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":null,"pages":null},"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":null,"pages":null},"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":null,"pages":null},"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":null,"pages":null},"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}
{"title":"Angela Moorjani, Beckett and Buddhism","authors":"A. Uhlmann","doi":"10.3366/jobs.2023.0394","DOIUrl":"https://doi.org/10.3366/jobs.2023.0394","url":null,"abstract":"","PeriodicalId":41421,"journal":{"name":"JOURNAL OF BECKETT STUDIES","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43285187","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":null,"pages":null},"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}
Seeing Barbara Bray was written as a sketch for a portrait of Barbara Bray, who met Samuel Beckett shortly after he sent the text of All That Fall to BBC's Third Programme. As script editor and producer, she consulted with the author on his first radio drama and collaborated on subsequent works broadcast by the BBC. From the early 1960s, Bray, based in Paris, worked mainly as a literary translator. Over time a strong bond between them developed and an intimate relationship ensued. Erudite and with a gift for rendering complex issues in the least complicated way, Bray provided Beckett with much more than translating advice, encouraging him in his writing, editing his texts, and acting as his “sounding board”. Very modest and discrete, she kept a low profile until her death in 2010. It was only with the publication of the two last volumes of The Letters of Samuel Beckett (2014, 2016 respectively), that her role in his life and writing became apparent to the general readership. In his personal account, Marek Kedzierski focuses principally on Beckett's letters to Bray, her comments on them, and on her unfinished memoir from which he quotes several passages. Drawing from conversations with her recorded by him in 2003-2009, his essay ends with Bray's personal confession revealing to us her deep pain and her refusal to be “the invisible woman” in Samuel Beckett's life.
{"title":"Seeing Barbara Bray: Marek Kędzierski on Barbara Bray – Barbara Bray on Samuel Beckett","authors":"Marek Kȩdzierski","doi":"10.3366/jobs.2023.0391","DOIUrl":"https://doi.org/10.3366/jobs.2023.0391","url":null,"abstract":"Seeing Barbara Bray was written as a sketch for a portrait of Barbara Bray, who met Samuel Beckett shortly after he sent the text of All That Fall to BBC's Third Programme. As script editor and producer, she consulted with the author on his first radio drama and collaborated on subsequent works broadcast by the BBC. From the early 1960s, Bray, based in Paris, worked mainly as a literary translator. Over time a strong bond between them developed and an intimate relationship ensued. Erudite and with a gift for rendering complex issues in the least complicated way, Bray provided Beckett with much more than translating advice, encouraging him in his writing, editing his texts, and acting as his “sounding board”. Very modest and discrete, she kept a low profile until her death in 2010. It was only with the publication of the two last volumes of The Letters of Samuel Beckett (2014, 2016 respectively), that her role in his life and writing became apparent to the general readership. In his personal account, Marek Kedzierski focuses principally on Beckett's letters to Bray, her comments on them, and on her unfinished memoir from which he quotes several passages. Drawing from conversations with her recorded by him in 2003-2009, his essay ends with Bray's personal confession revealing to us her deep pain and her refusal to be “the invisible woman” in Samuel Beckett's life.","PeriodicalId":41421,"journal":{"name":"JOURNAL OF BECKETT STUDIES","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43002601","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}
Louise Bourgeois and Samuel Beckett were both from comfortably bourgeois families; both had a strained relationship with one parent and undertook psychoanalytic treatment while grieving the deaths of their fathers; both were academically successful and placed great emphasis on studying; both were marked by the First and Second World Wars; both experienced the disorientations and liberations of exile and working between languages; and finally, after a period of relative neglect, both achieved celebrity and critical acclaim later in life. Drawing on Bourgeois’s notebooks and diaries in her New York archive, in which Beckett makes fleeting appearances, this article presents a comparative reading of Bourgeois and Beckett, and identifies a significant number of affinities in their creative preoccupations and strategies, points of confluence that call into question assumptions by their respective critics that their creative practice is exceptional. A comparative reading with a female artist has the additional benefit of situating Beckett outside the masculinist heritage in which he has been inscribed, and brings into focus the gender bias that has been evident in both sets of scholarship. At once modernist and contemporary due to their longevity and the variety of their prolific output (over seventy years for Bourgeois and sixty for Beckett), Bourgeois and Beckett have both been successfully canonised: vital points of reference for artists and writers today, exhibitions and productions of their work also draw huge crowds. Their respective critics have hailed the work of Bourgeois and Beckett as remarkable and distinctive, setting them apart from their fellow artists and writers. They share a creative strategy, however: both dedicated themselves to a narrow range of themes and pursued these through the adoption of a diverse range of media, play with scale, and an unceasing experimentation with form.
{"title":"‘I do, I undo, I redo’: Louise Bourgeois and Samuel Beckett","authors":"J. Bates","doi":"10.3366/jobs.2023.0389","DOIUrl":"https://doi.org/10.3366/jobs.2023.0389","url":null,"abstract":"Louise Bourgeois and Samuel Beckett were both from comfortably bourgeois families; both had a strained relationship with one parent and undertook psychoanalytic treatment while grieving the deaths of their fathers; both were academically successful and placed great emphasis on studying; both were marked by the First and Second World Wars; both experienced the disorientations and liberations of exile and working between languages; and finally, after a period of relative neglect, both achieved celebrity and critical acclaim later in life. Drawing on Bourgeois’s notebooks and diaries in her New York archive, in which Beckett makes fleeting appearances, this article presents a comparative reading of Bourgeois and Beckett, and identifies a significant number of affinities in their creative preoccupations and strategies, points of confluence that call into question assumptions by their respective critics that their creative practice is exceptional. A comparative reading with a female artist has the additional benefit of situating Beckett outside the masculinist heritage in which he has been inscribed, and brings into focus the gender bias that has been evident in both sets of scholarship. At once modernist and contemporary due to their longevity and the variety of their prolific output (over seventy years for Bourgeois and sixty for Beckett), Bourgeois and Beckett have both been successfully canonised: vital points of reference for artists and writers today, exhibitions and productions of their work also draw huge crowds. Their respective critics have hailed the work of Bourgeois and Beckett as remarkable and distinctive, setting them apart from their fellow artists and writers. They share a creative strategy, however: both dedicated themselves to a narrow range of themes and pursued these through the adoption of a diverse range of media, play with scale, and an unceasing experimentation with form.","PeriodicalId":41421,"journal":{"name":"JOURNAL OF BECKETT STUDIES","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45683442","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}
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