Echo's Bones was Beckett's first attempt at delineating a post-mortem scenario and the allusive presence of St. Augustine's Confessions played a pivotal role in that endeavour. This article examines the various methodological difficulties of analysing Beckett's notetaking from Augustine and subsequent use in the story. It is argued that two key notions emerge from Beckett's allusions to Augustine in the text: a conception of death as dependent on relations with God (one is only fully alive within the grace of God) and the need for God's help to remain continent and to turn away from the demands of desire. As such, the article gives an early indication of Beckett's later concerns with ontological questions of death-in-life and life-in-death.
{"title":"‘to hesitate to die to death’: Reading Augustine and the After-life in <i>Echo’s Bones</i>","authors":"Paul Stewart","doi":"10.3366/jobs.2023.0402","DOIUrl":"https://doi.org/10.3366/jobs.2023.0402","url":null,"abstract":"Echo's Bones was Beckett's first attempt at delineating a post-mortem scenario and the allusive presence of St. Augustine's Confessions played a pivotal role in that endeavour. This article examines the various methodological difficulties of analysing Beckett's notetaking from Augustine and subsequent use in the story. It is argued that two key notions emerge from Beckett's allusions to Augustine in the text: a conception of death as dependent on relations with God (one is only fully alive within the grace of God) and the need for God's help to remain continent and to turn away from the demands of desire. As such, the article gives an early indication of Beckett's later concerns with ontological questions of death-in-life and life-in-death.","PeriodicalId":41421,"journal":{"name":"JOURNAL OF BECKETT STUDIES","volume":"27 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135691202","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Revisiting the romantic myth of the isolated man of letters in his Ussy-Ivory Tower, this chapter highlights some of the translatory collaborative processes in which Beckett was involved. Barbara Bray, whom Beckett met at the BBC in 1956, was then a script editor. At the BBC she translated, adapted and produced a great many texts from the French language. Beckett offered his help with this, as is testified by his lengthy and detailed remarks on Bray’s version of The Square by Duras in an unpublished 1957 letter. In return, it is likely he was influenced by Duras through the agency of Bray. What is more, the correspondence attests to the fact that Bray extensively and systematically helped Beckett with self-translating. Investigation of this collaborative translation highlights the minoritising process (Deleuze) that the art of (self-)translation involved for both Bray and Beckett via Duras.
{"title":"Barbara Bray and Samuel Beckett as ‘Translaborators’: The Beckett – Duras – Bray Connection","authors":"P. Sardin","doi":"10.3366/jobs.2023.0386","DOIUrl":"https://doi.org/10.3366/jobs.2023.0386","url":null,"abstract":"Revisiting the romantic myth of the isolated man of letters in his Ussy-Ivory Tower, this chapter highlights some of the translatory collaborative processes in which Beckett was involved. Barbara Bray, whom Beckett met at the BBC in 1956, was then a script editor. At the BBC she translated, adapted and produced a great many texts from the French language. Beckett offered his help with this, as is testified by his lengthy and detailed remarks on Bray’s version of The Square by Duras in an unpublished 1957 letter. In return, it is likely he was influenced by Duras through the agency of Bray. What is more, the correspondence attests to the fact that Bray extensively and systematically helped Beckett with self-translating. Investigation of this collaborative translation highlights the minoritising process (Deleuze) that the art of (self-)translation involved for both Bray and Beckett via Duras.","PeriodicalId":41421,"journal":{"name":"JOURNAL OF BECKETT STUDIES","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45838888","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Performance Events at the Beckett at Reading 50th Anniversary, University of Reading","authors":"Patrick Salvadori","doi":"10.3366/jobs.2023.0396","DOIUrl":"https://doi.org/10.3366/jobs.2023.0396","url":null,"abstract":"","PeriodicalId":41421,"journal":{"name":"JOURNAL OF BECKETT STUDIES","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43582594","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Introduction: Beckett’s Women Contemporaries","authors":"Georgina Nugent","doi":"10.3366/jobs.2023.0385","DOIUrl":"https://doi.org/10.3366/jobs.2023.0385","url":null,"abstract":"","PeriodicalId":41421,"journal":{"name":"JOURNAL OF BECKETT STUDIES","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47645228","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Maria Irene Fornes is one of the most revered American playwrights. Dramatists she influenced, actors she directed in her plays, students she mentored in her playwriting workshops, as well as academics who taught and published essays and books on her diverse output – over 40 plays in her 40-year career – share Tony Kushner’s assessment that ‘‘America has produced no dramatist of greater importance’. Born in Havana, Cuba in 1930, Fornes came to New York in 1945, and by the early 1960s, she was a central force in the establishment of the Off-Off Broadway avant-garde movement in Greenwich Village. In 1953 she saw the original production of En attendant Godot in Paris and was inspired to become a playwright. Over the years, critics have cited Beckett’s impact on Fornes; however, this is the first essay to provide a detailed study of the specific ways Beckett’s plays influenced Fornes' dramas, particularly Tango Palace, Dr. Kheal, Fefu and her Friends, and Mud. Following Beckett, she jettisoned cohesive plots, traditional themes, outworn theatrical tropes, predictable endings, familiar settings, and identifiable characters declaiming to audiences where a play is heading and why. Most importantly, Beckett illustrated that different theatre forms were possible. This essay illustrates how Fornes, inspired by, but not imitating Beckett, made her own assault on conventional drama, The essay is also the first to delineate the ways in which Fornes' first play, Tango Palace, derives from her three-year love affair with Susan Sontag.
{"title":"Maria Irene Fornes and Samuel Beckett: ‘Different and the Same’","authors":"Linda Ben-Zvi","doi":"10.3366/jobs.2023.0390","DOIUrl":"https://doi.org/10.3366/jobs.2023.0390","url":null,"abstract":"Maria Irene Fornes is one of the most revered American playwrights. Dramatists she influenced, actors she directed in her plays, students she mentored in her playwriting workshops, as well as academics who taught and published essays and books on her diverse output – over 40 plays in her 40-year career – share Tony Kushner’s assessment that ‘‘America has produced no dramatist of greater importance’. Born in Havana, Cuba in 1930, Fornes came to New York in 1945, and by the early 1960s, she was a central force in the establishment of the Off-Off Broadway avant-garde movement in Greenwich Village. In 1953 she saw the original production of En attendant Godot in Paris and was inspired to become a playwright. Over the years, critics have cited Beckett’s impact on Fornes; however, this is the first essay to provide a detailed study of the specific ways Beckett’s plays influenced Fornes' dramas, particularly Tango Palace, Dr. Kheal, Fefu and her Friends, and Mud. Following Beckett, she jettisoned cohesive plots, traditional themes, outworn theatrical tropes, predictable endings, familiar settings, and identifiable characters declaiming to audiences where a play is heading and why. Most importantly, Beckett illustrated that different theatre forms were possible. This essay illustrates how Fornes, inspired by, but not imitating Beckett, made her own assault on conventional drama, The essay is also the first to delineate the ways in which Fornes' first play, Tango Palace, derives from her three-year love affair with Susan Sontag.","PeriodicalId":41421,"journal":{"name":"JOURNAL OF BECKETT STUDIES","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41739457","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"James Little, Samuel Beckett in Confinement: The Politics of Closed Space","authors":"C. Duane","doi":"10.3366/jobs.2023.0392","DOIUrl":"https://doi.org/10.3366/jobs.2023.0392","url":null,"abstract":"","PeriodicalId":41421,"journal":{"name":"JOURNAL OF BECKETT STUDIES","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43191971","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Marguerite Duras and Samuel Beckett, both prominent writers internationally during the same period, and both living in Paris during most of their careers and rooted in French literature, appear to be a remarkable case of closely parallel writerly trajectories in conjunction with an apparent absence of exchange between them. Living in the same capital, they shared aesthetic, theatrical, editorial and political allegiances, and were both at some points intrigued by each other’s work and life. Both produced a medially diverse oeuvre including novels, theatre plays, screenplays, both worked as directors, rather often with the same actors or troupes, and they were regularly considered as examples of the same aesthetic tendencies in literature and the theatre. Their writing – themes and styles – tends to diverge importantly on several points, but Beckett was impressed by Duras' first theatre play, and Duras occasionally identified strikingly with Beckett. Nonetheless, hardly any form of contact or of direct influence between the authors is known.
{"title":"Duras and Beckett: Close Encounters at a Distance","authors":"M. Engelberts","doi":"10.3366/jobs.2023.0387","DOIUrl":"https://doi.org/10.3366/jobs.2023.0387","url":null,"abstract":"Marguerite Duras and Samuel Beckett, both prominent writers internationally during the same period, and both living in Paris during most of their careers and rooted in French literature, appear to be a remarkable case of closely parallel writerly trajectories in conjunction with an apparent absence of exchange between them. Living in the same capital, they shared aesthetic, theatrical, editorial and political allegiances, and were both at some points intrigued by each other’s work and life. Both produced a medially diverse oeuvre including novels, theatre plays, screenplays, both worked as directors, rather often with the same actors or troupes, and they were regularly considered as examples of the same aesthetic tendencies in literature and the theatre. Their writing – themes and styles – tends to diverge importantly on several points, but Beckett was impressed by Duras' first theatre play, and Duras occasionally identified strikingly with Beckett. Nonetheless, hardly any form of contact or of direct influence between the authors is known.","PeriodicalId":41421,"journal":{"name":"JOURNAL OF BECKETT STUDIES","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47372316","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：