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Journal articles on the topic 'Beckett, Samuel Beckett, Samuel Beckett'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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1

Tokarev, Dimitri. "Samuel Beckett Et La Russie." Samuel Beckett Today / Aujourd'hui 17, no. 1 (November 1, 2007): 83–96. http://dx.doi.org/10.1163/18757405-017001006.

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We know that Beckett had read some Russian authors of the 19th century who could have influenced his own works. More concretely, he was interested in the art of several personages of the Soviet and Russian cultural life. Another aspect of the same theme concerns the perception of Beckett's texts in Russia from the 1950 and up to our days. Thus, the article treats of the followings subjects : Beckett and the Russian classical literature ; Dostoevsky ; by Gontcharov ; by Tourgueniev ; the Russian 'meetings' of Beckett : Eisenstein, Stravinsky, Pasternak, sculptor Vadim Sidur ; Beckett and the representatives of the Russian 'underground' literature of the 1950–1970 : Joseph Brodsky ; Russian translations of Beckett : how to translate Beckett in Russian? ; theatre representations of Beckett plays in Russia. Finally, we analyze from the typological point of view the affinities between the works of Beckett and Daniil Harms (1905–1942), Russian poet, playwright and writer of the 1920-1930 who is often considered by critics an absurd author.

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2

Tubridy, Derval. "Samuel Beckett and Performance Art." Journal of Beckett Studies 23, no. 1 (April 2014): 34–53. http://dx.doi.org/10.3366/jobs.2014.0085.

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‘Samuel Beckett and Performance Art’ explores the interconnections between Performance Art and Samuel Beckett's prose and drama. It analyses the relations between Beckett's work and that of Franz Erhard Walther, Bruce Nauman, Dennis Oppenheim, Vito Acconci, Chris Burden, Marina Abramovic, Alastair MacLennan and Amanda Coogan. It concludes that examining Beckett in the context of Performance Art enables us to reconsider elements vital to his theatre: the experience of the body in space in terms of duration and endurance; the role of repetition, reiteration and rehearsal; and the visceral interplay between language and the body.

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3

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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4

McMullan, Anna. "Samuel Beckett and Intermedial Performance." Samuel Beckett Today / Aujourd’hui 32, no. 1 (April 17, 2020): 71–85. http://dx.doi.org/10.1163/18757405-03201006.

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Abstract This article analyses two intermedial adaptations of works by Beckett for performance in relation to Ágnes Pethő’s definition of intermediality as a border zone or passageway between media, grounded in the “inter-sensuality of perception.” After a discussion of how Beckett’s own practice might be seen as intermedial, the essay analyses the 1996 American Repertory Company programme Beckett Trio, a staging of three of Beckett’s television plays which incorporated live camera projected onto a large screen in a television studio. The second case study analyses Company SJ’s 2014 stage adaptation of a selection of Beckett’s prose texts, Fizzles, in a site-specific, historical location in inner city Dublin, which incorporated projected sequences previously filmed in a different location, a former power station.

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5

Furlani, Andre. "Revisioning Beckett: Samuel Beckett’s decadent turn." Irish Studies Review 28, no. 1 (January 2, 2020): 146–49. http://dx.doi.org/10.1080/09670882.2020.1714839.

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6

McMullan, Anna, and Trish McTighe. "Samuel Beckett and Irish Scenography." Irish University Review 45, no. 1 (May 2015): 141–56. http://dx.doi.org/10.3366/iur.2015.0157.

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This essay offers some glimpses of the parallel histories of Beckett and Irish scenography, and explores how they have impacted on each other. In particular, we investigate the intersections between Beckett and theatre in Dublin in the 1920s and 1930s, considering whether the staging innovations of the Dublin theatres of Beckett's formative years helped to shape his scenographic imagination. We then focus on Louis le Brocquy's designs for the Gate Theatre production of Waiting for Godot in 1988, which went on to constitute the core of their Beckett Festival, launched in 1991, with various revivals and national and international tours since then.

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7

Heron, Jonathan, Nicholas Johnson, Burç Îdem Dinçel, Gavin Quinn, Sarah Jane Scaife, and Áine Josephine Tyrrell. "The Samuel Beckett Laboratory 2013." Journal of Beckett Studies 23, no. 1 (April 2014): 73–94. http://dx.doi.org/10.3366/jobs.2014.0087.

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This multi-authored dossier is the first publication to emerge from the Samuel Beckett Laboratory, a new space for fundamental research into Beckett's work in performance established at the Samuel Beckett Summer School at Trinity College Dublin. In 2013 the focal point of the Laboratory's work was the Shakespeare/Bare Room manuscript fragment. The dossier uses the frame of practice-as-research to explore methodology, documentation from facilitators and guest artists, and qualitative data gathered from students and participants. This signals a new approach to work in Beckett Studies and an evolution of methods in Theatre and Performance Studies.

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8

Edward Albee. "Samuel Beckett." Princeton University Library Chronicle 68, no. 1-2 (2007): 429. http://dx.doi.org/10.25290/prinunivlibrchro.68.1-2.0429.

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9

Pearce, Gary. "Samuel Beckett." Irish Studies Review 19, no. 4 (November 2011): 461–63. http://dx.doi.org/10.1080/09670882.2011.623446.

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10

Kędzierski, Marek. "Samuel Beckett and Poland (1981–2008)." Tekstualia 4, no. 55 (December 18, 2019): 63–76. http://dx.doi.org/10.5604/01.3001.0013.3462.

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The article concentrates on the Polish reception of Samuel Beckett in the years 1981–2008. It fi rst examines the negative opinions on Beckett, expressed by writers who did not speak highly of his work, e.g. Czesław Miłosz. It subsequently deals with Beckett’s translations, mostly by Kędzierski and Libera, both of whom actually collaborated with the author. The article offers discusses Polish theatre productions of in the context of Polish history, especially the fall of the communist regime, showing how Beckett’s spectacles coincided with the democratic changes in the country. Special attention is paid to Antoni Libera’s achievement not only as a translator, but also a theatre director, who staged Beckett’s plays in a way that was meant to convey the writer’s visions. The article also looks at a selection of actors who have played Beckett’s characters, e.g. Giulia Lazzarini, and how they contributed to Beckett’s reception in Poland. The last part of the article concerns alternative projects inspired by Beckett’s works, such as Piotr Szczerski’s eleven spectacles played simultaneously in different parts of Teatr Żeromskiego in Kielce.

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11

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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12

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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13

Studniarz, Sławomir. "The forgotten poet Samuel Beckett." Tekstualia 4, no. 55 (December 18, 2019): 137–56. http://dx.doi.org/10.5604/01.3001.0013.3466.

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The article is devoted to the poetic output of Samuel Beckett, particularly from the pre-war period. It primarily offers a close analysis of three poems: The Vulture, Alba and Dortmunder, from the fi rst printed collection of Beckett’s poetry Echo’s Bones. These texts raise the issue of the place of art and poetic creation in the world, fi lled as it is with suffering inherent to the human condition. The valorization of nighttime and music and the pain-relieving aesthetic contemplation form the major premises of Alba and Dortmunder. And The Vulture, an artistic credo of the young Beckett, defi nes the relations between macrocosm, the objective world, and microcosm, the rich inner life of the subject, vis-à-vis the tasks of poetry. Noting the striking neglect of Beckett’s poetry by the critics, the article undertakes to show that his poetic production merits attention both of scholars and of his devoted admirers.

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14

Benetti, Liliane. "Samuel Beckett e Stan Douglas: aproximações pontuais." Eutomia 1, no. 20 (February 19, 2018): 139. http://dx.doi.org/10.19134/eutomia-v1i20p139-152.

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Este texto parte de pistas deixadas em Goodbye Pork-Pie Hat (1988), ensaio do artista visual canadense Stan Douglas sobre Film e as peças para televisão de Samuel Beckett, e pretende discutir a recorrência de alguns procedimentos beckettianos na produção de Douglas, especialmente nas séries Television Spots (1987-88) e Monodramas (1991). Palavras-chave: Samuel Beckett; peças para TV; artes visuais contemporâneas; multimídia Abstract: This short text has as its starting point some clues left in Goodbye Pork-Pie Hat (1988), essay by Canadian visual artist Stan Douglas on Film and TV pieces by Samuel Beckett, and aims to discuss the recurrence of Beckett’s procedures in Douglas's production, especially in Television Spots (1987-88) and Monodramas (1991).Keywords: Samuel Beckett; television pieces; contemporary visual arts; multimedia

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15

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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16

Do Amarante, Dirce Waltrick. "Quando Beckett falha pior: No’s Knife, adaptação para o palco de Textos para nada." Eutomia 1, no. 20 (February 19, 2018): 30. http://dx.doi.org/10.19134/eutomia-v1i20p30-37.

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Este ensaio focaliza as relações entre a palavra escrita e o palco. Dentre os aspectos estudados, destacamos No’s Knife, uma seleção de Texts for Nothing (tradução de Textes pour rien), de Samuel Beckett, concebida e encenada pela renomada atriz irlandesa Lisa Dwan.Palavras-chave: Samuel Beckett; Lisa Dwan; palavra; palco; performance. Abstract: This paper discusses the relationship between written words and the stage. Amongst the aspects presented in the text, the most relevant one is the proccess of making No’s Knife (a selection of Samuel Beckett’s Texts for Nothing), conceived and performed by the renowed Beckett interpreter Lisa Dwan.Keywords: Samuel Beckett; Lisa Dwan; written word; stage; performance.

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17

Cruz, Talita Mochiute. "Coetzee lendo Beckett." Eutomia 1, no. 20 (February 19, 2018): 92. http://dx.doi.org/10.19134/eutomia-v1i20p92-99.

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Este artigo discute brevemente como J.M. Coetzee em seus textos críticos lê a obra de Samuel Beckett, a fim de refletir a respeito do trânsito entre o trabalho ficcional e acadêmico desse escritor sul-africano. Ao percorrer a visão de Coetzee crítico, pretende-se situar o lugar de Beckett na trilogia coetzeeana Cenas da vida na província, principalmente para a constituição da(s) voz(es) narrativa nesse projeto autobiográfico ficcionalizado.Palavras-chave: J.M. Coetzee; Samuel Beckett; romance contemporâneo; voz narrativa; literatura comparada. Abstract: This article briefly discusses how J. Coetzee in his critical texts reads the work of Samuel Beckett in order to reflect on the relations between the fictional and academic work of this South African writer. In going through the critical vision of Coetzee, it is aimed to situate Beckett's place in Coetzeean trilogy, Scenes from Provincial Life, mainly for the constitution of the narrative voice(s) in this fictionalized autobiographical project.Keywords: J.M. Coetzee; Samuel Beckett; contemporary novel; narrative voice; comparative literature.

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18

McFry, Ben. "Beckett before Beckett: Samuel Beckett’s Lectures on French Literature (review)." Comparatist 33, no. 1 (2009): 188–89. http://dx.doi.org/10.1353/com.0.0037.

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19

Ferreira, Fabio Alves. "A Tradução como Dispositivo Cênico da Palavra em Samuel Beckett." Eutomia 1, no. 20 (February 19, 2018): 126. http://dx.doi.org/10.19134/eutomia-v1i20p126-138.

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Resumo: Através do conceito de “tradução” pensar a razão da práxis da tradução na produção da obra de Samuel Beckett como “dispositivo cênico”, uma práxis na criação que se intensifica como produção cênica e aproxima textos dramáticos da produção final do autor em prosa;Palavras chaves: Tradução, Cena, Dispositivo, Extemporaneidade, Samuel Beckett Abstract: Through the concept of "translation", the reason for the translation praxis in the production of Samuel Beckett's work as "scenic device", a praxis in creation that intensifies as scenic production and approaches dramatic texts of the author's final output in prose;Keywords: Translation, Scene, Device, Extemporaneity, Samuel Beckett

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20

Germoni, Karine. "Omniprésence De Samuel Beckett Dans L'œuvre de Raymond Cousse / Présence de Raymond Cousse Dans œeuvre de Samuel Beckett?" Samuel Beckett Today / Aujourd'hui 17, no. 1 (November 1, 2007): 482–99. http://dx.doi.org/10.1163/18757405-017001033.

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A novelist and playwright of little renown, Raymond Cousse is mostly known for his play His encounter with Beckett's work and then with Beckett himself was the electric shock that pushed this autodidact into writing. Our paper tends to a double aim : we shall fIrst examine how deeply Beckett has marked Cousse's work and existence, through the study of his writings – including non published documents such as abstracts from his diary, the correspondence between the two authors and several manuscripts by Cousse. We will then proceed with the following question: is the Irish writer's all-pervasive presence in Cousse's work reciprocated, in Samuel Beckett's writings, with echoes from Cousse's own novels and plays ?

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21

Protin, Matthieu. "Beckett, tel Qu'en ses Lettres enfin Cambridge Nous le Révèle." Samuel Beckett Today / Aujourd'hui 23, no. 1 (August 1, 2012): 277–91. http://dx.doi.org/10.1163/18757405-023001018.

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Faced with the scarcity of Samuel Beckett's theoretical writings, one has no choice but to look for them throughout his correspondence. In this prospect, the publication of Samuel Beckett's letters offers a great opportunity to find the fragments of a treaty on aesthetics Samuel Beckett never wrote. In many letters Samuel Beckett analyzes and ponders over his own works as well as those by other writers, painters and musicians. This paper analyzes what can be considered as 'aesthetics in progress,' aiming at understanding the categories and the concepts particularly relevant to study Samuel Beckett's works. provides an inner view upon Beckett's creative method and therefore offers an interesting counter point to Beckett's silence when it comes to comment his own works.

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22

Kiryushina, Galina, and Mark Nixon. "Samuel Beckett's The North." Journal of Beckett Studies 30, no. 2 (September 2021): 188–204. http://dx.doi.org/10.3366/jobs.2021.0340.

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This essay closely inspects the manuscript cluster relating to The North (held by the Beckett International Foundation, University of Reading) to provide insight into Beckett's collaboration with Enitharmon Press and its publisher, Alan Clodd, on an eponymous livre d'artiste illustrated with three etchings by Avikdor Arikha. It outlines the intricate publication details of a short excerpt from (then unfinished) Le Dépeupleur, which was the first part of the late prose text to be translated by Beckett into English. With the help of Beckett's published and unpublished correspondence with Clodd, Arikha, and Barbara Bray in particular, the essay traces the translation process of both The North and what was to become The Lost Ones. Extending over several months, the translation of the short novel gave Beckett considerable trouble and, as appears from his letters to Bray, her involvement in it was tangible. Beckett's linguistic choices surrounding the image of a crouching woman at the centre of this limited-edition artist's book and the English title of the master text, The Lost Ones, are also considered in relation to other art forms, namely Auguste Rodin's Dante-inspired La porte de l'enfer and the statue extracted from it, La femme accroupie. In addition to that, the publication particulars of the Calder & Boyars edition of The Lost Ones (1972) are discussed in parallel to those of Clodd's The North (1973), unearthing the differences between the two translations as well as contractual obligations that shaped them.

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23

Heron, Jonathan, and Nicholas Johnson. "Beckettian Pedagogies: Learning through Samuel Beckett." Journal of Beckett Studies 29, no. 1 (April 2020): 42–62. http://dx.doi.org/10.3366/jobs.2020.0282.

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This essay considers what it might mean to learn ‘through’ Beckett, inaugurating a critical pedagogy that could be called ‘Beckettian’. By integrating existing strands of scholarship on Beckett and his relationship to education, the essay draws a distinction between the ‘practical’ and ‘biographical’ ways of thinking about Beckett and learning. This draws on previous work within the field, but also proposes a new vocabulary – derived from an interdisciplinary encounter with the scholarship of teaching and learning and the philosophy of education, especially ‘critical pedagogy’ – through which the possibility of ‘Beckettian pedagogies’ might be manifested. Recalling Beckett's biographers, his work's fundamental silence haunts most attempts to contain, explain, avoid or domesticate it. The essay proposes that a critical pedagogy of Beckett must be grounded in the concept of openness, especially in the notion that ‘void’ is a productive category, and in the embodiment of an evolving ecology of praxis. This alternative pathway reflects on the philosophy of education inherent within Beckett as an idea, engaging with ‘Beckettian pedagogies’ in an entangled sense of instruction, guidance and teaching with a particular focus on the latter in terms of the theory or principles of education. This move does not require abandoning existing traditions, but rather gathering them under new light, by placing the biographical Beckett (1906–89) in juxtaposition with the praxis of Beckett (ongoing) and the contemporaneous notion of critical pedagogy, as expounded by several scholars including Paulo Freire (1921–97). Beckettian pedagogies therefore remove dormant assumptions, habits of mind, and hierarchies that impede exploration to enable a move away from the curriculum, or toward a curriculum of unlearning and uncertainty, thereby disrupting the entrenched powers that Beckett saw fit to resist.

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24

Clavier, Evelyne. "Danser Samuel Beckett." Francosphères 9, no. 1 (June 2020): 85–99. http://dx.doi.org/10.3828/franc.2020.7.

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25

Hill, Leslie, and Alan Astro. "Understanding Samuel Beckett." Modern Language Review 87, no. 3 (July 1992): 765. http://dx.doi.org/10.2307/3733012.

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26

Moody, Alys. "Publishing Samuel Beckett." Irish Studies Review 20, no. 1 (February 2012): 106–8. http://dx.doi.org/10.1080/09670882.2012.656230.

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27

Ann Caws, Mary. "Samuel Beckett Translating." Samuel Beckett Today / Aujourd'hui 8, no. 1 (October 16, 2018): 43–57. http://dx.doi.org/10.1163/18757405-00801006.

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28

Wechsler, Judith. "Illustrating Samuel Beckett." Art Journal 52, no. 4 (December 1993): 33–40. http://dx.doi.org/10.1080/00043249.1993.10791537.

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29

Zatonskaya, Olga V. "SAMUEL BECKETT’S GERMAN INCLINATION." RSUH/RGGU Bulletin. "Literary Theory. Linguistics. Cultural Studies" Series, no. 3 (2021): 65–73. http://dx.doi.org/10.28995/2686-7249-2021-3-65-73.

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The article’s topic is formation of the artistic world of S. Beckett. Along with such factors of the “education” of the Irish writer as the world of the ideas and novels of D. Joyce, as a close acquaintance with traditions of the French drama and poetics of the “absurd” that he himself formed, the influence of the German culture and literature was an important aspect of his becoming a writer. German literature inspired Beckett by phenomena of the everyday culture, language, and the works and philosophical ideas of such thinkers as Schopenhauer, Nietzsche and Hölderlin. From them S. Beckett perceived and artistically reflected in his work an idea of a tragic solitude of an artist, his being misunderstood in love, an ironic distance in regard to the very idea of tragedy and the idea of a “superman” as the final stage in the formation of a “true” person. In the German language, Beckett often borrowed both the colloquial racy vocabulary and the structural organization of his works. The author believes that Beckett’s interest in intellectually close Schopenhauer and Nietzsche lead him to the theme of antiquity, inseparable from German culture. That is why one can see their common views on such fundamental concepts of existence as the cyclicality and inanition, death of God, solitude.

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30

Tajiri, Yoshiki. "Samuel Beckett Et La Mécanisation D'echo." Samuel Beckett Today / Aujourd'hui 17, no. 1 (November 1, 2007): 434–47. http://dx.doi.org/10.1163/18757405-017001030.

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This paper wants to situate Beckett's work within the cultural context of the beginning of the twentieth century when acoustic technology was strongly linked to the art of the avant-garde. I am going to analyze the 'voice of the telephone' in and I shall accentuate the pertinence of the idea of "the discourse network of 1900" (Friedrich Kittler) regarding Beckett's work. Finally I want to show how acoustic technology appears in and in In these processes the figure of Echo has been mechanized and materialized by Beckett in our view.

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31

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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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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Rabaté, Jean-Michel. "S.E. Gontarski. Revisioning Beckett: Samuel Beckett’s Decadent Turn." Modern Drama 62, no. 2 (April 2019): 244–46. http://dx.doi.org/10.3138/md.62.2.br7.

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McGrath, Anthony. "An Agon with the Twilighters: Samuel Beckett and the Primacy of the Aesthetic." Irish University Review 42, no. 1 (May 2012): 6–23. http://dx.doi.org/10.3366/iur.2012.0005.

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Beckett was unusually forthcoming in his professions of enthusiasm for the work of Schopenhauer. While Schopenhauer and Beckett were cognate minds on issues such as the ubiquitous miseries of existence, their shared convictions regarding aesthetic questions is no less demonstrable. This essay examines Beckett's critical reflections on the work of Irish artists in relation to core precepts of Schopenhauer's philosophy. It seeks to show how the hermeneutical strategies employed by Beckett in texts such as ‘Recent Irish Poetry’ (1934), ‘Intercessions by Denis Devlin’ (1938), and ‘MacGreevy on Yeats’ (1945) are of a piece with Schopenhauer's assertions regarding the phenomenological processes of artistic composition and appreciation. In revealing the conceptual underpinnings of Beckett's evaluative criteria and their correlations with central principles of Schopenhauer's thought, this reading aims to enhance our understanding of Beckett's commitment to views of the irreducibility of the aesthetic.

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Habibi, Reza. "The Topos of the Mound in Samuel Beckett’s Writing." American, British and Canadian Studies Journal 21, no. 1 (January 1, 2014): 41–60. http://dx.doi.org/10.2478/abcsj-2013-0019.

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Abstract This essay aims to bring to the fore the varied and broad valences of the ‘mound’ in Beckett’s oeuvre. In my reading, the mound functions as a profuse, multi-purpose symbol, that coalesces into a variety of topoi indicative of Mother Earth, that figure in the thighs, the nipples, the pubis/pubic area and bones, ruins, ants, birth, fetus, and elemental maternal death. I embarked upon the present study before the commencement of the Beckett Digital Manuscript Project, a collaborative project between the Centre for Manuscript Genetics at the University of Antwerp, the Beckett International Foundation, the University of Reading and Harry Ransom Humanities Research Center, the University of Texas at Austin. Valorising the author’s editing, additions, notes and comments provided by the upcoming digitalized manuscripts of Beckett in 2014 and 2015, I expect to contribute to the work in progress, and to the corpus of Beckett studies in general, especially those approaching his bilingual works. It is my contention that the frequency of certain terms, the diagrams that Beckett included in some of his letters (as is the case of the mound in Happy Days), shed significant light on the nature of his symbolism.

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Blanckeman, Bruno. "Samuel Beckett : a double-edged milestone." Samuel Beckett Today / Aujourd'hui 17, no. 1 (November 1, 2007): 518–30. http://dx.doi.org/10.1163/18757405-017001035.

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The article focuses on Beckett's influence on his contemporaries in the 1980's as well as his followers. Beckett brought drama back to its core : although his theatrical model cannot be ignored, no author simply replicates it. The purpose of this analysis is to reveal the tension between minimalist forms of drama and tendancies to cross language boundaries through specific techniques of story telling and by this way to represent reality and give it significance

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Weller, Shane. "For a migrant art: Samuel Beckett and cultural nationalism." Journal of European Studies 48, no. 2 (April 16, 2018): 168–82. http://dx.doi.org/10.1177/0047244118767822.

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This essay charts Samuel Beckett’s linguistic migration from English to French at the end of the Second World War, locating this within the context of other twentieth-century literary migrations. It then proceeds to identify some of the principal ways in which Beckett seeks to resist forms of cultural nationalism (Irish, French and German). The distance that Beckett takes from these European forms of cultural nationalism is reflected not only in the migrant status of his characters, but also in the way in which he deploys national-cultural references. The essay argues that Beckett’s aim in this respect bears comparison with that of the ‘good European’ as defined by Nietzsche. An important difference, however, is that in Beckett’s case the emphasis falls not upon cosmopolitanism but rather upon a perpetual migrancy that is captured above all in his movement between languages.

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Dow, Suzanne. "Lacan with Beckett." Nottingham French Studies 53, no. 1 (March 2014): 1–18. http://dx.doi.org/10.3366/nfs.2014.0069.

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This article explores Jacques Lacan's (minimal) engagements with Samuel Beckett. Before positing Beckett as a ‘silent partner’ of Lacan, the article offers a broader account of the place of literature in Lacan's teaching and in particular the role played by the writings of James Joyce. Lacan's reflections on the Joycean punning on ‘litter’/‘letter’, in Finnegans Wake, provide a context for understanding the psychoanalyst's perspective on Beckett's work.

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Athanasopoulou-Kypriou, S. "Samuel Beckett Today/Aujourd'hui 9: Beckett and Religion; Beckett/Aesthetics/Politics." Literature and Theology 16, no. 3 (August 1, 2002): 339–40. http://dx.doi.org/10.1093/litthe/16.3.339.

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Mihálycsa, Erika. "Surreal Beckett: Samuel Beckett, James Joyce, and Surrealism." Textual Practice 32, no. 8 (August 13, 2018): 1457–60. http://dx.doi.org/10.1080/0950236x.2018.1507662.

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Furlani, Andre. "Surreal Beckett: Samuel Beckett, James Joyce, and Surrealism." Irish Studies Review 29, no. 3 (June 30, 2021): 396–99. http://dx.doi.org/10.1080/09670882.2021.1947462.

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Chakraborty, Thirthankar. "Samuel Beckett and the World Republic of Letters." Journal of World Literature 5, no. 2 (May 29, 2020): 222–39. http://dx.doi.org/10.1163/24056480-00502002.

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Abstract In Samuel Beckett: Anatomy of a Literary Revolution, Pascale Casanova explores the formal and the historical elements of Beckett’s works to establish how the bilingual writer masters the art of “abstractification” in his pioneering venture of testing the limits of language. Casanova closely investigates the cosmopolitan space of Paris in particular in order to explain the socio-political field from which Beckett’s bilingual works stemmed. As this article argues, it is this early search for a literary field with Beckett’s autonomous writing at its core that leads Casanova to her critically acclaimed and contentious notion of the world republic of letters.

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Moorjani, Angela. "GENESIS, CHILD'S PLAY, AND THE GAZE OF SILENCE: Samuel Beckett and Paul Klee." Samuel Beckett Today / Aujourd'hui 19, no. 1 (August 1, 2008): 187–97. http://dx.doi.org/10.1163/18757405-019001015.

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Samuel Beckett situated Paul Klee among "the great of [his] time." I explore the reasons for Beckett's recognition of an artist whose distillations suggest that he is to painting what Beckett is to the written word and stage. Beckett and Klee were among the modernist writers and artists who were fascinated with genesis and child's play in opting for a willed impoverishment of unseeing and unknowing. I will investigate this shared trajectory by drawing in particular on the work of Rudolf Arnheim on visual perception and the nonrepresentational translations children make of an intersecting inner and outer world.

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Simpson, Hannah. "Trying Again, Failing Again: Samuel Beckett and the Sequel Play." New Theatre Quarterly 37, no. 3 (July 19, 2021): 258–72. http://dx.doi.org/10.1017/s0266464x21000166.

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Samuel Beckett’s Waiting for Godot has spawned several unauthorized sequel plays, which see Godot arrive on stage in 1960s Yugoslavia, 1980s Ireland, 1990s North America, and early 2000s Japan. The sequel play is a largely ignored phenomenon in literary scholarship, with the sequel form itself routinely dismissed as a derivative and inevitably disappointing text. Yet the sequel also re-situates and re-evaluates the original text, and its reiterative nature aptly parallels the paradox of non-ending in Beckett’s original Waiting for Godot. Focusing on four unauthorized stage sequels to Beckett’s play – Miodrag Bulatović’s Godo je došao (Godot Has Arrived, 1966), Alan Titley’s Tagann Godot (Godot Arrives, 1987), Daniel Curzon’s Godot Arrives (1999), and Minoru Betsuyaku’s Yattekita Godot (Godot Has Come, 2007) – this article examines how these sequels rework the cultural logic of Godot’s arrival to their own critical and political ends. These playwrights draw on the very recursive, even frustrating, nature of the sequel form itself as an exegetic framework, reproducing the trope of non-ending that characterizes Beckett’s own work. Hannah Simpson is the Rosemary Pountney Junior Research Fellow in British and European Drama at St Anne’s College, University of Oxford. She is currently working on two forthcoming Beckett-related monographs: Witnessing Pain: Samuel Beckett and Post-War Francophone Theatre and Samuel Beckett and Disability Performance.

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Cousseau, Anne. "Rencontre de Charles Juliet avec Samuel Beckett: "Cette parole nue qui vient de la souffrance"." Samuel Beckett Today / Aujourd'hui 18, no. 1 (October 1, 2007): 407–23. http://dx.doi.org/10.1163/18757405-018001030.

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In 1986, Charles Juliet published his , which included four interviews he had with the author. Juliet had discovered Samuel Beckett as early as 1965 by way of his writings. Reading Beckett, notably his , and , had a determinant influence on Charles Juliet's literary career. It is mostly in the company of Beckett that he finds his own voice. This article examines both the way in which Beckett's writings may have had an influence on the beginning of Charles Juliet's existential and poetic voyage, and the dialogue established between two related literary worlds.

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Rhys, Paul, and Mary Bryden. "Samuel Beckett and Music." Modern Language Review 95, no. 2 (April 2000): 487. http://dx.doi.org/10.2307/3736166.

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Kinsella, Thomas. "Poems of Samuel Beckett." Journal of Beckett Studies 2, no. 2 (January 1993): 15–18. http://dx.doi.org/10.3366/jobs.1993.2.2.6.

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Strauss, Walter A., and Mary Bryden. "Samuel Beckett and Music." SubStance 29, no. 2 (2000): 104. http://dx.doi.org/10.2307/3685778.

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Sheppard, W. Anthony, and Mary Bryden. "Samuel Beckett and Music." Notes 55, no. 3 (March 1999): 682. http://dx.doi.org/10.2307/900441.

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Berettini, Célia. "Samuel Beckett and Television." ABEI Journal 8 (June 17, 2006): 17. http://dx.doi.org/10.37389/abei.v8i0.3713.

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