Pub Date : 2023-10-19DOI: 10.1163/18757405-03502002
Llewellyn Brown
Résumé Les liens entre Beckett et Dostoïevski, plus nombreux que supposé précédemment, se manifestent par une série de motifs en commun qui permettent de relire le tournant conduisant de L’Innommable à En attendant Godot . Estragon fait allusion à l’œuvre Carnets du sous-sol , dont le motif éponyme provient du roman de Tchernychevsky Que faire ? Représentant des qualités négatives, il s’agit du lieu de prédilection du personnage de Dostoïevski. C’est aussi le domaine de la voix monologique de L’Innommable , et qu’Estragon désigne rétrospectivement à partir du lieu de stabilité que représente la scène théâtrale, mais qui retrouvera sa place centrale dans le théâtre ultérieur.
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Pub Date : 2023-10-19DOI: 10.1163/18757405-03502006
Matthijs Engelberts
Abstract Waiting for Godot is not often presented as homologous with Beckett’s narrative fiction. However, a close consideration of the status of the boy(s) in the play shows that the drama text undermines the dichotomy between inner and outer world, which Beckett was addressing in comparable ways in his novels and art criticism.
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Pub Date : 2023-10-19DOI: 10.1163/18757405-03502011
Muhammad Saeed Nasir
Abstract Recent developments in the critical arena indicate that scholars are showing a keen interest in tracing Samuel Beckett’s influence on, or presence in, the non-Western world. They focus on how the Beckettian oeuvre is translated and adapted in various corners of the world. This study aims to contribute to this trend by examining the adaptations of Waiting for Godot in Pakistan. It operates on two interconnected levels. First, it explores how the metaphor of Godot was employed to adapt to Pakistan’s political context. Second, it posits that the adaptable structure of Waiting for Godot empowers artists to mirror the audience’s worldview, resulting in one-of-a-kind interpretations that contest the Eurocentric perspective. The pliability of Beckettian oeuvre encourages diverse literary responses.
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Pub Date : 2023-10-19DOI: 10.1163/18757405-03502005
Julie Bénard
Résumé Alors que la première représentation publique d’ En attendant Godot s’inscrit dans un contexte d’après-guerre, Gerry de Gus Van Sant voyait le jour au tournant du XX e et XXI e siècles. Si les deux œuvres partagent les mêmes thématiques, c’est leur esthétique qui les rapproche en reposant sur un même principe : l’épuisement. Tout comme Gilles Deleuze qui déterminait dans son essai “L’Épuisé” (1992) trois sortes d’épuisements chez Beckett, Fabien Boully en identifie également trois chez le cinéaste. Cet article propose de faire dialoguer les deux œuvres à l’étude autour de l’épuisement du langage, de l’espace et de la représentation.
《等待戈多》的第一次公开演出是在战后的背景下进行的，而格里·德·格斯·范·桑特(Gerry de Gus Van Sant)是在20世纪和21世纪初诞生的。虽然这两件作品有着相同的主题，但正是它们的美学将它们联系在一起，并基于相同的原则:疲惫。就像吉尔·德勒兹在他的文章《精疲力竭》(1992)中确定贝克特的三种精疲力竭一样，法比恩·布利也确定了贝克特的三种精疲力竭。本文建议将这两部作品围绕语言、空间和表现的耗竭展开对话。
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Pub Date : 2023-10-19DOI: 10.1163/18757405-03502007
Eva Touron
Résumé L’objet principal de cet article est de décrire la réception critique de la trilogie romanesque ( Molloy , Malone meurt , L’Innommable ) de Samuel Beckett dans la presse française des années 1951 à 1953. L’étude menée a pour vocation de proposer un inventaire de la critique littéraire de l’époque, et de mettre en avant un type de lectorat précis, à savoir le lecteur expert contemporain de Samuel Beckett, identifiable à travers l’écriture journalistique. Dans le dessein de proposer un compte-rendu aussi objectif que possible, notre démarche consistera tout d’abord à évaluer la valence lexicale des coupures de presse, déclinée selon trois modalités (méliorative, péjorative ou neutre) puis à l’articuler à plusieurs variables explicitées au cours de l’article.
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Pub Date : 2023-10-19DOI: 10.1163/18757405-03502009
Michał Kisiel
Abstract This article focuses on Samuel Beckett’s selected short prose works “The Lost Ones” and “Ping,” which both present ruinous landscapes that have witnessed an unspeakable catastrophe. Both texts attempt to reflect such deterioration in the collapse of language. Following environmental criticism and new materialism, this paper analyses Beckett’s texts as potential representatives of a poetics for the Anthropocene. Such a project withdraws from evoking spectacular images of an ecocide witnessed by narrators unaffected by the deteriorating reality; instead, it grasps the necessary crisis of narration as a part of a world that is falling apart.
{"title":"Vulnerable Landscapes","authors":"Michał Kisiel","doi":"10.1163/18757405-03502009","DOIUrl":"https://doi.org/10.1163/18757405-03502009","url":null,"abstract":"Abstract This article focuses on Samuel Beckett’s selected short prose works “The Lost Ones” and “Ping,” which both present ruinous landscapes that have witnessed an unspeakable catastrophe. Both texts attempt to reflect such deterioration in the collapse of language. Following environmental criticism and new materialism, this paper analyses Beckett’s texts as potential representatives of a poetics for the Anthropocene. Such a project withdraws from evoking spectacular images of an ecocide witnessed by narrators unaffected by the deteriorating reality; instead, it grasps the necessary crisis of narration as a part of a world that is falling apart.","PeriodicalId":53231,"journal":{"name":"Samuel Beckett Today/Aujourd''hui","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-10-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135821522","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-10-19DOI: 10.1163/18757405-03502010
Andre Furlani
Abstract Forty years after Susan Sontag aptly called the great Swiss Modern Robert Walser “a good-humored, sweet Beckett” the writers’ affinities remain unappreciated, even as they both achieved belated recognition in the same year, 1953, Beckett of course with En attendant Godot and Walser with Carl Selig’s edition of Dichtungen in Prosa . In terms readily applicable to the author of the Trilogy, Nouvelles and Textes pour rien , Walser described his work as “a multifariously cut-up or ripped-apart book of the self.” This self-dismantling narrative self is typically a socially inassimilable good-for-nothing, a Taugenichts who reappears in Beckett as the deadbeat or propre-à-rien . The feverishly self-editing, impudently contradictory and provisional idiom of such later fiction as The Robber ( Der Räuber , 1925) strikingly presages L’Innommable/The Unnamable .
在苏珊·桑塔格恰当地称伟大的瑞士现代作家罗伯特·沃尔瑟为“一个幽默、可爱的贝克特”40年后，两位作家的亲密关系仍未得到赏识，尽管他们都在同一年(1953年)获得了姗姗来迟的认可，当然是贝克特与《哥多》的合作，而沃尔瑟与卡尔·塞利格的《迪奇顿根》的合作。沃尔泽将自己的作品描述为“一本支离破碎的自我之书”，这句话很容易适用于《新小说三部曲》(Trilogy)、《新小说》(Nouvelles)和《文本》(Textes pour rien)的作者。这种自我消解的叙事自我是典型的社会上不可同化的无用之物，是在贝克特身上作为游手好闲者或体面者再现的陶根尼式人物-à-rien。后来的小说《强盗》(Der Räuber, 1925)中狂热的自我编辑、肆无忌惮的矛盾和临时的习语惊人地预示了《不可名状》/《不可名状》。
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Pub Date : 2023-03-13DOI: 10.1163/18757405-03501004
Trish McTighe
This article examines the place of Beckett’s work amongst recent artworks sited at the Northern Irish border/ north of Ireland border. Using Dylan Quinn’s Fulcrum, the Happy Days Enniskillen International Beckett Festival’s Walking for Waiting for Godot, and the collaborative community project Across and In-Between as key examples, I explore how Beckett’s work has become absorbed into the kinds of wider arts and political discourses—and indeed crises—that this border-site reflects. These projects share a concern for placing bodies at the border, asking us to see from the situation of the border, to trace its often-impalpable contours with the frail tools of words and bodies.
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