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The Great Emporium
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No-thing is Left to Tell
This study uses Zen Buddhism and Chaos theory as binocular lenses to examine the existential difficulties in Samuel Beckett's plays in terms that circumvent traditional Western schools of thought. The book first outlines the salient points of Zen Buddhism and Chaos theory, examining the interplay of ideas between the two disciplines. The balance of the book uses Zen and Chaos theory to reveal new patterns and layers of meaning (or non meaning) in several of Beckett's most significant plays.
The Theater of Teaching and the Lessons of Theater
This collection of essays explores the intersections between theater as text, theater as performance, and theater as pedagogy. The theory of performance and the practice of theater as it can be done, taught, and conceptualized in academia bring together these three different paths, in a volume that can be equally useful to theater practitioners, to teachers of dramatic texts, and to students, scholars, and teachers of theater seen both as literature and as practice.
Un/Bound
Life writing often explores the profound impact of border crossings, both physical and metaphorical. Writers navigate personal and cultural boundaries, reflecting on identity, belonging, and the transformative power of crossing thresholds. These narratives unveil the complexities of migration, immigration, or internal journeys, offering intimate perspectives on adapting to new environments or confronting internal conflicts. Un/Bound is a collection of essays about such narratives, with an emphasis on mobility and border metaphors, the ethical dimensions of cross-border storytelling, and questions of access, translation, and circulation. Scholarly interest in borders, mobility, and related topics has greatly intensified in the context of public health emergencies and recent conflicts in international relations. The chapters in this book contribute to this dialogue by exploring internal and external, and physical and abstract borders and divisions. This book will be of great interest to scholars and researchers of literature, translation studies and political philosophy. The chapters in this book were originally published as a special issue of a/b: Auto/Biography Studies.
Hunger on the Stage
In his short story “The Hunger Artist,” Kafka imagined the theatrical career of a “professional faster” whose performance consists merely in displaying his own starving body before an avid audience. Kafka thus paradoxically suggested that hunger, mere emptiness working its way through declining bodies, may be a privileged theatrical object. Hunger often signals an anchorage in socio-historical reality, and invites extreme situations on stage, articulating large-scale cataclysms (famines, the devastation of war) with personal tragedies (hunger-strikes, anorexia, etc.) in which characters experience the tenuousness of their own lives. Whether in the comic or in the tragic mode, staged hunger metaphorizes various kinds of starvation – material greed, spiritual, emotional, sexual starvation, and even linguistic insufficiency. This volume explores the aesthetic and ethical issues raised by hunger on the stage in the English-speaking world. It investigates the paradox of the hypervisibility of the thinning body and shows how, throughout history, hunger has given shape to innovative, powerfully transgressive dramaturgies.
Edinburgh Companion to Samuel Beckett and the Arts
A landmark collection showcasing the diversity of Samuel Beckett's creative output The 35 original chapters in this Companion capture the continued vitality of Beckett studies in drama, music and the visual arts and establish rich and varied cultural contexts for Beckett's work world-wide. As well as considering topics such as Beckett and science, historiography, geocriticism and philosophy, the volume focuses on the post-centenary impetus within Beckett studies, emphasising a return to primary sources amid letters, drafts, and other documents. Major Beckett critics such as Steven Connor, David Lloyd, Andrew Gibson, John Pilling, Jean-Michel Rabate, and Mark Nixon, as well as emerging researchers, present the latest critical thinking in 9 key areas: Art & Aesthetics; The Body; Fiction; Film, Radio & Television; Global Beckett; Language / Writing; Philosophy; Reading; and Theatre & Performance. Edited by eminent Beckett scholar S. E. Gontarski, the Companion draws on the most vital, ground-breaking research to outline the nature of Beckett studies for the next generation.
Edinburgh Companion to Samuel Beckett and the Arts
The 35 new and original chapters in this Companion capture the continued vitality of Beckett studies in drama, music and the visual arts and establish rich and varied cultural contexts for BeckettOCOs work world-wide. As well as considering topics such as Beckett and science, historiography, geocriticism and philosophy, the volume focuses on the post-centenary impetus within Beckett studies, emphasising a return to primary sources amid letters, drafts, and other documents. Major Beckett critics such as Steven Connor, David Lloyd, Andrew Gibson, John Pilling, Jean-Michel Rabat(r), and Mark Nixon, as well as emerging researchers, present the latest critical thinking in 9 key areas: Art & Aesthetics; Fictions; European Context; Irish Context; Film, Radio & Television; Language/Writing; Philosophies; Theatre & Performance; Global Beckett. Edited by eminent Beckett scholar S. E. Gontarski, the Companion draws on the most vital, ground-breaking research to outline the nature of Beckett studies for the next generation."e;
Beckett Before Godot
A leading Beckett scholar and editor of the Cambridge Companion to Beckett, offers a coherent critical account of Beckett's earliest years.
Beckett Dans L'histoire
Covers English literature, French literature, and theatre in the 20th century.
Beckett in the Cultural Field / Beckett dans le champ culturel
The thematic part of this volume of Samuel Beckett Today/Aujourd’hui is devoted mainly to Beckett’s texts of the forties and later, and particularly to those he composed after his adoption of the French language. The essays presented in this part of the current issue attempt to see Beckett as a writer among other authors with whom he connects or competes, to examine his relations with artists, whether Beckett stimulates them or is stimulated by them, and to define his ‘posture’ and his position in the cultural field. How does the budding francophone writer position himself in the cultural field during his difficult beginnings and after his first successes? How can he be situated in relation to the three cultures he is dealing with? What are the parallels between Beckett’s own texts and those of other writers (literary and philosophical), but also between his work and the work of artists of the period? The ten essays in the free-space section of this volume also mainly concern his texts that were first written in French, and situate Beckett in relation to different topics, from Dante to the ‘War on Terror.’
