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Ireland on Stage
Essays on Irish theatre in the second half of the twentieth century
Since Beckett
Samuel Beckett is widely regarded as 'the last modernist', the writer in whose work the aesthetic principles which drove the modernist project dwindled and were finally exhausted. And yet despite this, it is striking that many of the most important contemporary writers, across the world, see their work as emerging from a Beckettian legacy. So whilst Beckett belongs, in one sense, to the end of the modernist period, in another sense he is the well spring from which the contemporary, in a wide array of guises, can be seen to emerge. Since Beckett looks at a number of writers, in different national and political contexts, tracing the way in which Beckett's writing inhabits the contemporary, while at the same time reading back through Beckett to the modernist and proto-modernist forms he inherited. In reading Beckett against the contemporary in this way, Peter Boxall offers both a compelling re-reading of Beckett, and a powerful new analysis of contemporary culture.
Literature, Modernism, and Dance
Literature, Modernism, and Dance explores the complex reciprocal relationship between literature and dance in the modernist period
Reading Joycean Temporalities
In Reading Joycean Temporalities, Jolanta Wawrzycka gathered scholars who address James Joyce’s experimental treatment of narrative time in terms that go beyond the much-discussed monologue intérieur and stream of consciousness. Contributors examine Joyce’s attempts to render temporal simultaneity through inescapably spatial means of language, including his deployment of Lessing’s concepts of nacheinander and nebeneinander; analyse Joyce’s handling of modalities of time, (in)finitude and temporal disharmonies in time/sense; and tackle Joyce’s engagements with historical time, Homeric time, and with poetic “markers of time”. The essays re-contextualize modernist and postmodernist critical, theoretical, philosophical and narratological polemics on time/temporality, relativity, language, and memory, and offer insightful readings of Joyce’s “double-timing”, “writing of finitude”, “time without measure”, and psychological vs. mechanically measured time. Contributors are: Valérie Bénéjam, Tim Conley, Erika Mihálycsa, Stephanie Nelson, Christine O’Neill, Cóilín Owens, Fritz Senn, Annalisa Volpone and Jolanta Wawrzycka.
Samuel Beckett in Context
Provides a comprehensive exploration of Beckett's historical, cultural and philosophical contexts, offering new critical insights for scholars and general readers.
After Beckett
This volume constitutes a collection of over 40 articles selected from contributions to the Sydney Symposium of January 2003 that - as a part of an International Sydney Festival - was one of the major events related to Samuel Beckett of the last decade. The three sections of the book reflect the most vibrant fields of research in Beckett studies today: Intertextuality and Theory, Philosophy and Theory and Textual Genesis, Contextual Genesis and Language. Scholars from all over the world participating in this collection testify to the durable and universal nature of interest in Beckett's work.
Capter L'essence Du Spectacle
Le défi du patrimoine immatériel est de capturer l'essence du spectacle : l'idée de « capture » a cela d'intéressant qu'elle suppose que les professionnels impliqués dans la SIBMAS soient comme des chasseurs, sur la piste, de toutes sortes de façons, afin de coincer et de recueillir un petit quelque chose d'éphémère, qui en vaut la peine, et qui nous en apprend sur nous-mêmes et sur notre monde. Certains chasseurs se servent des bases de données, d'autres des écrits ou des images - mais tous partagent un même objectif : ne pas laisser se perdre un moment spécial, magique, que seule la vie du spectacle peut générer. The challenge of intangible heritage is to capture the esse...
Silence in Philosophy, Literature, and Art
Silence exists at the edge of the world, where words break off and meaning fades into ambiguity. The numerous treatments of silence in Steven L. Bindeman’s Silence in Philosophy, Literature, and Art question the misleading clarity of certainty, which persists in the unreflective discourse of common experience. Significant philosophical problems, such as the limits of language, the perception of sound and the construction of meaning, the dynamics of the social realm, and the nature of the human self, all appear differently as a consequence of this questioning. Silence is shown to have two modes, disruptive and healing, which work together as complementary stages within a creative process. The interaction between these two modes of silence serves as the dynamic behind the entire work.
Early Modern Beckett/Beckett et le début de l’ère moderne
Table of Contents/Table des matières Early Modern Beckett/Beckett et le début de l¿ère moderne Introduction/Avant-propos I. In Dialogue with Dramatists and Writers/En dialogue avec des auteurs dramatiques et des écrivains Carla Taban: Le Molière de Beckett Angela Moorjani: Beckett¿s Racinian Fictions: ¿Racine and the Modern Novel¿ Revisited Danièle de Ruyter: Fascination de la tragédie Racinienne: résonances dans Oh les beaux jours Arka Chattopadhyay: ¿Worst In Need Of Worse¿: King Lear, Worstward Ho and the Trajectory of Worsening Julie Campbell: Allegories of Clarity and Obscurity: Bunyan¿s The Pilgrim¿s Progress and Beckett¿s Molloy Seán Kennedy: Edmund Spenser, Famine M...
Imperative of Narration
This is the first book to deal with the self-reflexive nature of narration of Beckett and Bernhard. Samuel Beckett's and Thomas Bernhard's works are representative of a persisting perplexity with regard to language. The texts of both authors are marked by their narrator's obsessive need to write, which is inextricably intertwined with their profound suspicion of language. The perpetuation of the narration is explained as an imperative, a simultaneously conscious and unconscious command which forces the artist to submit to the creative process. The author places this inexplicable force of the imperative within the context of Arthur Schopenhauer's aesthetic theory and Jacques Lacan's concept of desire. The attempt to define and interpret the two authors' prose and drama is displaced by this sense of the infinity of desire (Lacan) and by the eternal becoming of the will (Schopenhauer), which reveal themselves to lie at the heart of Beckett's and Bernhard's creativity.
