Relevant bibliographies by topics / En attendant Godot (Beckett)

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Academic literature on the topic 'En attendant Godot (Beckett)'

Author: Grafiati
Published: 4 June 2021
Last updated: 3 February 2022

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Journal articles on the topic "En attendant Godot (Beckett)"

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Hamdan, Sahira. "Le temps dans “En Attendant Godot" de Samuel Beckett." Al-Adab Journal, no. 129 (June 15, 2019): 1–28. http://dx.doi.org/10.31973/aj.v0i129.583.

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Chez Beckett, l'attente n'est pas un vide mais une efficacité consécutive. Elle pourrait être un acte instinctif ou stérile. Tout cela dépend, peut-être, de la perception de l'attente. Pour Beckett, c'est aussi un monde de vie, une attente de l'inspiration, de la connaissance, de la cognition ou éventuellement de la mort. Le temps tel que l'être humain le conçoit est une création de l'esprit alors que le temps est une entité propre et inchangeable auquel nous ne pouvons échapper. Selon Beckett, nous ne pouvons pas échapper aux conséquences du temps. Pourtant, nous le subissons sans grande résistance.
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Cohn, Ruby. "THE "F—" STORY." Samuel Beckett Today / Aujourd'hui 7, no. 1 (December 8, 1998): 41–46. http://dx.doi.org/10.1163/18757405-90000083.

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A short story entitled "F–" was published in the January 15, 1949 issue of the Anglophone, Paris-based review transition. The author is listed as Suzanne Dumesnil (later Mme. Samuel Beckett), but no translator is named. Beckett told his bibliographers Federman and Fletcher that he was "certain" of having translated it. The University of Texas Beckettiana catalogue describes it as: "A short story by Beckett's wife, written at the time Beckett was writing En attendant Godot. The translation is unsigned." (74). Several Beckett scholars suspect that Beckett wrote the story, since it resembles his short fiction of the 1940s in its repetition, fragmentation, interrogation, self-address, and in the immediacy of its rendition of experience.
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Clément, Bruno. "Des harmoniques." Samuel Beckett Today / Aujourd’hui 30, no. 2 (September 24, 2018): 320–33. http://dx.doi.org/10.1163/18757405-03002011.

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Résumé A partir de deux exemples canoniques (extraits de En attendant Godot et Fin de partie), cet article revient sur les fameux “fundamental sounds” dont parle Samuel Beckett à propos de Fin de partie, et tente de jeter un peu de jour sur la notion d’ harmoniques avec laquelle Beckett entretient un rapport manifestement ambigu.
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Rothenberg, John, and Hubert de Phalese. "Beckett a la lettre: 'En attendant godot', 'Fin de partie'." Modern Language Review 95, no. 3 (July 2000): 849. http://dx.doi.org/10.2307/3735559.

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Zaiser, Rainer. "En Attendant Godot: Reflections on some Parallels Between Beckett and Pirandello." Journal of European Studies 18, no. 4 (December 1988): 253–66. http://dx.doi.org/10.1177/004724418801800402.

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Doshi, Neil. "Written in Sand." Samuel Beckett Today / Aujourd’hui 31, no. 2 (October 24, 2019): 234–49. http://dx.doi.org/10.1163/18757405-03102004.

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Abstract This article reinterprets the Algerian writer Mohammed Dib’s 1992 novel Le désert sans détour through the analysis of its reference to Samuel Beckett’s En attendant Godot. I argue that for Dib, Beckett offers an important model for a post-revolutionary politics that expresses extreme skepticism over clichéd notions of historical progress and universal humanism. Recuperating this ignored Beckettian strand in Dib’s novel, I revise the critical reception that has read the text as apolitical and focused on spirituality. I offer a better understanding of Dib’s aesthetic as one emerging out of a dialectical tension between discourses of Sufi illumination and a Beckettian politics radically enmeshed in the world.
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KNOWLSON, J. "Review. 'En attendant Godot' and 'Fin de partie'. Little, J. P., Samuel Beckett." French Studies 39, no. 2 (April 1, 1985): 233. http://dx.doi.org/10.1093/fs/39.2.233.

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Furlani, Andre. "The making of Samuel Beckett’s En attendant Godot/Waiting for Godot." Irish Studies Review 27, no. 1 (January 2, 2019): 153–56. http://dx.doi.org/10.1080/09670882.2018.1555396.

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Germoni, Karine. "PONCTUATION ET RYTHME DANS EN ATTENDANT GODOT ET FIN DE PARTIE DE SAMUEL BECKETT." Samuel Beckett Today / Aujourd'hui 14, no. 1 (December 8, 2004): 547–62. http://dx.doi.org/10.1163/18757405-90000211.

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Rannoux, Catherine. "« Dis, Didi », variations sur dire dans En attendant Godot de Samuel Beckett." L'Information Grammaticale 124, no. 1 (2010): 42–46. http://dx.doi.org/10.3406/igram.2010.4080.

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Dissertations / Theses on the topic "En attendant Godot (Beckett)"

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Rigby, George T. (George Thomas) Carleton University Dissertation French. "L'intertextualite biblique dans En attendant Godot et Fin de partie de Samuel Beckett." Ottawa, 1993.

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Arvidson, Paula. "En attendant Godot : une étude sur les conditions humaines dans le théâtre de l’absurde." Thesis, Högskolan i Halmstad, Sektionen för humaniora (HUM), 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:hh:diva-18245.

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Samuel Beckett (1906-1989), irlandais d’expression française et anglaise, peut être considéré comme un des écrivains modernistes du XXe siècle les plus influents. Son nom est surtout associé au théâtre de l’absurde, un style de théâtre des années 50 inspiré des surréalistes et des dadaïstes, dont l’origine était le traumatisme de la Seconde Guerre mondiale. Parmi les pièces absurdes les plus importantes se trouve En attendant Godot de Beckett, une pièce connue et jouée dans le monde entier. Ce que Samuel Beckett nous montre dans En attendant Godot est évidemment l’absurdité de la vie, et l’absurdité de ce qui n’est pas encore venu ou déterminé. Le point central dans cette pièce est – malgré l’absence d’histoire, de sens et de but – sa représentation de la condition humaine : les relations, la communication, l’inquiétude et, bien sûr, l’attente. Le but de se mémoire sera d’examiner de quelle manière Beckett révèle son image de la condition humaine à travers d’une pièce rompant avec toute convention théâtrale classique.
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Muller, Carla. "Mémoires d'une attente inachevée : le temps dans Malone Meurt, L'innommable et En Attendant Godot de Samuel Beckett." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2001. http://hdl.handle.net/10183/1655.

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Minha dissertação consiste em desenvolver a relação estabelecida entre o texto e o leitor no processo de leitura literária como produtividade, considerada como um conjunto, compreendendo o produtor do texto e seu leitor. A leitura vista como ‘‘jogo", em que o retorno do diferente não desdenha a tradição da leitura, conduz o leitor à produzir um texto múltiplo, plural. O texto é o mesmo e um outro ao mesmo tempo. Este estudo compreende três textos singulares da obra de Samuel Beckett: Malone meurt, L’Innommable e En attendant Godot. Tudo o que é assimilado, assim como refutado por Beckett, é convidado a entrar em cena no decorrer deste trabalho. Como via de acesso para a composisão da escritura becketiana, foi necessário seguir os passos da memória de leitura do autor para chegar a uma conclusão, segundo minha própria leitura, a partir da leitura dos três textos escolhidos. Por isso, reencontrei em Proust, a idéia do leitor ‘‘livre’’ e ‘‘independente’’ mantido por Beckett. Seguindo os traços da tradição, foi possível desenvolver uma memória de leitura como uma repetição, conduzindo a um resultado imprevisto. Balzac é a primeira referência da leitura beketiana. O autor é trabalhado como fonte principal da leitura becketiana. Assim, a composição da memória em Beckett não pode ser recuperada senão na articulação dos estudos textuais como ‘‘produção’’ e, cujas imagens repetitivas fornecidas pelos três textos de Samuel Beckett asseguram a continuidade, a produtividade de leitura, em que, esta memória, torna-se inevitavelmente, memória do texto.
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Looft, Helena. ""Vi är trollkarlar" : den konstnärliga kampen i Samuel Becketts I väntan på Godot." Thesis, Stockholms universitet, Institutionen för kultur och estetik, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-126649.

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When the Irish writer Samuel Beckett (1906-1989) wrote Waiting for Godot in 1948-1949 he was in a state of artistic depression and confusion. He had already turned to French instead of English and with a manuscript for the stage he made an effort to get away from what he called ”the awful prose” he was working on at that time. Waiting for Godot had its first opening night in Paris in 1953, and during the years since then many different interpretations have been made of this challenging work of art. In this essay, with the meta textual elements in Waiting for Godot as a foundation, I’m reading the drama as a writer’s struggle with his material – not strictly biographical, but with Beckett as an artistic example. Vladimir and Estragon, as well as Pozzo and Lucky, then become personalizations of the voices in the mind of the author, where intellect/reason/analysis on one hand and intuition/feeling/fantasy on the other are working side by side, or as a pair of opposites, to try to get along through conflict and cooperation; conferring, clashing, and complementing one another. Godot will then function as the mystical and driving force, the necessary lack of purpose or fundamental meaning that keeps the artist in touch with art. In this aspect Godot has not to come; his absence is an absolute condition to get the play going, to keep the writer writing, to make all artists continue their lonely, tiresome, difficult work. Waiting for Godot tells us something about the struggle every writer has to face when writing a play, or a novel, or a poem, where he, or she, has to speak with and listen to the inner voices of intuition and intellect and try to get by in spite of the overall sense of hopelessness of it all. Art is at the same time without meaning and of infinite value and I believe that this paradox is alive and working in Waiting for Godot.
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Cochrane, John. "Memoria et promissio : über die anamnetische Verfasstheit des christlichen Glaubens nach J. B. Metz und die kulturelle Amnesie in Samuel Becketts "Warten auf Godot" und "Endspiel" /." Berlin [u.a.] : Lit, 2007. http://deposit.d-nb.de/cgi-bin/dokserv?id=2985475&prov=M&dok_var=1&dok_ext=htm.

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Yang, Gi Chan. "Etude littéraire de Beckett et d'O'Neill." Paris 3, 1999. http://www.theses.fr/1999PA030086.

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Cette etude est basee sur l'esthetique moderne, dont la decontextualisation et la recontextualisation d'une oeuvre a travers la reception d'une oeuvre par le spectateur/lecteur. En posant la question de l'objectivite dans l'oeuvre, elle permet de definir les diverses tendances litteraires d'aujourd'hui et specifiquement dans le domaine du theatre contemporain. Cette etude concerne aussi la question sur la litterarite d'une oeuvre dans le vingtieme siecle, pour arriver au jugement clair sur categorisation d'une oeuvre comme litteraire et non-litteraire. Elle met en question le theatre moderne qu'on s'appelle le nouveau theatre, qui a domine la scene dramatique du vingtieme siecle. Ce travail en premier temps met en question l'effet de l'idee de la modernite dans le domaine litteraire et specifiquement dans le genre theatral. En deuxieme temps, ce travail concerne la comparaison entre le theatre avant garde de beckett et le theatre expressionniste d'o'neill. Pour conclure l'etude mettent en comparaison en attendant godot et the iceman cometh pour avoir une meilleure comprehension des differences et des similitudes qu'on temoigne dans les deux phenomenes theatraux
This study is based on modern aesthetics theory which defines itself through the conception of decontextualisation and recontextualisation of an literary text or spectacle. By posing the question of objectivity in literary texts or spectacles one can define the tendances in the domaine of literature today. This study also focus on the never ending question of defining what is and is not a literary text and how to judge and classifly a text or spectacle as that belonging to literature. This study focus on the modem theater which have dominated the stage during the twentith century. First, the effet of the idea concerning modernisime is taken into account in all its facettes, and how it has affected the literary field in this century. Secondly, the difference and the similarities of the two theaters concerned here is taken into account to define the modem theater and its definitions, finally the third part focus on a direct comparaison between en attendant godot and the iceman cometh to discerne more clearly the differences and the similarities that one finds in the two theaters
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Jesus, Leila Vieira de. "A study of fools : Lear's fool in Shakespeare's King Lear and Vladimir and Estragon in Beckett's Waiting for Godot." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2012. http://hdl.handle.net/10183/54076.

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O foco dessa dissertação é analisar o papel, as características, e a presença dos bobos ao longo da história, focando em sua constante aparição no teatro. Os personagens principais da minha análise serão o Bobo, na peça Rei Lear de William Shakespeare, e Vladimir e Estragon, na peça Esperando Godot de Samuel Beckett. Na análise desses personagens, discuto semelhanças entre os autores, que já foram notadas por críticos como Martin Esslin, Jan Kott, e Northrop Frye, e mostro como os personagens de Beckett são similares aos bobos de Shakespeare. Bobos, no teatro, frequentemente agem como mediadores entre o palco e a plateia, guiando os espectadores e falando verdades. O Bobo de Lear diz verdades criticando seu mestre e o lembrando das decisões erradas que ele tomou; os personagens em Esperando Godot dizem verdades sobre a falta de sentido de nossas vidas e, mais importante, nos mostram essa falta de sentido no decorrer da peça. Em relação à linguagem, o uso dela pelos bobos é diferente do uso dos outros personagens porque eles a manipulam para criar desentendimentos e jogos de palavras. No teatro de Shakespeare, a principal razão para esse uso peculiar da linguagem é que os bobos querem mostrar sua sagacidade; no teatro de Beckett, eles usam uma linguagem sem sentido para mostrar que ela está quebrada e que tentativas de comunicação são inúteis. Através das ações e diálogos dos bobos de Beckett em Esperando Godot, podemos ver que a vida é absurda e que vivemos em um mundo cheio de incertezas. Apesar de personagens bobos geralmente serem vistos como superficiais e insignificantes, especialmente nas peças de Shakespeare, eles são extremamente importantes no teatro e têm uma maneira única de interagir com os outros personagens e com o público.
The focus of this thesis is to analyze the role, characteristics, and presence of fools throughout history, focusing on their recurrence in the theater. The characters I will focus on are Lear's Fool in William Shakespeare's King Lear, and Vladimir and Estragon in Samuel Beckett's Waiting for Godot, discussing similarities between the two authors, which have been mentioned by critics such as Martin Esslin, Jan Kott and Northrop Frye, and showing how Beckett's characters are similar to Shakespearean fools. Fools in the theater often act as mediators between the stage and the audience, guiding spectators and telling truths. Lear's Fool tells truths by criticizing his master and reminding him of the wrong decisions he has made; the characters in Waiting for Godot tell truths about the meaninglessness of life and, most importantly, show us this meaninglessness throughout the play. The use of language by fools is different from that of other characters because they manipulate it to create misunderstandings and word games. In Shakespeare's theater, the main reason for this peculiar use of language is that fools want to show their wit; in Beckett's theater, the characters use nonsensical language to show that language has broken down and that attempts at communication are pointless. Through the actions and dialogues of Beckett's fools in Waiting for Godot, we can see that life is absurd and that we live in a world full of uncertainties. In spite of the fact that fool characters are often seen as shallow and insignificant, especially in Shakespeare's theater, they are of extreme importance in the theater and have a unique manner of interacting with other characters and with the audience.
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Protin, Matthieu. "Pratique et poétique du drame : Beckett auteur-metteur en scène de son premier théâtre." Thesis, Paris 3, 2014. http://www.theses.fr/2014PA030171.

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En mettant en scène Warten auf Godot en 1975 au Schiller Theater, Beckett déclare : « Je ne connaissais rien au théâtre quand j’ai écrit cette pièce. » Constat précieux : l’auteur parle au passé. Entre l’écriture et la mise en scène, un savoir a été acquis. Le défaut de savoir constaté concerne la dimension pratique du théâtre. C’est le théâtre tel qu’il se fait auquel Beckett s’est peu à peu confronté, jusqu’à assumer la mise en scène de ses propres pièces. Devenu praticien, l’auteur s’empare de se première œuvres, les reprend : dans cette reprise lui apparaissent les failles et les manques initiaux. Loin de relever d’une continuité ou d’une évidence, la mise en scène par l’auteur de son premier théâtre et les réécritures auxquelles elle donne lieu offrent un aperçu sur la façon dont l’intériorisation par Beckett de deux fonctions qui ont joué un rôle fondamental dans l’histoire du théâtre au XXe siècle soumet ses pièces à une dynamique de création seconde qui fait évoluer sa poétique initiale. Beckett ne considère pas l’œuvre écrite comme une partition dont il faudrait assumer l’exécution. Au contraire, au fil de sa pratique scénique, il les dramatise et les théâtralise, témoignant de l’évolution même de sa conception du théâtre. Il passe d’un « théâtre rêvé » à un « théâtre pratiqué ». Dans ce passage se dévoilent les méandres et les détours d’une écriture dramatique façonnée initialement dans un creuset romanesque, qui va progressivement acquérir une théâtralité plus marquée. La pratique soumet alors la poétique à une dynamique de reprise et d’ajustements dévoilant en définitive un « Beckett en mouvement », qui allie pratique scénique et poétique du drame pour fonder une poétique théâtrale complexe
While staging Warten auf Godot in 1975 at the Schiller Theater, Beckett says : « I knew nothing about theater when I wrote this. » The use of the past tense points out the fact that between the writing process and the staging process, something has been learnt. What he did ignore is theater as an artistic practice, as a performance. He will discover it progressively during the 1950’s and the 1960’s and eventually will become the director of his own plays. Our work aims at showing how this shift from desk to stage will lead him to rewrite them, carrying on the creative process directly from the theatre, and, in return, how his very conception of directing is shaped by the singularity of these plays. Far from considering stage directing as a mere execution of the stage directions, Beckett dramatizes and theatricalises his works. Thus, his very conception of theater evolves from an abstract vision, drama as it appears in a literary form, to very a practical one, transforming the very theatricality at stake in his plays. Stage directing and theatre writing are then offering a constant interface, which leads to the emergence of what may be called a theatrical creation in which practical standpoint and literary creation are linked together
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Melin, Thomas. "Sista brevet till Godot : Utvandrarserien som absurd teaterpjäs." Thesis, Umeå universitet, Institutionen för kultur- och medievetenskaper, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-122294.

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Tucker, Amanda. "Godot in Earnest: Beckettian Readings of Wilde." Thesis, University of North Texas, 2003. https://digital.library.unt.edu/ark:/67531/metadc4248/.

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Critics and audiences alike have neglected the idea of Wilde as a precursor to Beckett. But I contend that a closer look at each writer's aesthetic and philosophic tendencies-for instance, their interest in the fluid nature of self, their understanding of identity as a performance, and their belief in language as both a way in and a way out of stagnancy -will connect them in surprising and highly significant ways. This thesis will focus on the ways in which Wilde prefigures Beckett as a dramatist. Indeed, many of the themes that Beckett, free from the constraints of a censor and from the societal restrictions of Victorian England, unabashedly details in his drama are to be found residing obscurely in Wilde. Understanding Beckett's major dramatic themes and motifs therefore yields new strategies for reading Wilde.
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Books on the topic "En attendant Godot (Beckett)"

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Zard, Philippe. Beckett, En Attendant Godot. Paris: Bordas, 1991.

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Ryngaert, Jean-Pierre. En attendant Godot. Paris: Dunod, 1993.

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Ryngaert, Jean-Pierre. Lire en attendant Godot. Paris: Dunod, 1993.

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Dizier, Anna. En attendant Godot: Samuel Beckett. Paris: Bertrand-Lacoste, 1993.

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Beckett, Samuel. En attendant Godot. La Chaux-de-Fonds: D.-P. Bourquin, 1985.

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Journée d'études d'agrégation (1998 Lyon, France). Lire Beckett: "En attendant Godot", "Fin de partie". Lyon: Presses universitaires de Lyon, 1998.

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Hervé, Bismuth, and Ross Ciaran, eds. "En attendant Godot", "Fin de partie" de Samuel Beckett. Paris: Editions du temps, 1998.

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Phalèse, Hubert de. Beckett à la lettre: En attendant Godot, Fin de partie. Paris: Nizet, 1998.

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En attendant Godot =: Waiting for Godot : tragicomedy in 2 acts. New York: Grove Press, 2006.

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Beckett, Samuel. En attendant Godot =: Waiting for Godot : tragicomedy in 2 acts. New York: Grove Press, 2006.

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Book chapters on the topic "En attendant Godot (Beckett)"

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Hesse, Gisela. "Beckett, Samuel: En attendant Godot." In Kindlers Literatur Lexikon (KLL), 1–2. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_2672-1.

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Koehn, Elisabeth Johanna. "Waiting for … Becketts En attendant Godot / Waiting for Godot in Cartoon und Comicstrip." In Klassik als kulturelle Praxis, edited by Paula Wojcik, Stefan Matuschek, Sophie Picard, and Monika Wolting, 247–62. Berlin, Boston: De Gruyter, 2019. http://dx.doi.org/10.1515/9783110615760-015.

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Topsfield, Valerie. "Waiting for Godot." In The Humour of Samuel Beckett, 94–101. London: Palgrave Macmillan UK, 1988. http://dx.doi.org/10.1007/978-1-349-19364-6_8.

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Gidal, Peter. "Quote: Didi and Gogo (Godot) Dialogue." In Understanding Beckett, 69–74. London: Palgrave Macmillan UK, 1986. http://dx.doi.org/10.1007/978-1-349-18113-1_14.

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Boxall, Peter, and Nicolas Tredell. "First Responses to Waiting for Godot and Endgame." In Samuel Beckett, 9–50. London: Macmillan Education UK, 2003. http://dx.doi.org/10.1057/978-1-137-13093-8_2.

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Gidal, Peter. "Quote: Endgame, Hamm and Clov; Godot, Didi and Gogo." In Understanding Beckett, 51–55. London: Palgrave Macmillan UK, 1986. http://dx.doi.org/10.1007/978-1-349-18113-1_11.

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Simpson, Hannah. "Waiting for Godot and the Fascist Aesthetics of the Body." In Beckett and Politics, 155–71. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-47110-1_10.

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Birkett, Jennifer. "The Life and Work of Samuel Beckett." In Waiting for Godot by Samuel Beckett, 1–14. London: Macmillan Education UK, 1987. http://dx.doi.org/10.1007/978-1-349-08565-1_1.

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Birkett, Jennifer. "Summary and Critical Commentary." In Waiting for Godot by Samuel Beckett, 15–34. London: Macmillan Education UK, 1987. http://dx.doi.org/10.1007/978-1-349-08565-1_2.

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Birkett, Jennifer. "Themes and Issues." In Waiting for Godot by Samuel Beckett, 35–42. London: Macmillan Education UK, 1987. http://dx.doi.org/10.1007/978-1-349-08565-1_3.

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