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1
Smits-Veldt, Mieke B. "Samuel Coster, ethicus-didacticus : een onderzoek naar dramatische opzet en morele instructie van Ithys, Polyxena en Iphigenia /." Groningen : Wolters-Noordhoff/Forsten, 1986. http://catalogue.bnf.fr/ark:/12148/cb37148521m.
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2
Sardón, José Luis. "Samuel P. Huntington." Universidad Peruana de Ciencias Aplicadas (UPC), 2013. http://hdl.handle.net/10757/285453.
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3
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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4
Pichon, Samuel. "Système de sécrétion de type IV et protéines à domaines ankyrines dans les interactions Wolbachia-arthropodes." Poitiers, 2009. http://theses.edel.univ-poitiers.fr/theses/2009/Pichon-Samuel/2009-Pichon-Samuel-These.pdf.
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Wolbachia est une bactérie Gram(-) intracellulaire modifiant la reproduction de nombreux arthropodes. Chez l'isopode Armadillidium vulgare, la souche wVulC entraîne la féminisation des mâles. Nous avons caractérisé deux opérons vir s’exprimant dans tous les tissus hôtes et codant un système de sécrétion de type IV (T4SS) pouvant permettre d'exporter des effecteurs bactériens vers le cytoplasme de l'hôte. La comparaison des séquences et de l'organisation des gènes de 37 souches de Wolbachia a révélé la forte conservation des deux opérons vir suggérant l'importance du T4SS dans la biologie de la bactérie. Nous avons également identifié, dans le génome en cours de séquençage de wVulC, 66 gènes codant des protéines à domaines ankyrines. Ces motifs forment des sites d'interactions protéine-protéine chez les eucaryotes et sont supposés être impliqués chez Wolbachia dans l'interaction avec des protéines de l’hôte. Nous avons montré qu'une des trois copies du gène pk2 de wVulC, n'est exprimée que chez des souches féminisantes mais chez aucune des 3 souches induisant l’incompatibilité cytoplasmique chez les isopodes terrestres. Ce produit du gène pk2 pourrait être impliqué dans la féminisation de l’hôte. Toutefois, nous avons réalisé des tests d'interaction par double-hybride en levures et par la méthode CRAfT (Crerecombinase Reporter Assay for Translocation) entre les protéines du T4SS et cinq protéines à domaines ankyrines dont Pk2 afin de savoir si ces dernières étaient sécrétées par ce système. Les résultats montrent qu'aucun des cinq produits de gènes ank testés n'est sécrété par la bactérie mais se révèlent encourageants pour identifier les effecteurs de Wolbachia<br>Wolbachia are intracellular Gram(-) bacteria that are reproductive manipulators of many arthropods. In the isopod Armadillidium vulgare, the Wolbachia wVulC strain induces male feminization. Here, we characterized two vir operons which are expressed in all host tissues and which encode a type IV secretion system (T4SS) used to translocate bacterial effectors into host cytoplasm. Gene organization and sequence comparison in 37 Wolbachia strains highlighted the high conservation of both vir operons and their importance for the biology of the bacteria. We also identified in the on-going assembly of the wVulC genome, 66 ankyrin domain-encoding genes. Ankyrin motifs are known to mediate protein-protein interactions in eukaryotic organisms and thus are suggested to mediate in Wolbachia the interaction with host molecules. We showed that one of the three copies of the wVulC pk2 gene is only expressed in feminizing strains but not in the three strains inducing cytoplasmic incompatibility in terrestrial isopods. The associated Pk2 protein could be involved in male feminization. We thus tested the interaction between three T4SS proteins and five ankyrins (including Pk2) via the yeast twohybrid and CRAfT (Cre-recombinase Reporter Assay for Translocation) methods. None of the five ankyrin proteins were revealed to be secreted by the wVulC strain. Nevertheless, this promising approach may enable us to identify Wolbachia effectors
5
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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6
Klement, Herbert H. "2 Samuel 21-24 : structure, context and meaning in the Samuel conclusion." Thesis, Coventry University, 1995. http://curve.coventry.ac.uk/open/items/19c8c1ce-e727-420e-9a9f-31f95d6b1c26/1.
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The examination of the final chapters of the books of Samuel offered here proceeds initially from an unease about the frequent pejorative appraisal of them as an unsuitable, late addition that is out of place in its context. Taking a cue from the recent interest in initial and concluding texts in the context of literary and "Canonical" methods, the work attempts to describe this text complex, with its six chiastically arranged units, in terms of its literary function as a concluding text in relation to the rest of the preceding book. Following remarks of W. Brueggemann and J. Flanagan, the ring structure is further compared with other groups of texts in the Samuel corpus. The specific, overarching macrostructure which is thus perceived is structured not according to linear-chronological principles but according to patterns of parallelism and chiasmus. This observation of a concept of order that is distinct from modem western convention is understood, following Emma Brunner-Traut, as deriving from an "aspectival" perception of reality. By means of this kind of reading, many inner relationships open up, binding the closing chapters to the other parts of the book in such a way that it is shown to be a unified literary work. The two poetic texts are shown to stand in a complex relationship with the four other songs of the books of Samuel. The allusion to the prophet Gad belongs in a series of six encounters between David and prophets, arranged as a set of three pairs. The two lists of soldiers are interpreted by analogy with the double lists of the sons and ministers of David. The final contrast, in the closing chapter, between the two kings, Saul and David, and the polarity - expressed in the tension between centre and periphery - between rule of Yahweh and sin of the kings, both mirror and finally draw together the main themes of the book. These relationships suggest that the appraisal of the closing chapters as a late addition is in need of revision. It will be argued that they should be interpreted in close connection with the rest of the book.
7
Pajares, Infante Eterio. "Richardson en España." León : Secretario de publ., Universidad de León, 1989. http://catalogue.bnf.fr/ark:/12148/cb376797169.
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8
Daphinoff, Dimiter. "Samuel Richardsons "Clarissa" : Text, Rezeption und Interpretation /." Bern : Francke Verl, 1986. http://catalogue.bnf.fr/ark:/12148/cb34933974v.
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9
Jones, Robert. "Beckett and the philosopher." Diss., Connect to the thesis, 2004. http://hdl.handle.net/10066/684.
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10
Tan, Tijen. "Existentialism And Samuel Beckett." Master's thesis, METU, 2007. http://etd.lib.metu.edu.tr/upload/12608995/index.pdf.
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This thesis carries out an analysis of the plays by Samuel Beckett, Endgame and Happy Days. It achieves this by exploring how the playwright&rsquo<br>s characterization, setting and use of language in these plays display his tendency to employ some existentialist concepts such as despair, anxiety and thrownness on the way to authenticity. This study argues that there are some similarities between Beckett&rsquo<br>s two plays and Existentialism, and some characters in both plays display the existentialist man who is looking for becoming an authentic man. In other words, although there are some differences, these plays show that Samuel Beckett&rsquo<br>s view of Existentialism is quite similar to the Sartrean view.
11
Whidden, M. "Samuel Colman : 1780 - 1845." Thesis, University of Edinburgh, 1985. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.372982.
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12
Johnston, F. "Samuel Johnson's diminutive histories." Thesis, University of Cambridge, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.605670.
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"The greater part of readers [...] will wonder that on mere trifles so much labour is expended, with such importance of debate, and such solemnity of diction. To these I answer with confidence, that they are judging of an art which they do not understand; yet cannot much reproach them with their ignorance, nor promise that they would become in general, by learning criticism, more useful, happier or wiser" (<I>Yale, </I>VII, 108-9). There is an ethics of attention deep in the conduct of this extract, hostile to mockery of trifles but somewhat ashamed of elevating minutiae. It is typically honest about the dubious value of heeding the little. Chapter 1 examines Johnson's double attitude to minutiae, and argues that the border category of diminutives allows him to challenge assumptions about the proper domain of literature. By rehearsing a conflict between great and little, Johnson calibrated the opposing claims of pagan and Christian values. Ancient criticism stated that each subject merited a corresponding style: little matters calls for the low, lofty matters for the high. Gospel writers, however, repeatedly stress Christ's Incarnation in a person of humble station as a positive descent to the humanly little. There is, on Christian terms, no definitively low subject. Nor should everyday occurrences, if they assume the significance of epoch-making events, be expressed in a correspondingly base manner. A double attachment to pagan and Christian tradition accounts for Johnson's simultaneous contempt and regard for trifles. Chapter 2 examines his paternal relation to a sub-genre of nonhuman adventures. These stories are referred to as 'little lives', a phrase taken from Johnson's description of his biographies.
13
Mommer, Peter. "Samuel : Geschichte und Überlieferung /." Neukirchen-Vluyn : Neukirchener Verl, 1991. http://catalogue.bnf.fr/ark:/12148/cb35698496v.
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14
Clavier, Évelyne. "Danser avec Samuel Beckett." Thesis, Bordeaux 3, 2018. http://www.theses.fr/2018BOR30022.
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Ce travail de recherche se propose d’analyser le rapport de Samuel Beckett (1906-1989) à la danse ainsi que la relation de deux chorégraphes contemporains Dominique Dupuy (1930-) et Maguy Marin (1951-) à ses œuvres. La première partie démontre que Samuel Beckett a été influencé par la danse moderne qu’il a découverte dans l’entre-deux-guerres. Son écriture est devenue plus gestuelle et son propos plus politique. Ainsi, aux corps sains et glorieux promus par les arts nazis, oppose-t-il dans son premier théâtre les corps vulnérables travaillés par la vieillesse et les handicaps, ceux d’hommes que le IIIe Reich a voulu rendre superflus. En 1953, la danse de Lucky d’En attendant Godot est un moyen de dire l’innommable de cette violence. En 1981, la danse de Quad fait resurgir les fantômes du passé pour prévenir le retour du pire. Comment le dire ? La danse, un art du « non mot » participe à cette recherche qui traverse l’œuvre de Samuel Beckett. Ce dont on ne peut pas parler, c’est cela qu’il faut danser. Dans un deuxième temps, cette étude montre comment les œuvres de Samuel Beckett sont à leur tour inductrices de danses où les êtres vulnérables résistent et appellent au care. Danser avec Oh les beaux jours, Acte sans paroles et Cap au pire permet à Dominique Dupuy d’interroger les possibles du grand âge et d’en transformer les représentations. A partir de Fin de partie, Maguy Marin écrit en 1981 May B, une pièce chorégraphique, aux antipodes de la danse performante, qui rend visibles les handicaps. Son œuvre invite à une lecture actualisante de l’œuvre de Samuel Beckett prenant en considération la condition des personnes handicapées et permettant d’entrevoir la possibilité d’une société plus inclusive. La dernière partie témoigne qu’une lecture éthique des œuvres de Samuel Beckett et de leurs projections chorégraphiques peut devenir le vecteur de pratiques d’inclusion et d’émancipation par l’école. Telle est la vocation du projet Meeting Beckett mené en 2016-2017 en partenariat avec le chorégraphe K Goldstein, avec les élèves en situation de handicap d’un dispositif Ulis (Unité localisée pour l’inclusion scolaire) et ceux d’une classe de 5ème. Il s’agit enfin de se demander dans quelle mesure les pratiques artistiques peuvent susciter de nouveaux gestes professionnels à l’école et initier une dynamique inclusive, capable de faire une place à chacun et chacune au sein de la société<br>This research analyses the relationship of Samuel Beckett (1906-1989) to dance and the relationship of two contemporary choreographers Dominique Dupuy (1930-) and Maguy Marin (1951-) to his works. The first part shows that Samuel Beckett was influenced by the modern dance he discovered between the two World Wars. His writing became more gestural and his discourse more political. Thus, to the healthy and glorious bodies promoted by the Nazi arts, he opposed in his first theatre the vulnerable bodies weakened by old age and disabilities, those of men whom the Third Reich wanted to make superfluous. In 1953, Lucky's dance in Waiting for Godot is a way of telling the unnamable of this violence. In 1981, the dance of Quad brings back the ghosts of the past to prevent the return of the worst. How to say? Dance, an art of the "non word", is part of this research that runs through Samuel Beckett's work. What one can't talk about is what one has to dance about. Secondly, this study shows how Samuel Beckett's works induce dances in which vulnerable beings resist and call for care. Dancing with Happy days, Act Without Words I and Worstward Ho allows Dominique Dupuy to question the possibilities of old age and transform its representations. Starting with Endgame, Maguy Marin wrote May B in 1981, a choreography miles apart from high-performance dance, which makes disabilities visible. Her work offers an updated reading of Samuel Beckett's work that takes into consideration the condition of disabled persons and allows us to envision the possibility of a more inclusive society. The last part shows that an ethical reading of Samuel Beckett's works and their choreographic projections can become the vector of inclusion practices and emancipation at school. This is the vocation of the Meeting Beckett project conducted in 2016-2017 in partnership with choreographer K Goldstein, with disabled pupils from an Ulis (Unité localisée pour l'inclusion scolaire) and 5th graders. Finally, we need to ask ourselves to what extent artistic practices can encourage new professional gestures at school and initiate an inclusive dynamic, capable of giving a place for everyone in society
15
Vigus, James. "Platonic Coleridge /." London : Legenda, 2009. http://catalogue.bnf.fr/ark:/12148/cb413640637.
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16
Kirlic, Alma. "Samuel Klingenstierna: Spel och sannolikhetsteori." Thesis, Uppsala University, Department of Mathematics, 2003. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-121417.
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17
Johnstone, Patrick Douglas. "Samuel Beckett's Trilogy in context." Thesis, Birkbeck (University of London), 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.498293.
Texte intégralRésumé :
This thesis examines the relationship between Samuel Beckett's Trilogy - 'Molloy', 'Malone Dies' and 'The Unnamable' - and the contexts in which it was written and has been read. Chapter 1 considers the Trilogy's critical reception, reflecting on its contentious construction as a distinctly Irish set of texts, and the broader contexts in which this takes place. It focuses on the writing of early Beckett critics Vivian Mercier and Hugh Kenner, and of Irish Studies critics in the 1980s and 1990s. Chapter 2 presents close readings of the novels which explore how Beckett's experience of Ireland and his Irish Protestant background inform them in fundamental ways. Their critique of the Irish Free State's attitude to sexuality, and the severe self-scrutiny of the Low Church Protestantism Beckett grew up with, is probed, along with the peculiarly 'Protestant Gothic' shape this takes. The national context moves to France in chapter 3, where the Trilogy is read alongside the contemporary literary theory of Roland Barthes and Maurice Blanchot. Preoccupied with ideas of the neutral and neutrality, their work makes visible the penetration of Cold War political neutralism, pervasive in France at the time, into the theory and practice of literature - the context framing the Trilogy's interpretation here. Finally, the Trilogy's representation of contemporary death is analysed. Medicalized to the point where life can be sustained almost indefinitely, death has been said to have 'disappeared' in the twentieth century. This historically specific distension of dying and 'disappearance' of death is shown to constitute one of the Trilogy's principal concerns. Though the relationship between Beckett's Trilogy and its contexts appears threadbare and is frequently overlooked, this thesis illuminates its breadth, depth and significance, demonstrating that a thorough knowledge of its complex, multifaceted and deeply rooted nature is crucial to our understanding of Beckett's three novels.
18
Grosse-Onnebrink, Jörg. "Der Gottesbegriff bei Samuel Hahnemann." [Gauting] Irl, 2004. http://deposit.ddb.de/cgi-bin/dokserv?id=2621547&prov=M&dok_var=1&dok_ext=htm.
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19
Williams, Katherine Ruth. "Samuel Richardson and amatory fiction." Thesis, University of Oxford, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.422578.
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20
Prince, Eric Samuel. "The stagecraft of Samuel Beckett." Thesis, University of Ulster, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.260836.
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21
Adair, James Robert. "Reconstructing 1 Samuel chapter 3." Thesis, Stellenbosch : Stellenbosch University, 1993. http://hdl.handle.net/10019.1/58117.
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Thesis (MA)--Stellenbosch University, 1993.<br>ENGLISH ABSTRACT: My Ph.D. dissertation proposed a four-step procedure for recovering the earliest
possible text of the Old Testament: (1) detennining the lexical and grammatical characteristics
of the various secondary (non-Hebrew) witnesses; (2) determining the literary and theological
characteristics of the same witnesses; (3) retroverting the non-Hebrew witnesses wherever
significant variants occur; (4) evaluating the Hebrew and retroverted variants and
reconstructing a Hebrew Vorlage presumed to lie behind all of the extant witnesses. The
dissertation itselfcompleted the fIrst two of these steps, which a..rnount to a determination of the
significant variants (i.e., those that probably point to a Hebrew reading different from M'I) of
the secondary wiblesses. It is the goal of this thesis to complete the analysis and produce a
critical, eclectic Hebrew text of 1 Samuel 3.
Before attempting to retrovert the different secondary witnesses, a number ofproblem
areas need to be addressed, including developing a methodology for retroverting versional
readings that is as scientific as possible, the Hebrew script used in the Vorlagen of the various
versions, and the orthography of the Vorlagen and of the reconstructed archetype. The
methodology used for retroverting secondary witnesses is informed by the works of Margolis,
Tov, and others, and the translation techniques of the versions as. determined in mydissertation
playa large role. The methodology must be modified somewhat when analyzing the partial
secondary witnesses (the Lucianic and Hexaplaric recensions of LXX).
Once the secondary witnesses have been retrov~their data is combined with that of
MT, 4QSama, and a few other Hebrew witnesses and evaluated. The problems of multiple
literary editions and conjectural emendations are examined, as are the merits ofexternal and
internal evidence in making text-critical decisions. After each of the units ofvariation has been
evaluated, the possibility that LXX represents an edition of Samuel different from MT is considered on the basis of the evidence from chapter 3. Finally, a critical edition of the
chapter, replete with critical apparatuses containing both the original and retroverted readings of
the secondary witnesses, presents the fruits of the study.<br>AFRIKAANSE OPSOMMING: In my Ph.D. proefskrif het ek vier stappe voorgestel wat as prosedure gevolg kan word
om die oudste moontlike teks van die au Testament te bepaal.: (1) die vasstelling van die
leksikale en grammatikale kenmerke van die onderskeie sekond~re (nie-Hebreeuse)
getuies; (2) die vasstelling van die liter~re en teologiese kenmerke van dieselfde getuies;
(3) die hervertaling (retrovertion) van die nie-Hebreeuse getuies waar daar betekenisvolle
variante voorkom; (4) die evaluering van die Hebreeus en die hervertaa1de variante en die
rekonstruksie van 'n Hebreeuse Vorlage wat aanvaar word agter aIle beskikbare getuies te
l~. Die proefskrif self het die eerste twee stappe voltooi, wat neergekom het op die
vasstelling van die betekenisvolle variante (d.i. die wat waarskynlik heenwys na 'n lesing
wat van MT verskil) van die sekondere getuies. Dit is die doel van hierdie tesis om die
analise te voltooi en om 'n kritiese, eldektiese teks van die Hebreeuse teks van 1 Samuel
3 daar te stel.
Voordat ek egter poog am die verskillende sekond~re getuies te hervertaal, moet 'n aantal
probleem areas eers aangespreek word. Dit sluit in die ontwerp van 'n metode om
variante lesings uit die vroee vertalings so wetenskaplik moontlik te hervertaal, die
Hebreeuse skriftipe wat in die onderskeie Vorlagen gebruik is, en die ortografie van die
Vorlagen en van die rekonstrueerde oertipe vas te stel. Die metode wat aangele word om
sekond~re getuies te hervertaal steun gedeeltelik op die navorsing van Margolis, Tov en
ander. Verder speel die vertaaltegniek van die vroee vertalings wat in my proefskrif
bepaal is 'n groot ro!. Die voorgestelde metode moet ietwat aangepas word wanneer die
gedeeltelik sekondere getuies (die Lukiaanse en Heksaplariese resensies van die LXX)
geanaliseer word.
Nadat die sekondere getuies hervertaal is, word hulle data gekombineer met die van MT,
4QSama, en enkele ander Hebreeuse getuies en geevalueer. Die probleme verbonde aan
meervondige literere uitgawes en hipotetiese emendasies word ondersoek, SODS ook die
meriete van eksterne en interne getuienis wanneer tekskritiese beslissings gevel word.
Nadat elkeen van hierdie eenhede van variasie geevalueer is, word die moontlikheid ondersoek dat die LXX 'n uitgawe verteenwoordig van Samuel wat verskil van MT op
grond van die getuienis van hoofstuk 3. Laastens word 'n kritiese uitgawe van hierdie
hoofstuk, volledig met kritiese apparaat wat beide die oorspronklike en die hervertaalde
lesings van die sekondere getuies bevat, as vrugte van hierdie studie aangebied.
22
Kirschbaum, Saul. "Samuel Rawer: profeta da alteridade." Universidade de São Paulo, 2000. http://www.teses.usp.br/teses/disponiveis/8/8152/tde-02052002-160552/.
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Esta pesquisa teve como objetivo central contribuir para o resgate da obra de Samuel Rawet, principalmente através da análise de sua primeira coletânea, Contos do Imigrante, publicado em 1956. Buscou-se estabelecer o lugar de sua produção literária, sob duas óticas concomitantes e convergentes: a da literatura judaica produzida no Brasil e a da literatura brasileira no gênero que Rawet privilegiou, o conto. Na busca da consecução dessas metas, a pesquisa foi dividida em cinco partes: O capítulo primeiro, Fortuna Crítica de Samuel Rawet, apresenta um levantamento, ao longo da carreira de Rawet, sobre como se procedeu a recepção de sua obra pela crítica especializada; para tanto, foram pesquisados jormais, revistas de literatura e livros de crítica literária. Constatou-se que, em termos gerais, os especialistas sempre acolheram favoravelmente os textos de ficção publicados por Rawet, não obstante algumas poucas opiniões desabonadoras. Porém, o que surpreende, por sua escassez, é a quantidade de textos que tratam da obra de Rawet, a crescente indiferença dos analistas. O capítulo segundo, Uma Autobiografia, procura traçar um panorama da vida de Rawet, com absoluta ênfase para os aspectos relacionados com sua produção literária. Para tanto, foram compilados trechos de entrevistas concedidas por Rawet em diferentes momentos de sua carreira. Estes depoimentos foram contextualizados pelo autor por meio de análises das condições de vida dos judeus na Europa Oriental e de como se procedeu o grande êxodo da Rússia e da Polônia, principalmente para os Estados Unidos, mas também para o Brasil e para outros países americanos. O capítulo terceiro, Narratividade, Linguagem, Exclusão, analisa os primeiros cinco contos da coletânea Contos do Imigrante, ou seja, os contos em que Rawet se detém em protagonistas judeus, em suas relações com as respectivas famílias e com a comunidade judaica, grupos tradicionalmente tidos como pilares da vivência judaica. O capítulo quarto, A Responsabilidade Social, busca observar, por meio da leitura dos cinco contos não-judaicos da coletânea Contos do Imigrante, o surgimento da consciência social no jovem Samuel Rawet, na medida em que se sente, cada vez, mais um pensador brasileiro. Por fim, o capítulo quinto, Bibliografia Geral, relaciona todas as obras de Samuel Rawet e tudo o que foi escrito a seu respeito, de cuja existência o autor teve conhecimento, além de outras obras de caráter geral utilizadas no texto. Apesar de ter presente que essa relação é incompleta, acredito que poderá servir de ponto de partida para outros interessados, e espero ter dado um passo, ainda que modesto, no caminho de uma sistematização da bibliografia de e sobre Samuel Rawet, cuja importância é correlativa da importância do próprio Samuel Rawet para a literatura brasileira e para a produção cultural judaico-brasileira.<br>This research has had as its central purpose to contribute for the rescue of Samuel Rawets work, mainly through the analysis of his first book, Contos do Imigrante (Immigrant stories), published in 1956. It was sought to establish the locus of his literary production, under two concomitant and converging optics: that of the Jewish literature produced in Brazil, and that of the Brazilian literature of the genre privileged by Rawet, the short story. Searching to attain these goals, the research has been divided into five parts: Chapter one, Samuel Rawets Critical Fortune, surveys the reception of Rawets works by the specialized critique alongside his career; newspapers, literature magazines, and books on literature critique were searched. It has been observed that, in general terms, specialists have always given Rawets fictional works a favorable welcome, notwithstanding some few dissonant opinions. However, what astonishes us, for its scarcity, is the number of texts dealing with Rawets work, the growing indifference of the critics. Chapter two, An Autobiography, tries to draw a panorama of Rawets life, with absolute emphasis on the aspects related to his literary production. For this purpose, passages extracted from interviews given by Rawet in different points of his career have been compiled. These testimonies were contextualized by the present author by means of analyses of Jewish life conditions in Eastern Europe and of the particularities of the great exodus from Russia and Poland, mainly to the United States but also to Brazil and other American countries. Chapter three, Narrativity, Language, Exclusion, analyses the first five stories in the anthology Contos do Imigrante, that is, those in which Rawet focuses on Jewish protagonists, the relationships with their respective families and with the Jewish community, groups that are traditionally held as pillars of the Jewish life. Chapter four, Social Responsibility, tries to observe, through the reading of the five "non-Judaic" stories of the anthology Contos do Imigrante, the appearance of a social conscience in the young Samuel Rawet as he feels more and more like a Brazilian thinker. At last, chapter five, General Bibliography, presents a list of Samuel Rawets books and all that has been written about him, of whose existence the present author has had acquaintance, besides other works of general character that the author has made use of. Despite being aware that this relation is not complete, I believe that it may serve as a starting point for other researchers, and I hope to have advanced a step, if modest, towards the systematization of a bibliography by and on Samuel Rawet, whose importance is correlate to the importance of Samuel Rawet himself for Brazilian literature and for the Jewish-Brazilian cultural production.
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Nishimura, Izumi. "Samuel Beckett : un univers polyphonique." Paris 8, 2006. http://www.theses.fr/2006PA083616.
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Cette étude est une recherche herméneutique qui implique une critique génétique se propose d’éclaircir le déploiement de la conscience intérieure des sujets à travers la structure intrinsèque de l’œuvre de Samuel Beckett. Il est courant de mettre en valeur la perte a posteriori de l’identité d’un sujet dans l’univers beckettien avec des termes négatifs liés au désespoir. Cependant, d’après les réécritures entre version anglaise et française, entre manuscrit et texte publié, nous pouvons affirmer que l’important réside dans l’interchangeabilité ou le décalage de nombreux sujets à l’intérieur de l’espace microcosmique. Ces sujets atomiques n’ont rien à voir avec les fonctions humaines telles que la volonté, le sentiment et la communication ; ils sont originellement absents, mais murmurent sans l’aide de la langue donnée. En nous appuyant notamment sur les notions de polyphonie (Bakhtine) et de multiplicité (Deleuze), nous avons analysé principalement les textes romanesques selon trois axes : 1. Lutte / Carnaval, 2. Polyphonie / Univers, 3. Imagination inclusive. Beckett a tout d’abord essayé de distinguer son récit des normes narratives, puis, a fait plusieurs expériences langagières en fixant un espace clos, et a finalement conféré de l’intensité à cet espace. Avec les nouveaux canons qui se sont imposés au cours des rédactions, il en est arrivé à réduire les systèmes langagiers à un état de suspension. Ses textes, ses écrits et ses personnages ne sont pas des entités finies ; ils restent toujours dans une relation dynamique<br>This is a hermeneutical study which encompasses genetic criticism in an attempt to reveal the development of inner consciousness of the subjects by analysing the intrinsic structure of Samuel Beckett’s work. It is common to emphasize the loss a posteriori of the identity of a subject in the Beckett’s world with negative terms connected with despair. However, according to the rewritings of English and French versions of his works, and of both manuscripts and published texts, we can stress the importance residing in the interchangeability or the discrepancy of many subjects in the microcosmic space. These atomic subjects have no relationship with human functions such as will, feelings or communication; they are originally absent, but murmur without the assistance of a given language. By drawing, in particular, on the concepts of polyphony (Bakthin) and multiplicity (Deleuze), we have mainly analysed Beckett’s novels and proses according to the following chapters: 1. Struggle / Carnival, 2. Polyphony / Universe, 3. Inclusive imagination. Beckett first tried to distinguish his story from a normative narrative, then made several linguistic experiments by setting up a closed space, and finally gave intrinsic powers to that space. With the new canons which were imposed on himself while writing, he got to keep the linguistic systems suspended in the air. His texts, his writings and his characters are not finished entities; they always remain in a dynamic relation to one another
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Wimbush, Andrew Darrell. "Still : Samuel Beckett and quietism." Thesis, University of Cambridge, 2015. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.709050.
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Zaitzow, Michael (Michael D. ). Carleton University Dissertation Religion. "Biblical parallelism in 2 Samuel." Ottawa, 1994.
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26
Chakraborty, Thirthankar. "Samuel Beckett and Indian literature." Thesis, University of Kent, 2017. https://kar.kent.ac.uk/59865/.
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Godot ke Intezar Mein (Hindi), Godor Pratikshay (Bengali), Eppo Varuvaru (Tamil), Kalpo Ke Kalpana Mari Parvari Chhe (Gujarati), Edin Ahibo Teu (Assamese), Su Yee (Kashmiri): these are just some of the translations and adaptations of Samuel Beckett's Waiting for Godot into Indian languages. They reveal how Beckett's chef d'oeuvre has reached every corner of the country, from Tamil Nadu in the South, to Kashmir in the North, Assam in the East, and Gujarat in the West. Just as Honoré de Balzac's fictitious Godeau returns prosperously from 'Les Indes' in Le Faiseur (1848), Beckett's Godot gains from the remarkable dissemination through a multilingual, multicultural, social, and political space of post-independence India. This thesis, divided into three parts, is a comparative study of the relation between Samuel Beckett's works and Indian prose fiction, drama, and cinema, from the moment when Beckett's oeuvre was first introduced in India. Engaging with recent debates on the concept of world literature, it assesses three phases that are pertinent to the three parts and the circulation of Beckett's works through India: 1) the topical-planetary phase: Beckett's influence on Anglo Indian novelists, starting with Salman Rushdie; 2) the world-making phase: the circulation of Beckett's works amongst Indian playwrights, based on themes, writing techniques and style; and 3) the canonical phase: Beckett's pervasive presence rather than direct influence in Indian mainstream and experimental cinema. Put together, these three parts form a three-phase evolution, and a conceptual framework for world literature. In exploring Beckett's influence, circulation, and pervasive presence in Indian literature, alongside adaptations and re-creations of Beckettian motifs, characters, and stylistic techniques, this thesis not only re-conceives of Beckett's place in world literature today, but it also presents a process by which his works achieve canonicity. Starting with the works of Rushdie, the thesis charters new territories where Beckett's works have found a place, while the comparative approach draws attention to the heterogeneous and complex nature of modern Indian literature.
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Marotta, Donald John. "Samuel Taylor Coleridge and Opium." Digital Commons @ East Tennessee State University, 2006. https://dc.etsu.edu/etd/2181.
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Coleridge's usual use of opium was through laudanum, a mixture of opium and alcohol. This thesis presents the history of and criticism regarding the poet's use of laudanum and the physical and emotional consequences the drug held for him and his writing career.
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Weiss, Katherine. "The Plays of Samuel Beckett." Digital Commons @ East Tennessee State University, 2013. http://amzn.com/140814557X.
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Beckett remains one of the most important writers of the twentieth century whose radical experimentations in form and content won him the Nobel Prize for Literature in 1969. This Critical Companion encompasses his plays for the stage, radio and television, and will be indispensable to students of his work.
Challenging and at times perplexing, Beckett's work is represented on almost every literature, theatre and Irish studies curriculum in universities in North America, Europe and Australia. Katherine Weiss' admirably clear study of his work provides the perfect companion, illuminating each play and Beckett's vision, and investigating his experiments with the body, voice and technology. It includes in-depth studies of the major works Waiting for Godot, Endgame and Krapp's Last Tape, and as with other volumes in Methuen Drama's Critical Companions series it features too a series of essays by other scholars and practitioners offering different critical perspectives on Beckett in performance that will inform students' own critical thinking. Together with a series of resources including a chronology and a list of further reading, this is ideal for all students and readers of Beckett's work.<br>https://dc.etsu.edu/etsu_books/1072/thumbnail.jpg
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Weiss, Katherine. "Samuel Beckett: History, Memory, Archive." Digital Commons @ East Tennessee State University, 2007. https://dc.etsu.edu/etsu-works/2281.
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Reginio, Robert, David Houston Jones, and Katherine Weiss. "Samuel Beckett and Contemporary Art." Digital Commons @ East Tennessee State University, 2017. https://www.amzn.com/3838210794/.
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This groundbreaking collection from scholars and artists on the legacy of Beckett in contemporary art provides readers with a unique view of this important writer for page, stage, and screen. The volume argues that Beckett is more than an influence on contemporary art―he is, in fact, a contemporary artist, working alongside artists across disciplines in the 1960s, 1970s, and beyond.The volume explores Beckett's formal experiments in drama, prose, and other media as contemporary, parallel revisions of modernism's theoretical presuppositions congruent with trends like minimalism and conceptual art. Containing interviews with and pieces by working artists, alongside contributions of scholars of literature and the visual arts, this collection offers an essential reassessment of Beckett's work. Perceiving Beckett's ongoing importance from the perspective of contemporary art practices, dominated by installation and conceptual strategies, it offers a completely new frame through which to read perennial Beckettian themes of impotence, failure, and penury. From Beckett's remains, as it were, contemporary artists find endless inspiration.<br>https://dc.etsu.edu/etsu_books/1182/thumbnail.jpg
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Kennedy, Seán, and Katherine Weiss. "Samuel Beckett: History, Memory, Archive." Digital Commons @ East Tennessee State University, 2010. https://www.amzn.com/0230619444.
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This volume comprises ten essays challenging the dominant account of Samuel Beckett’s engagement with history. As the first full-length volume to address the historical debate in Beckett studies, Samuel Beckett: History, Memory, Archive provides both ground-breaking analysis of the major works as well as a sustained interrogation of the critical assumptions that underpin Beckett studies more generally. Drawing on a range of archival materials, and situating Beckett in historical context, these essays pose a strong challenge to the prevailing critical consensus that he was a deracinated modernist who cannot be read historically.<br>https://dc.etsu.edu/etsu_books/1185/thumbnail.jpg
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Weiss, Katherine. "Samuel Beckett and Contemporary Art." Digital Commons @ East Tennessee State University, 2019. https://dc.etsu.edu/etsu-works/5597.
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Bugnon-Mordant, Michel. "Strange power of speech : Coleridge and the poetic use of language /." Fribourg : M. Bugnon-Mordant, 1990. http://catalogue.bnf.fr/ark:/12148/cb355044767.
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Adam, Klaus-Peter. "Saul und David in der judäischen Geschichtsschreibung Studien zu 1 Samuel 16 - 2 Samuel 5." Tübingen Mohr Siebeck, 2004. http://deposit.d-nb.de/cgi-bin/dokserv?id=2897436&prov=M&dok_var=1&dok_ext=htm.
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Adam, Klaus-Peter. "Saul und David in der judäischen Geschichtsschreibung : Studien zu 1 Samuel 16 - 2 Samuel 5 /." Tübingen : Mohr Siebeck, 2007. http://deposit.d-nb.de/cgi-bin/dokserv?id=2897436&prov=M&dok_var=1&dok_ext=htm.
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Mai, Hans-Peter. "Samuel Richardsons "Pamela" : Charakter, Rhetorik und Erzählstruktur /." Stuttgart : F. Steiner Wiesbaden, 1986. http://catalogue.bnf.fr/ark:/12148/cb34923223t.
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Milz, Manfred Beckett Samuel Giacometti Alberto. "Samuel Beckett und Alberto Giacometti : das Innere als Oberfläche ; ein ästhetischer Dialog im Zeichen schöpferischer Entzweiungsprozesse (1929 - 1936) /." Würzburg : Königshausen & Neumann, 2006. http://deposit.d-nb.de/cgi-bin/dokserv?id=2872853&prov=M&dok_var=1&dok_ext=htm.
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Glaser, Brigitte. "The body in Samuel Richardson's "Clarissa" : contexts of and contradictions in the development of character /." Heidelberg : C. Winter, 1994. http://catalogue.bnf.fr/ark:/12148/cb357455925.
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Zelen, Renata Halina. "The trial of pygmalion : twentieth-century reader response to heroines in the eighteenth-century novel, with special reference to Samuel Richardson's C̀larissa' /." [Hong Kong : University of Hong Kong], 1987. http://sunzi.lib.hku.hk/hkuto/record.jsp?B12365208.
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Fast, Arthur [Verfasser], Samuel A. [Akademischer Betreuer] Meek, Samuel A. [Gutachter] Meek, and Ansgar [Gutachter] Reiners. "Precision Spectroscopy on OH / Arthur Fast ; Gutachter: Samuel A. Meek, Ansgar Reiners ; Betreuer: Samuel A. Meek." Göttingen : Niedersächsische Staats- und Universitätsbibliothek Göttingen, 2019. http://d-nb.info/1188886924/34.
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Bland, Dave L. "Preaching from I and II Samuel." Theological Research Exchange Network (TREN), 1985. http://www.tren.com.
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Steen, Jane Elizabeth. "Samuel Johnson and aspects of Anglicanism." Thesis, University of Cambridge, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.259528.
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Dille, Catherine D. "Samuel Johnson and eighteenth-century education." Thesis, University of Oxford, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.367772.
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Shepherd, Lynn B. "Samuel Richardson and eighteenth-century portraiture." Thesis, University of Oxford, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.439316.
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Tajiri, Yoshiki. "Samuel Beckett and the prosthetic body." Thesis, Birkbeck (University of London), 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.407120.
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FERREIRA, FÁBIO ALVES. "SAMUEL BECKETT: ECHOES AND RESONANCES CONTEMPORARY." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2015. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=25563@1.
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PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO<br>Esta pesquisa investiga a contemporaneidade da obra do escritor irlandês Samuel
Beckett. A investigação privilegia três eixos, em três ensaios que articulam aspectos
historiográficos, filosóficos e cênicos. O primeiro ensaio pensa de que forma a poética
do tempo em Beckett participa do debate atual sobre o contemporâneo. O segundo
ensaio, voltado para a produção televisiva de Beckett e atentando em especial às leituras que dela fez Gilles Deleuze, reflete sobre a produção de um pensamento entre, sobre ecos e ressonâncias geradas por este encontro. Por fim, o terceiro ensaio explora a recepção norteamericana da obra de Beckett, a partir da criação cênica e performática desenvolvida em parcerias com o diretor Alan Schneider, nas montagens de Not
I e Rockaby, e com grupo Mabou Mines/NY, nas adaptações dos textos não teatrais The
lost ones, Company, e Worstward Ho.<br>This research investigates the contemporary vigor of Samuel Beckett s work. It
moves along three main paths, in three essays where historiographical, philosophical
and scenic aspects are articulated. The first essay reflects on how Beckett s poetics of
time participates in the current debate on the contemporary. The second, focusing on
Beckett s plays for television and paying special attention to Gilles Deleuze s readings
of it, reflects on the concept of thinking in between, on echoes and resonances
generated by this powerful encounter. Finally, the third essay explores the North
American reception of Beckett s work, attending to the scenic and performative
creations developed in partnership with director Alan Schneider, in the productions
of Not I and Rockaby, and with the Mabou Mines Group/NY, in their adaptions of The
lost ones, Company, and Worstward Ho.
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Hitchings, Christian Nicholas Henry. "Samuel Johnson and Sir Thomas Browne." Thesis, University College London (University of London), 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.398115.
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This thesis explores the literary and intellectual relationship between Samuel Johnson and Sir Thomas Browne. It demonstrates the importance of Johnson's contribution to the history of criticism of Browne, and also constitutes a case study of Johnson's methods in compiling his Dictionary. I show what grounds there are for believing that Browne was of special importance to Johnson, and that there were significant affinities between the two writers. I set my work against the background of existing scholarship, which tends to neglect the links between Johnson and Browne. I consider the decline of Browne's reputation in the years that followed his death, suggesting how it is possible to see Johnson's work on Browne as a significant recuperation. I then examine Johnson's Life of Browne and the edition of Christian Morals to which it was prefixed, arguing that the Life is an important event in the development of Johnson's biographical method. I next consider the relationship between Browne's natural philosophy and Johnson's, focusing on three particular areas in which their thinking is allied: the emphasis on experiment and observation, the moral purpose of natural philosophy, and the attraction of `strangeness'. Thereafter I examine in detail Johnson's extensive use of extracts from Browne's works in his Dictionary. First I provide a description of Johnson's deployment of illustrative quotations culled from Browne, showing the distribution and sources of quotations, including those added for the fourth edition; the result is a `map' of the Dictionary's use of Browne. I then analyse these findings, in order to determine what fields of knowledge they delineate, as well as how they illustrate Johnson's critical interests and priorities. Finally, I consider Browne's nineteenth-century afterlife. I chart the influence of Johnson's critique and uses of Browne, and examine the championing of Browne by Coleridge, Hazlitt, Lamb and others
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Curran, L. C. "Samuel Richardson : the author as correspondent." Thesis, University College London (University of London), 2012. http://discovery.ucl.ac.uk/1349011/.
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This thesis is a broadly chronological study of Samuel Richardson’s correspondence, from his early career as a novelist in the 1740s through to his death in 1761. It argues that Richardson’s sustained concern with the aesthetics and ethics of writing letters was central to his conception of authorship and its relation to publicity. It contends that the form and content of Richardson’s letters interact with his novels in ways that are more pervasive than has been previously acknowledged in Richardson studies; I read letters as an integral part of his literary oeuvre, not merely an adjunct to it. The thesis uses manuscripts of Richardson’s correspondence in archives in both Britain and America, many of which are unpublished. Chapter One examines the development of a familiar epistolary prose style in Richardson’s early works, particularly his first novel Pamela (1740) and its sequel (1741). It focuses on the relationship between aesthetics and ethics in the use of the familiar letter in fiction of this period. Chapter Two is, in part, a case study of Richardson’s letters with his most significant correspondent, Lady Bradshaigh, about Clarissa (1747-8), and links their letters to the development of a quasi-autobiographical mode of writing in his last surviving piece of fiction, ‘The History of Mrs Beaumont’. Chapter Three traces how Richardson used correspondence to encourage and promote women’s writing, both in manuscript and print. Chapter Four examines Richardson’s correspondence with men and his attempt to reformulate literary manliness as a moral virtue in Sir Charles Grandison (1753-4). Chapter Five extends these aesthetic and moral debates to Richardson’s own editing of his correspondence, using manuscript evidence and exchanges he had concerning the ethics of publishing his letters during his lifetime. The Conclusion discusses the implications of these examples for the future study of the author as correspondent.
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Fernandes, Tiago da Cunha. "Um Samuel Rawet qualquer: pensamento-prosa." Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/8/8156/tde-24102014-173748/.
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A presente dissertação consiste num estudo acerca da produção ensaísticonarrativa de Samuel Rawet. Trata-se de um ensaio no que há de mais disperso e não hierárquico no termo desenvolvido em contínua revisão. De um trabalho iniciado e inacabado, à medida em que sugere e proposita diversas trilhas, encruzilhadas e encontros entre autores e teorias ao redor dos escritos de Rawet. Se a disposição analítica segue a cronologia dos livros publicados pelo autor, isso se dá não porque pensamos sua produção numa totalidade sistêmica, formadora de uma obra fechada, mas como campo transitivo onde toda uma transformação de paradigmas literáriofilosóficos incorre e transborda. Do primeiro livro de narrativas, Contos do imigrante, de 1956, ao último, Que os mortos enterrem seus mortos, de 1981, percebemos uma intensa trajetória de especulação e atuação literárias. Seus textos ensaios, contos, novelas, peças teatrais, artigos para jornais e revistas , sempre investigativos e inovadores, suscitam e exigem um pensamento atento à rede de relações transversais emergente no pós-guerra, ao redimensionamento ontológico dado no desabamento das estruturas metafísicas<br>This dissertation is about the study around essayistic-narrative production of Samuel Rawet. It is an essay in the disperse way of the term, not hierarchical way developed in continued reviews. From a work started and unfinished, at the time that suggests and proposes different ways and meetings among writers and theories around the Rawets writing. If the analytic aptitude follows the chronology of the books published by the author, it is not because we thought his production in a systemic totality, designer of a closed work, but like a transitive place where all the transformation of literary and philosophic paragons occur and overflow. From the first narratives book, Contos do imigrante, from 1956, until the last one, Que os mortos enterrem seus mortos, from 1981, we perceive an intense trajectory of speculation and literary action. His texts essays, short stories, novels, dramas, articles for newspapers always searching and innovative, stimulate and demand an alert thought at the transversal relations emergent in postwar, at the remeasurement ontological given by the drop off metaphysic structures
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Merçon, Francisco Elias Simão. "Samuel Beckett: do figurativo ao figural." Universidade de São Paulo, 2012. http://www.teses.usp.br/teses/disponiveis/8/8139/tde-09112012-115933/.
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Companhia, publicada originalmente em inglês no ano de 1980, é uma narrativa construída na fronteira entre imaginação e enunciação por um sujeito solitário que, deitado de costas no escuro, fabula continuadamente em busca de companhia. Ela se inclui entre as narrativas de Samuel Beckett cuja trama se passa no espaço mental de seus protagonistas, na região comumente chamada de manicômio do crânio. Conhecida por características que a mantêm distante dos esquemas teóricos universais, apresenta uma abundância de programas narrativos que se anulam uns aos outros, resultando num forte clima de incerteza implicado na situação desse homem deitado de costas no escuro, protagonista da história. Contribuem para esse efeito, também, o emprego de anáforas, que não remetem a nenhuma referência segura; a hipóstase dos papéis actanciais, em que actantes se fazem passar por atores; a estruturação dos parágrafos, distribuídos sem relação lógica explícita que os articule uns aos outros; a articulação de determinados eixos semânticos (como luminosidade, solidão, subjetividade, silêncio, entre outros) sob ótica de uma sublógica da língua, que estabelece o primado das relações complexas sobre as articulações da significação pautadas em dicotomias. Com base na teoria semiótica francesa, a presente pesquisa procura demonstrar que esses elementos, que em Companhia promovem o efeito de incerteza, são decorrentes de operações sintáxicas meticulosamente organizadas pelo enunciador beckettiano. Constituem, portanto, procedimentos discursivos que, apesar do forte clima de incerteza vi mencionado, podem ser descritos por meio de análise, especialmente na articulação de sua dimensão figurativa com a dimensão profunda, a figuralidade. Ao longo da análise (desenvolvida na Segunda Parte da tese), procuramos acompanhar o contraponto das diferentes vozes entrelaçadas na trama, sem deixar de considerar os conteúdos dos episódios narrados pela voz na segunda pessoa gramatical. Desse modo, o conflito das vozes responsáveis por estabelecer o ritmo e a tensividade na narrativa está diretamente relacionado com o conteúdo desses episódios, formulados pela voz na segunda pessoa, na forma de fragmentos biográficos desarticulados uns dos outros. Por fim, ao investigar algumas questões de ordem fenomenológica envolvendo o protagonista de Companhia, apresentamos uma possível perspectiva do enfoque figural em outras obras representativas do discurso literário do século XX.<br>Originally published in English in 1980, Company is a narrative built on the border between imagination and enunciation by a loner who, lying on his back in the dark, continuously fables in search of companionship. It is among the narratives by Samuel Beckett whose plot takes place in its protagonists mental space, in the region commonly referred to as the madhouse of the skull. Known for features that keep it distant from universal theoretical frameworks, it presents an abundance of narrative programs which nullify one other, resulting in a strong atmosphere of uncertainty involved in the situation of the man lying on his back in the dark, who is the protagonist of the story. Also contributing to this effect, there is the use of anaphoras, which do not refer to any secure reference; the hypostasis of actancial roles, in which actants pose as actors; paragraph structure, distributed without explicit logical connection that articulates one in relation to the other; the articulation of certain semantic axis (such as luminosity, loneliness, subjectivity, silence, among others) under the light of a language sublogics, which establishes the primacy of complex relationships in opposite to the articulations of signification based on dichotomies. Based on the French semiotics theory, this research seeks to demonstrate that those elements, which in Company promote the effect of uncertainty, result from syntactic operations meticulously organized by the Beckettian enunciator. They, therefore, constitute discursive procedures which, despite the strong atmosphere of uncertainty mentioned, can viii be described by means of analysis, especially in the articulation of their figurative dimension with the in-depth dimension, that is, figurality. Throughout the analysis (developed in Part II of the thesis), the attempt was to follow the counterpoint of different voices intertwined in the plot, while considering the content of the episodes narrated by the voice in the second grammatical person. Thus, the conflict of the voices responsible for setting the narratives pace and tensiveness is directly related to the content of these episodes, formulated by the voice in the second person, in the form of disjointed biographical fragments. Finally, in order to investigate some phenomenological issues involving the protagonist of Company, a possible perspective of the figural focus on other works representative of the literary discourse of the 20th century is introduced.