los siguientes escenarios propuestos a los estudiantes/bailarines: una rana saltando al azar sobre una hilera de piedras, eligiendo derecha e izquierda como si lanzara una moneda; una persona caminando al azar en una cuadrícula, comenzando por un nodo dado y eligiendo cada vez al azar, siendo igualmente probable N, S, E o W, y caminando sin parar a lo largo del borde correspondiente, hasta el siguiente nodo, y así sucesivamente. Cuando los bailarines se encuentran con estas situaciones, surgen preguntas bastante naturales para el coreógrafo, como: ¿Dónde estará el caminante/bailarín después de un tiempo? Surgen varias ideas para una coreografía, que son más complejas que simplemente hacer que uno o más bailarines realicen la caminata aleatoria, y que de hecho convierten nuestro proceso aleatorio en uno determinista. Por ejemplo, para la primera caminata aleatoria, 16 bailarines comienzan en elmismo nodo de una línea discreta en el escenario y ejecutan, cada uno, una ruta diferente de las 16 posibles rutas de 4 saltos que puede seguir la rana. Primero tendrían que ponerse de acuerdo sobre cómo llevarlo a cabo. Curiosamente, pueden proceder sin que un Magister Ludi entregue guiones a cada bailarín. Después de llegar a su nodo/posición final, podrían intentar volver sobre sus pasos para regresar todos al nodo inicial. De forma análoga ocurre para la caminata aleatoria en cuadrícula, donde ahora podemos tener 16 bailarines representando los 16 posibles caminos de 2 bordes del caminante. Los bailarines también podrían entrar en el escenario (la cuadrícula o algún otro patrón geométrico para caminar), uno por uno, secuencialmente, describiendo diferentes caminos aleatorios o caminos deterministas entrelazados en el espíritu del Quadrat de Beckett. Además, los bailarines podrían elegir su dirección ad libitum, después de algunos giros, siempre en un escenario sin cuadrícula, pero manteniendo la misma longitud de paso, como en el modelo del estadístico Pearson para un vuelo aleatorio de mosquitos. Nos interesan varios posibles derivados de estas coreografías, que entrelazan la danza y la cognición matemática: por ejemplo, cuando los bailarines eligen cada uno un camino diferente, notarán que su distribución final en los nodos es desigual (emergen formas interesantes). De esta manera, con solo moverse, coreógrafo y bailarines encuentran una respuesta cuantitativa a la pregunta imposible: ¿dónde estará el caminante/bailarín después de un tiempo? De hecho, el porcentaje de bailarines que terminan en cada nodo da la probabilidad de que el caminante al azar aterrice allí.

Reports on the topic "Beckett":

1

Ford, K. L., J. M. Carson, M. Coyle, G. Delaney, and R. B K Shives. Geophysical series - NTS 74H/8 - Beckett Lake, Saskatchewan. Natural Resources Canada/ESS/Scientific and Technical Publishing Services, 2006. http://dx.doi.org/10.4095/222211.

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Ford, K. L., J. M. Carson, R. Dumont, J. Potvin, R. B K Shives, G. Delaney, and W. Slimmon. Geophysical series - NTS 74 H/08 - Beckett Lake, Saskatchewan. Natural Resources Canada/ESS/Scientific and Technical Publishing Services, 2005. http://dx.doi.org/10.4095/220542.

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Beckett-Brown, C. E., A. M. McDonald, and M. B. McClenaghan. Discovering a porphyry deposit using tourmaline: a case study from Yukon. Natural Resources Canada/CMSS/Information Management, 2023. http://dx.doi.org/10.4095/331349.

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As the exploration for porphyry Cu-Au-Mo deposits has become increasingly challenging, the development of more effective techniques directed at detecting buried deposits has become critical. One methodology is to focus on key minerals, one of which is tourmaline, a robust, ubiquitous mineral in most mineralized porphyry systems. Overall, a combination of physical and chemical characteristics including 1) macro-color, 2) morphology, 3) inclusion populations, and 4) trace-element compositions are useful in discriminating between porphyry- versus non-porphyry-derived (or related) tourmaline in surficial sediments (Beckett-Brown 2022). These features are applied to tourmaline obtained from stream sediment samples (n = 22) from 16 streams derived from the unglaciated terrain proximal to the Casino calc-alkaline porphyry Cu-Au-Mo deposit (Yukon Territory, Canada). The obtained tourmaline occurs as two distinct morphologies: 1) individual blocky to prismatic sub- to euhedral grains (Type 1), 2) aggregates of radiating prismatic to acicular sub- to euhedral grains (Type 2). Type 1 grains display trace-element contents that reflect mixed origins including a mineralized porphyry origin as well metamorphic and pegmatitic (background) environments. Type 2 grains almost exclusively exhibit porphyry-derived trace-element chemistries (i.e., high Sr/Pb ~150 avg. and relatively low Zn/Cu ~2.5 avg. values). In Canadian Creek, that directly drains from the Casino deposit, samples closest to the deposit contain &amp;gt;70% porphyry-derived tourmaline, while other streams in the region from unprospective drainage basins contain no porphyry-derived tourmaline. At the most distal sample site in Canadian Creek, ~20 km downstream from Casino, nearly 30% of the recovered tourmaline in the stream sediments is porphyry-related. This method has potential to be a strong indicator of prospectivity and applicable for exploration for porphyry Cu-Au-Mo systems in both unglaciated and glaciated terrains.
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Acemoglu, Daron, and Jorn-Steffen Pischke. Beyond Becker: Training in Imperfect Labor Markets. Cambridge, MA: National Bureau of Economic Research, September 1998. http://dx.doi.org/10.3386/w6740.

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Liao, Pei-Ju, Ping Wang, Yin-Chi Wang, and Chong Kee Yip. To Stay or to Migrate? When Becker Meets Harris-Todaro. Cambridge, MA: National Bureau of Economic Research, September 2020. http://dx.doi.org/10.3386/w27767.

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Passell, Harriet. A translation into English of the German novel Jakob der Lügner by Jurek Becker. Portland State University Library, January 2000. http://dx.doi.org/10.15760/etd.3249.

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Foley, R. D., and R. F. Carrier. Results of the radiological survey at State Route 17 Becker Avenue, Maywood, New Jersey (MJ033). Office of Scientific and Technical Information (OSTI), March 1990. http://dx.doi.org/10.2172/7068181.

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Foley, R. D., and R. F. Carrier. Results of the radiological survey at Route 17(S) and Becker Avenue, Rochelle Park, New Jersey (RJ001). Office of Scientific and Technical Information (OSTI), November 1989. http://dx.doi.org/10.2172/5283758.

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Cavalli, Nicolò. Future orientation and fertility: cross-national evidence using Google search. Verlag der Österreichischen Akademie der Wissenschaften, December 2020. http://dx.doi.org/10.1553/populationyearbook2020.res06.

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Using digital traces to investigate demographic behaviours, I leverage in this paper aggregated web search data to develop a Future Orientation Index for 200 countries and territories across the world. This index is expressed as the ratio of Google search volumes for ‘next year’ (e.g., 2021) to search volumes for ‘current year’ (e.g., 2020), adjusted for country-level internet penetration rates. I show that countries with lower levels of future orientation also have higher levels of fertility. Fertility rates decrease quickly as future orientation levels increase; but at the highest levels of future orientation, this correlation flattens out. Theoretically, I reconstruct the role that varying degrees of future orientation might play in fertility decisions by incorporating advances in behavioural economics into a traditional quantity-quality framework à la Becker.
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Urquidi, Manuel, Miguel Chalup, and Guillaume Durand. Brecha de ingresos laborales por género en Paraguay: un análisis de su evolución año por año entre 2002 y 2019. Banco Interamericano de Desarrollo, September 2022. http://dx.doi.org/10.18235/0004455.

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En Paraguay se puede apreciar que la brecha de ingresos laborales entre hombres y mujeres está concentrada principalmente en el sector informal, específicamente en grupos con menores niveles educativos y del área rural. Además, se percibe una diferencia de ingresos heterogénea, pero a favor de los hombres en la mayoría de las actividades económicas. Gran parte de esta brecha no está explicada por variables como experiencia, características personales y familiares, sector y actividad económica, región o zona del país, por lo que probablemente está relacionada a factores normativos, sesgos o discriminación (Becker, 2005). En el presente documento se analiza la evolución de la brecha de género en Paraguay entre 2002 y 2019. Se utilizan como insumo las Encuestas de Hogares, realizadas por el Instituto Nacional de Estadística de Paraguay (INE) y armonizadas por el Banco Interamericano de Desarrollo (BID), y se presentan dos modelos para la estimación de la brecha de ingresos laborales, las descomposiciones Blinder-Oaxaca y opo. A través del análisis en el tiempo, se evidencia que el comportamiento de la brecha de ingresos por género no muestra un patrón claro de reducción o aumento en el periodo analizado.

To the bibliography