Pub Date : 2019-04-11DOI: 10.1163/18757405-03101006
M. Jeantroux
Le chemin qui mène des premiers manuscrits de Fin de partie à la dernière révision du texte sur la scène londonienne en 1980 est celui d’ un déploiement de l’ incertitude. Cette esthétique de l’ ambiguïté procède par toute une série de gommages et de déplacements qui clôturent l’ espace scénique, rendent équivoque la situation des personnages et donnent à lire, dans le processus même de l’ écriture, une poétique du doute qui interroge l’ origine et le sens de la création littéraire.
{"title":"“je crois peut-être que tout est vrai”","authors":"M. Jeantroux","doi":"10.1163/18757405-03101006","DOIUrl":"https://doi.org/10.1163/18757405-03101006","url":null,"abstract":"\u0000 Le chemin qui mène des premiers manuscrits de Fin de partie à la dernière révision du texte sur la scène londonienne en 1980 est celui d’ un déploiement de l’ incertitude. Cette esthétique de l’ ambiguïté procède par toute une série de gommages et de déplacements qui clôturent l’ espace scénique, rendent équivoque la situation des personnages et donnent à lire, dans le processus même de l’ écriture, une poétique du doute qui interroge l’ origine et le sens de la création littéraire.","PeriodicalId":53231,"journal":{"name":"Samuel Beckett Today/Aujourd''hui","volume":"1 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2019-04-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82036020","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 : 2019-04-11DOI: 10.1163/18757405-03101003
Karine Germoni
La dilution du point dans la littérature contemporaine prend la forme chez Beckett d’ un point ‘cassant’ récurrent dont le traitement, en regard des paramètres syntaxique et générique, évolue dans la diachronie. Ce sont les modalités des mises en œuvre de ce point ‘cassant,’ qui réverbèrent les problématiques et la poétique de l’ entre-deux au cœur de l’ opus beckettien, leurs effets, leur charge stylistique et poétique, que nous nous proposons d’ étudier dans le théâtre et la prose de l’ auteur, en puisant nos différents exemples dans les périodes les plus représentatives de son œuvre.
{"title":"La dilution du point ou le travail du point ‘cassant’ dans l’ œuvre de Beckett","authors":"Karine Germoni","doi":"10.1163/18757405-03101003","DOIUrl":"https://doi.org/10.1163/18757405-03101003","url":null,"abstract":"\u0000 La dilution du point dans la littérature contemporaine prend la forme chez Beckett d’ un point ‘cassant’ récurrent dont le traitement, en regard des paramètres syntaxique et générique, évolue dans la diachronie. Ce sont les modalités des mises en œuvre de ce point ‘cassant,’ qui réverbèrent les problématiques et la poétique de l’ entre-deux au cœur de l’ opus beckettien, leurs effets, leur charge stylistique et poétique, que nous nous proposons d’ étudier dans le théâtre et la prose de l’ auteur, en puisant nos différents exemples dans les périodes les plus représentatives de son œuvre.","PeriodicalId":53231,"journal":{"name":"Samuel Beckett Today/Aujourd''hui","volume":"106 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2019-04-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73446880","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 : 2019-04-11DOI: 10.1163/18757405-03101011
O. Beloborodova
The archival turn in Beckett studies has revealed a wealth of material that, despite being discarded or reworked, remains a valuable source of information on Beckett’s modus operandi as a writer. This article examines the genesis of Play from the postcognitive angle of extended cognition, and demonstrates how the author’s mind, contrary to the generally accepted Cartesian internal-external opposition, extends beyond the boundaries of skin and skull and forms a hybrid cognitive system with the emerging text in the drafts. Influenced by a number of other external factors, including the play’s first performances, Play was shaped by an intense and continuous interaction between several environmental elements and can serve therefore as an example of extended cognition in creative writing.
{"title":"Writing and Staging Play","authors":"O. Beloborodova","doi":"10.1163/18757405-03101011","DOIUrl":"https://doi.org/10.1163/18757405-03101011","url":null,"abstract":"\u0000 The archival turn in Beckett studies has revealed a wealth of material that, despite being discarded or reworked, remains a valuable source of information on Beckett’s modus operandi as a writer. This article examines the genesis of Play from the postcognitive angle of extended cognition, and demonstrates how the author’s mind, contrary to the generally accepted Cartesian internal-external opposition, extends beyond the boundaries of skin and skull and forms a hybrid cognitive system with the emerging text in the drafts. Influenced by a number of other external factors, including the play’s first performances, Play was shaped by an intense and continuous interaction between several environmental elements and can serve therefore as an example of extended cognition in creative writing.","PeriodicalId":53231,"journal":{"name":"Samuel Beckett Today/Aujourd''hui","volume":"57 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2019-04-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"91120224","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 : 2019-04-11DOI: 10.1163/18757405-03101009
Pim Verhulst
This article discusses Sisyphus as a recurrent (philosophical) image in Samuel Beckett’s work. Starting from his prewar reading notes, it moves on to the 1940s and the radio play All That Fall (1956), which is studied in light of Albert Camus’s essays Le Mythe de Sisyphe (1942) and L’ Homme révolté (1951). By focussing on how the radio play deals with the absurd, revolt, suicide and murder, the article reads All That Fall as one of Beckett’s most critical but overlooked engagements with Camus, merging classical and modern versions of the character Sisyphus.
{"title":"“A thing I carry about with me”","authors":"Pim Verhulst","doi":"10.1163/18757405-03101009","DOIUrl":"https://doi.org/10.1163/18757405-03101009","url":null,"abstract":"\u0000 This article discusses Sisyphus as a recurrent (philosophical) image in Samuel Beckett’s work. Starting from his prewar reading notes, it moves on to the 1940s and the radio play All That Fall (1956), which is studied in light of Albert Camus’s essays Le Mythe de Sisyphe (1942) and L’ Homme révolté (1951). By focussing on how the radio play deals with the absurd, revolt, suicide and murder, the article reads All That Fall as one of Beckett’s most critical but overlooked engagements with Camus, merging classical and modern versions of the character Sisyphus.","PeriodicalId":53231,"journal":{"name":"Samuel Beckett Today/Aujourd''hui","volume":"52 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2019-04-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85392652","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 : 2019-04-11DOI: 10.1163/18757405-03101007
W. Davies
This article analyses Samuel Beckett’s unpublished prose piece “Long Observation of the Ray” (UoR MS 2909; 1975–1976) and considers the formal, thematic, and intertextual aspects of the text in order to reflect on its ‘abandoned’ status. By drawing attention to possible sources for the linguistic and descriptive choices that Beckett makes throughout the manuscript, the article argues that the text represents a partial return to the author’s abiding interest in calculations of light and distance first prompted by his study of astronomy, a return which he uses to further his experimentation with form and structure in “Long Observation of the Ray” and beyond.
本文分析了塞缪尔·贝克特未发表的散文《对光线的长期观察》(UoR MS 2909;1975-1976)，并考虑文本的形式、主题和互文方面，以反映其“被抛弃”的状态。通过关注贝克特在整个手稿中所做的语言和描述选择的可能来源，文章认为，文本代表了作者对光和距离计算的持久兴趣的部分回归，这首先是由他对天文学的研究引起的，他利用这种回归来进一步他在“光线的长期观察”中对形式和结构的实验。
{"title":"“Occasional extinction or more likely occultation”","authors":"W. Davies","doi":"10.1163/18757405-03101007","DOIUrl":"https://doi.org/10.1163/18757405-03101007","url":null,"abstract":"\u0000 This article analyses Samuel Beckett’s unpublished prose piece “Long Observation of the Ray” (UoR MS 2909; 1975–1976) and considers the formal, thematic, and intertextual aspects of the text in order to reflect on its ‘abandoned’ status. By drawing attention to possible sources for the linguistic and descriptive choices that Beckett makes throughout the manuscript, the article argues that the text represents a partial return to the author’s abiding interest in calculations of light and distance first prompted by his study of astronomy, a return which he uses to further his experimentation with form and structure in “Long Observation of the Ray” and beyond.","PeriodicalId":53231,"journal":{"name":"Samuel Beckett Today/Aujourd''hui","volume":"64 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2019-04-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87510917","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 : 2019-04-11DOI: 10.1163/18757405-03101005
M. Carrera
Samuel Beckett’s self-avowed slight acquaintance with the Spanish language did not prevent him from tackling the translation of a poem by the Chilean Gabriela Mistral, as well as a whole anthology of Mexican poetry. Little attention has been paid to this sideline in Beckett’s career. This paper contextualizes Beckett’s involvement in these two UNESCO projects and shows, with recourse to his translation manuscripts, the intensity of the author’s work despite his distaste for these commissions.
{"title":"Samuel Beckett’s Translations of Latin American Poets for UNESCO","authors":"M. Carrera","doi":"10.1163/18757405-03101005","DOIUrl":"https://doi.org/10.1163/18757405-03101005","url":null,"abstract":"\u0000 Samuel Beckett’s self-avowed slight acquaintance with the Spanish language did not prevent him from tackling the translation of a poem by the Chilean Gabriela Mistral, as well as a whole anthology of Mexican poetry. Little attention has been paid to this sideline in Beckett’s career. This paper contextualizes Beckett’s involvement in these two UNESCO projects and shows, with recourse to his translation manuscripts, the intensity of the author’s work despite his distaste for these commissions.","PeriodicalId":53231,"journal":{"name":"Samuel Beckett Today/Aujourd''hui","volume":"3 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2019-04-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76734060","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 : 2019-04-11DOI: 10.1163/18757405-03101010
S. Slote
After a period of electroshock therapy, Antonin Artaud claimed to have been able to regain his name and sense of self. The dehiscence of name and identification is reprised in Artaud’s final work, the radio play Pour en finir avec le jugement de Dieu. This consists of five texts, read by four people. Each text is followed by unintelligible, glossolalic screams performed by Artaud, as if Artaud were reacting against the speech acts performed by others in his name. The structure of this play suggests the predicament of Beckett’s Unnamable: an entity reacting in pain to its attempts to articulate itself in a language that is not his, but theirs.
{"title":"Namelessness from Artaud to Beckett","authors":"S. Slote","doi":"10.1163/18757405-03101010","DOIUrl":"https://doi.org/10.1163/18757405-03101010","url":null,"abstract":"\u0000 After a period of electroshock therapy, Antonin Artaud claimed to have been able to regain his name and sense of self. The dehiscence of name and identification is reprised in Artaud’s final work, the radio play Pour en finir avec le jugement de Dieu. This consists of five texts, read by four people. Each text is followed by unintelligible, glossolalic screams performed by Artaud, as if Artaud were reacting against the speech acts performed by others in his name. The structure of this play suggests the predicament of Beckett’s Unnamable: an entity reacting in pain to its attempts to articulate itself in a language that is not his, but theirs.","PeriodicalId":53231,"journal":{"name":"Samuel Beckett Today/Aujourd''hui","volume":"15 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2019-04-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81522891","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 : 2019-04-11DOI: 10.1163/18757405-03101004
D. Hulle
Considering deleted passages in a manuscript as a draft’s “draff,” this article investigates the status of such cancelled passages. Since they did not make it into the published text, are they still part of that work, or where do they belong? The proposed pentimenti model suggests a possible answer to this question by comparing cancelled passages to what in the visual arts are the visible traces of earlier painting beneath the top layer. The manuscripts of Beckett’s Fin de partie / Endgame in the recent digital genetic edition of the Beckett Digital Manuscript Project serve as a case study to illustrate this pentimenti model.
{"title":"The Pentimenti Principle","authors":"D. Hulle","doi":"10.1163/18757405-03101004","DOIUrl":"https://doi.org/10.1163/18757405-03101004","url":null,"abstract":"\u0000 Considering deleted passages in a manuscript as a draft’s “draff,” this article investigates the status of such cancelled passages. Since they did not make it into the published text, are they still part of that work, or where do they belong? The proposed pentimenti model suggests a possible answer to this question by comparing cancelled passages to what in the visual arts are the visible traces of earlier painting beneath the top layer. The manuscripts of Beckett’s Fin de partie / Endgame in the recent digital genetic edition of the Beckett Digital Manuscript Project serve as a case study to illustrate this pentimenti model.","PeriodicalId":53231,"journal":{"name":"Samuel Beckett Today/Aujourd''hui","volume":"375 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2019-04-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74873682","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 : 2019-04-11DOI: 10.1163/18757405-03101002
Helen Bailey
Beckett’s treatment of the “mixed choir of angels” in Watt complicates the relationship between archive and text. While references to this musical source were largely excised by the author, traces left behind in the published text(s) raise questions about whether it should be discounted as detritus. This paper explores how Beckett’s consignment of celestial music to the archive enacts a form of Heideggerian vermeiden, where the ‘spiritual’ potential of music is revealed only by avoiding its expression. From outside the published work, the choir haunts the text, anticipated though never arriving, yet always already present in its genesis.
{"title":"Angels in the Archive","authors":"Helen Bailey","doi":"10.1163/18757405-03101002","DOIUrl":"https://doi.org/10.1163/18757405-03101002","url":null,"abstract":"\u0000 Beckett’s treatment of the “mixed choir of angels” in Watt complicates the relationship between archive and text. While references to this musical source were largely excised by the author, traces left behind in the published text(s) raise questions about whether it should be discounted as detritus. This paper explores how Beckett’s consignment of celestial music to the archive enacts a form of Heideggerian vermeiden, where the ‘spiritual’ potential of music is revealed only by avoiding its expression. From outside the published work, the choir haunts the text, anticipated though never arriving, yet always already present in its genesis.","PeriodicalId":53231,"journal":{"name":"Samuel Beckett Today/Aujourd''hui","volume":"4 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2019-04-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82911791","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}
{"title":"Echo’s Bones","authors":"Samuel J. Beckett, M. Nixon","doi":"10.2307/j.ctvbcd17n.5","DOIUrl":"https://doi.org/10.2307/j.ctvbcd17n.5","url":null,"abstract":"","PeriodicalId":53231,"journal":{"name":"Samuel Beckett Today/Aujourd''hui","volume":"47 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2019-01-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85574151","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}
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：