{"title":"An Interview with Tim Parkinson","authors":"Lucy Jeffery","doi":"10.3366/JOBS.2020.0314","DOIUrl":"https://doi.org/10.3366/JOBS.2020.0314","url":null,"abstract":"","PeriodicalId":41421,"journal":{"name":"JOURNAL OF BECKETT STUDIES","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2020-09-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49102363","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":"Beckett, Waiting for Godot","authors":"E. Adar","doi":"10.3366/JOBS.2020.0316","DOIUrl":"https://doi.org/10.3366/JOBS.2020.0316","url":null,"abstract":"","PeriodicalId":41421,"journal":{"name":"JOURNAL OF BECKETT STUDIES","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2020-09-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43345438","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":"At Home with Beckettians (Notes from the Lockdown)","authors":"André Furlani","doi":"10.3366/JOBS.2020.0315","DOIUrl":"https://doi.org/10.3366/JOBS.2020.0315","url":null,"abstract":"","PeriodicalId":41421,"journal":{"name":"JOURNAL OF BECKETT STUDIES","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2020-09-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43470856","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":"Beckett, Rough for Theatre II and Endgame","authors":"J. McAllister","doi":"10.3366/jobs.2020.0317","DOIUrl":"https://doi.org/10.3366/jobs.2020.0317","url":null,"abstract":"","PeriodicalId":41421,"journal":{"name":"JOURNAL OF BECKETT STUDIES","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2020-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44150402","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}
In Beckett's Ireland, the practice of censorship was bound up with the workings of literary genre. The fact that printed matter was subject to censorship, while theatre was not, meant that the censor played a role in maintaining the distinction between dramatic and nondramatic writing. Many Irish authors responded to these conditions by remediating censored narratives as theatre. Beckett adopted an alternative strategy, rejecting the legal premises of Irish censorship and crafting his literary style around a critique of the censor's reading practices. Beckett's responses to the Irish censor track his turn from the novel to the drama. Across genres, Beckett's writing in English was shaped by the climate of post-publication censorship in Ireland, the effects of which are legible even in works that were never banned. Beckett's rejoinder to the censor was articulated using terms set out by the Irish Free State's Committee on Evil Literature, which held that censors could prohibit a text based on one ‘indecent’ passage, rather than evaluating that excerpt in the context of the work as a whole. For Beckett, the literary trope of synecdoche—that is, the rhetorical substitution of a part for the whole—became associated with the censor's mode of reading. Beckett harnesses the trope of synecdoche to impugn Irish censorship practices, a pattern evident from the direct address to the censor in Murphy to the dramaturgical evocation of self-censorship in Not I. The use of synecdoche illuminates Beckett's reckoning with his cultural inheritance as an Irish writer and indexes his shift towards a cosmopolitan literary identity.
{"title":"Synecdoche's Obloquy: Beckett and the Performance of Indecency","authors":"Rebecca Kastleman","doi":"10.3366/jobs.2020.0310","DOIUrl":"https://doi.org/10.3366/jobs.2020.0310","url":null,"abstract":"In Beckett's Ireland, the practice of censorship was bound up with the workings of literary genre. The fact that printed matter was subject to censorship, while theatre was not, meant that the censor played a role in maintaining the distinction between dramatic and nondramatic writing. Many Irish authors responded to these conditions by remediating censored narratives as theatre. Beckett adopted an alternative strategy, rejecting the legal premises of Irish censorship and crafting his literary style around a critique of the censor's reading practices. Beckett's responses to the Irish censor track his turn from the novel to the drama. Across genres, Beckett's writing in English was shaped by the climate of post-publication censorship in Ireland, the effects of which are legible even in works that were never banned. Beckett's rejoinder to the censor was articulated using terms set out by the Irish Free State's Committee on Evil Literature, which held that censors could prohibit a text based on one ‘indecent’ passage, rather than evaluating that excerpt in the context of the work as a whole. For Beckett, the literary trope of synecdoche—that is, the rhetorical substitution of a part for the whole—became associated with the censor's mode of reading. Beckett harnesses the trope of synecdoche to impugn Irish censorship practices, a pattern evident from the direct address to the censor in Murphy to the dramaturgical evocation of self-censorship in Not I. The use of synecdoche illuminates Beckett's reckoning with his cultural inheritance as an Irish writer and indexes his shift towards a cosmopolitan literary identity.","PeriodicalId":41421,"journal":{"name":"JOURNAL OF BECKETT STUDIES","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2020-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41701924","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}
While the dialogue between Samuel Beckett's …but the clouds… and W. B. Yeats's ‘The Tower’ has been thoroughly examined, much less attention has been paid to the female voice that inaudibly recites the poetic fragment in what constitutes the teleplay's chief intertextual gesture towards Yeats's poem. Aligning this oversight with the more pervasive disregard within Beckett Studies to the gendered specificity of Beckett's voices, this essay elaborates the absent presence of the female voice in the teleplay – crystallised in the image of W's silently moving lips – from the interlocking perspectives of intertextuality, technology, and spectatorship. It draws attention to Beckett's sustained preoccupation with the female voice during the composition process, as well as the intertextual and technological operations through which he orchestrates its paradoxical status. Even though as a speech-deprived female body functions as the locus of these overlapping processes, I argue that … but the clouds… ultimately subverts associations of the feminine with discursive inadequacy and bodily impairment; if anything, Beckett here attributes deficiency and incompletion to male subjectivity and the televisual medium.
虽然塞缪尔·贝克特（Samuel Beckett）的《但是云》（…but the clouds…）和W·B·叶芝（W.B.Yeats。将这种疏忽与贝克特研究中对贝克特声音性别特征的普遍忽视相结合，本文阐述了电视剧中女性声音的缺失 – 在W无声移动嘴唇的图像中结晶 – 从互文性、技术和观赏性的角度出发。它提请人们注意贝克特在创作过程中对女性声音的持续关注，以及他通过互文和技术操作来编排其矛盾的地位。尽管作为一个被剥夺话语权的女性身体是这些重叠过程的中心，我认为……但云层……最终颠覆了女性与话语不足和身体损伤的联系；如果说有什么不同的话，贝克特在这里将不足和不完整归因于男性主体性和电视媒介。
{"title":"‘lips move, uttering inaudibly’: The Female Voice in Samuel Beckett's …but the clouds …","authors":"Jivitesh Vashisht","doi":"10.3366/jobs.2020.0313","DOIUrl":"https://doi.org/10.3366/jobs.2020.0313","url":null,"abstract":"While the dialogue between Samuel Beckett's …but the clouds… and W. B. Yeats's ‘The Tower’ has been thoroughly examined, much less attention has been paid to the female voice that inaudibly recites the poetic fragment in what constitutes the teleplay's chief intertextual gesture towards Yeats's poem. Aligning this oversight with the more pervasive disregard within Beckett Studies to the gendered specificity of Beckett's voices, this essay elaborates the absent presence of the female voice in the teleplay – crystallised in the image of W's silently moving lips – from the interlocking perspectives of intertextuality, technology, and spectatorship. It draws attention to Beckett's sustained preoccupation with the female voice during the composition process, as well as the intertextual and technological operations through which he orchestrates its paradoxical status. Even though as a speech-deprived female body functions as the locus of these overlapping processes, I argue that … but the clouds… ultimately subverts associations of the feminine with discursive inadequacy and bodily impairment; if anything, Beckett here attributes deficiency and incompletion to male subjectivity and the televisual medium.","PeriodicalId":41421,"journal":{"name":"JOURNAL OF BECKETT STUDIES","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2020-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45844856","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 McNaughton, Samuel Beckett and the Politics of Aftermath","authors":"W. Davies","doi":"10.3366/jobs.2020.0320","DOIUrl":"https://doi.org/10.3366/jobs.2020.0320","url":null,"abstract":"","PeriodicalId":41421,"journal":{"name":"JOURNAL OF BECKETT STUDIES","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2020-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48095357","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}
This essay investigates political implications of narrative space in Samuel Beckett's closed-space narratives, arguing for a narratological understanding of these spatial politics. It focuses on Imagination Dead Imagine, a text that radically disorients reader engagement with narrative space. In this text, Beckett collides bureaucratic narrative logic, which compartmentalises and accounts for all details of narrative space, against trenchantly anti-bureaucratic grammar, in which sentence structure disrupts and undermines spatial ordering. This dialectical relationship between bureaucratic narrative voice and unstable grammar critiques the logic that, in Giorgio Agamben's biopolitical sense, defines the bureaucratic nation-state. By associating narrative space and its inhabiting characters with the bureaucratic logic of modernity, Imagination Dead Imagine enacts and examines what Agamben calls the state of exception, inscribing politics onto the bare life of characters. While the text avoids direct reference to these historical conditions, its structure performs and resists the politics implicit in those conditions.
{"title":"Narrative Disorientation and Beckett's Bureaucratic Space","authors":"B. McAllister","doi":"10.3366/jobs.2020.0309","DOIUrl":"https://doi.org/10.3366/jobs.2020.0309","url":null,"abstract":"This essay investigates political implications of narrative space in Samuel Beckett's closed-space narratives, arguing for a narratological understanding of these spatial politics. It focuses on Imagination Dead Imagine, a text that radically disorients reader engagement with narrative space. In this text, Beckett collides bureaucratic narrative logic, which compartmentalises and accounts for all details of narrative space, against trenchantly anti-bureaucratic grammar, in which sentence structure disrupts and undermines spatial ordering. This dialectical relationship between bureaucratic narrative voice and unstable grammar critiques the logic that, in Giorgio Agamben's biopolitical sense, defines the bureaucratic nation-state. By associating narrative space and its inhabiting characters with the bureaucratic logic of modernity, Imagination Dead Imagine enacts and examines what Agamben calls the state of exception, inscribing politics onto the bare life of characters. While the text avoids direct reference to these historical conditions, its structure performs and resists the politics implicit in those conditions.","PeriodicalId":41421,"journal":{"name":"JOURNAL OF BECKETT STUDIES","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2020-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42856964","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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