Pub Date : 2020-07-30DOI: 10.1163/18757405-03202005
M. Farrant
This essay reads the ungraspable relation to death in Beckett’s works as a means to think through our contemporary era of climate crisis. Beckett’s singular aesthetics of human finitude can be a powerful resource for thinking the unthinkable. By envisaging finitude in terms of the limits imposed on life by both space and time, this essay seeks to ground the existential framework of Beckett’s oeuvre in terms of an always embedded self. Looking at the short story “The End,” I show how such embeddedness may work to evade totalisation or abstraction in terms of a universal worldview, yet also how it poses problems for any privileging of materiality as such. Beckett’s writings are thereby seen to produce a dynamic ethics between world and earth, the global and the local, life and death.
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Pub Date : 2020-06-08DOI: 10.1163/18757405-03202008
Ulrika Maude
Beckett’s prose, drama, correspondence and working notes contain numerous references to processes that pertain to unconscious, involuntary bodily functionality and materiality. In this respect, the body’s viscera and their processes cannot properly be said to belong to the subject, and yet everything over which we have agential control is premised on these deeper vegetative or physiological processes; thought and feeling, as Molloy puts it, ‘dance their sabbath’ in the ‘caverns’ of the body. If the conception of the ‘human’ is premised on rationality, then the viscera are non-human, object-like. Beckett’s anti-rationalist emphasis on affective, visceral experience in How It Is (along with the novel’s veiled allusions to Pavlov’s conditioning and Watson’s behaviourism) operates in tension with the more elevated intertextual references that signpost the humanist tradition.
贝克特的散文、戏剧、通信和工作笔记中包含了大量与无意识、非自愿的身体功能和物质性有关的过程。在这方面，身体的内脏和它们的过程不能被恰当地说成是属于主体的，然而，我们有代理控制的一切都是以这些更深层次的植物或生理过程为前提的;正如莫洛伊所说，思想和感情在身体的“洞穴”中“跳舞”。如果“人”的概念是以理性为前提的，那么脏器就是非人的，像物体一样。贝克特在《How It Is》中强调情感和本能体验的反理性主义(以及小说中对巴甫洛夫条件反射和华生行为主义的隐晦暗示)与人文主义传统中更高层次的互文引用相矛盾。
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Pub Date : 2020-04-17DOI: 10.1163/18757405-03201007
Nicholas Johnson
After first developing a taxonomy of intermedial prose performance based on distinctions in how an audience member or user experiences the work phenomenologically, this essay offers a performance history of some unusual translations, adaptations and intermedial responses to Samuel Beckett’s novel How It Is. Examples range widely across media, from the audio recordings of Patrick Magee to the experimental jazz records of Michael Mantler, and from the recent stage work of Gare St Lazare to the art installation of Mirosław Bałka. Such works reflect the experimental character of the novel itself, forcing a reconsideration of the discourse of the ‘unperformable.’
本文首先根据观众或读者对作品的现象学体验的不同，对中间散文表演进行了分类，然后提供了对塞缪尔·贝克特的小说《它是怎样的》的一些不同寻常的翻译、改编和中间反应的表演历史。从帕特里克·马吉(Patrick Magee)的录音到迈克尔·曼特勒(Michael Mantler)的实验爵士乐唱片，从圣拉扎尔(Gare St Lazare)最近的舞台作品到Mirosław Bałka的艺术装置，这些例子在媒体上广泛存在。这些作品反映了小说本身的实验性特征，迫使人们重新思考“不可表演”的话语。
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Pub Date : 2020-04-17DOI: 10.1163/18757405-03201009
Catherine Laws
The topic of ‘Beckett and music’ has gained considerable attention in recent years. In previous work I have argued that music in Beckett’s plays does not, as some have suggested, exist beyond or exceed the ambiguities of body, knowledge and subjectivity that are apparent in other aspects of his work, but rather that its use parallels and reinforces these processes. If this kind of intermediality, involving music, operates already in some of Beckett’s work, how does it manifest when musicians work with or in relation to it? This question is addressed through a discussion of John Tilbury’s version of Worstward Ho, for piano, recorded voice and electronics.
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Pub Date : 2019-12-31DOI: 10.1515/9780691196787-004
{"title":"Part 2. The Early Fiction and Criticism: Apprenticeship and Vision","authors":"","doi":"10.1515/9780691196787-004","DOIUrl":"https://doi.org/10.1515/9780691196787-004","url":null,"abstract":"","PeriodicalId":53231,"journal":{"name":"Samuel Beckett Today/Aujourd''hui","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2019-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73820163","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 : 2019-10-24DOI: 10.1163/18757405-03102005
G. Quigley
During the 1960s and 70s, direct invocations of Beckett’s texts began to appear in works by writers belonging to a Turkish literary movement called bunalim edebiyati, or Literature of Despair. These writers were critical of the Turkish republic; their productions also coincided with the formation of social movements that sought to address the sociocultural effects of the Turkish language reforms. This paper argues that Beckett’s method and thematic engagement with self-translation informed how Turkish writers negotiated language reforms in their own writing. Writers examined include Adalet Ağaoğlu and Ferhan Şensoy as well as Beckett productions by Barbara Hutt.
{"title":"“A Worthless Reptile”","authors":"G. Quigley","doi":"10.1163/18757405-03102005","DOIUrl":"https://doi.org/10.1163/18757405-03102005","url":null,"abstract":"\u0000 During the 1960s and 70s, direct invocations of Beckett’s texts began to appear in works by writers belonging to a Turkish literary movement called bunalim edebiyati, or Literature of Despair. These writers were critical of the Turkish republic; their productions also coincided with the formation of social movements that sought to address the sociocultural effects of the Turkish language reforms. This paper argues that Beckett’s method and thematic engagement with self-translation informed how Turkish writers negotiated language reforms in their own writing. Writers examined include Adalet Ağaoğlu and Ferhan Şensoy as well as Beckett productions by Barbara Hutt.","PeriodicalId":53231,"journal":{"name":"Samuel Beckett Today/Aujourd''hui","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2019-10-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75687413","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}
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