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.
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Pub Date : 2019-10-24DOI: 10.1163/18757405-03102008
C. Einarsson
This article uses Beckett’s directorial comments on the screened version of What Where (1982), as a point of departure for teasing out the poetic logic of Beckett’s attention to the formal aspects of the stage image. By having formal aspects take precedence over linguistic expression, Beckett refuses closure on the level of language and makes more authentic acts of judgment possible. Such ‘emancipatory aesthetics’ promotes intellectual freedom, a liberating aspect of Beckett’s work sometimes neglected.
{"title":"Emancipatory Aesthetics in Beckett’s Theatre of Affect","authors":"C. Einarsson","doi":"10.1163/18757405-03102008","DOIUrl":"https://doi.org/10.1163/18757405-03102008","url":null,"abstract":"\u0000 This article uses Beckett’s directorial comments on the screened version of What Where (1982), as a point of departure for teasing out the poetic logic of Beckett’s attention to the formal aspects of the stage image. By having formal aspects take precedence over linguistic expression, Beckett refuses closure on the level of language and makes more authentic acts of judgment possible. Such ‘emancipatory aesthetics’ promotes intellectual freedom, a liberating aspect of Beckett’s work sometimes neglected.","PeriodicalId":53231,"journal":{"name":"Samuel Beckett Today/Aujourd''hui","volume":"55 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2019-10-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81278214","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: 10.1163/18757405-03102006
T. Wisniewski, Katarzyna Kręglewska
Beckett’s importance for Polish culture was established by the first production of Waiting for Godot in 1957. Since then, his significance has evolved in aesthetic, social and political terms. This may be illustrated by a model that focuses on: 1) the post-war sense of frustrated expectations (Waiting for Godot); 2) the approaching fall of the Iron Curtain (Catastrophe); and 3) a contemporary search for a new geo-political identity (“neither”). Direct and indirect parallels between Beckett and Polish artists are discussed (Jerzy Kreczmar, Antoni Libera, and Andrzej Stasiuk).
贝克特对波兰文化的重要性是在1957年第一次制作《等待戈多》时确立的。从那时起，他在美学、社会和政治方面的重要性不断发展。这可以用一个模型来说明:1)战后期望受挫的感觉(《等待戈多》);2)铁幕即将落下(大灾难);3)当代对新的地缘政治身份的探索(“两者都不是”)。讨论了贝克特与波兰艺术家之间的直接和间接的相似之处(Jerzy Kreczmar, Antoni Libera和Andrzej Stasiuk)。
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Pub Date : 2019-10-24DOI: 10.1163/18757405-03102003
A. ElHalawani
In 1962, Beckett’s theatre debuted in Egypt and, ever since, it has inspired Egyptian playwrights. This paper examines how two Egyptian writers engaged with Beckett’s Waiting for Godot, as an example of both Beckett’s work and so-named absurdist theater, revealing it to have more potential for political and social engagement than traditionally understood. Masir Sursar [Fate of a Cockroach] by Tawfiq Al-Hakim and Musafir Layl [Night Traveller] by Salah Abdul Saboor make a good case study of these effects.
1962年，贝克特的剧院在埃及首次亮相，从那时起，它就激发了埃及剧作家的灵感。本文考察了两位埃及作家是如何参与贝克特的《等待戈多》的，作为贝克特的作品和所谓的荒诞主义戏剧的一个例子，揭示了它比传统上理解的具有更多的政治和社会参与潜力。Tawfiq Al-Hakim的Masir Sursar[蟑螂的命运]和Salah Abdul Saboor的Musafir Layl[夜间旅行者]都是研究这些影响的好例子。
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Pub Date : 2019-10-24DOI: 10.1163/18757405-03102007
C. Taban
Au début de 2006 les artistes Maya Schweizer et Clemens von Wedemeyer ont tourné le film Rien du tout avec la collaboration des élèves d’ un lycée local, dans une banlieue parisienne semblable à celles que des émeutes ont ébranlées en novembre 2005. Employant un riche réseau de références artistiques et culturelles, parmi lesquelles Catastrophe de Beckett et les films de Fassbinder sont les plus saillantes, Rien du tout raconte l’ histoire d’ une réalisatrice autoritaire et de son dispositif cinématographique dont la domination est finalement détournée par des figurants rétifs. L’ image éphémère d’ une société hybride et égalitaire est offerte au spectateur pour qu’ il l’ examine et la compare avec la sienne propre.
2006年初Schweizer Maya和Clemens von Wedemeyer艺术家们一起拍摄这部电影根本没有地方 一个高中学生,在巴黎郊区的一个类似于骚乱动摇。2005年11月。雇用一个丰富的艺术和文化,包括参考网络Beckett和灾难电影Fassbinder最为突出的,什么都是 故事讲述一个导演电影及其装置,其威权统治由临时演员终于迂回的焦躁不安。 转瞬即逝的画面是一个混合及平等的社会是呈现给观者以 它 同自己的考察和比较。
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Pub Date : 2019-10-24DOI: 10.1163/18757405-03102002
Hania A. M. Nashef
In the Arab world, Beckett’s plays or their adaptations have not only been popular with audiences and directors but have also inspired other literary and media genres. The Beckettian wait itself has become synonymous with the condition of the Arab person. It is a wait that offers an unrealized potential of hope that reverberates with the diminishing prospects of the Beckettian protagonist. In this paper, I discuss how in times of war, migrations, and despair, performances of Beckett’s plays abound.
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Pub Date : 2019-10-24DOI: 10.1163/18757405-03102009
Hunter Dukes
This article unfolds what J.M. Coetzee terms “the rhythm of doubt” in Watt—a procedure that parallels cybernetic ideas about feedback and control. A careful reading of Coetzee’s doctoral dissertation, a stylostatistic analysis of Beckett’s English fiction, reveals what the young scholar and novelist labels the syntax of “A against B,” which he puts to use in his early novels. The rhythm of doubt ultimately takes on a political slant in these works, as it becomes associated with (potentially) violent actions performed in the service of perceived rationality.
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Pub Date : 2019-10-24DOI: 10.1163/18757405-03102004
Neil Doshi
This article reinterprets the Algerian writer Mohammed Dib’s 1992 novel Le désert sans détour through the analysis of its reference to Samuel Beckett’s En attendant Godot. I argue that for Dib, Beckett offers an important model for a post-revolutionary politics that expresses extreme skepticism over clichéd notions of historical progress and universal humanism. Recuperating this ignored Beckettian strand in Dib’s novel, I revise the critical reception that has read the text as apolitical and focused on spirituality. I offer a better understanding of Dib’s aesthetic as one emerging out of a dialectical tension between discourses of Sufi illumination and a Beckettian politics radically enmeshed in the world.
{"title":"Written in Sand","authors":"Neil Doshi","doi":"10.1163/18757405-03102004","DOIUrl":"https://doi.org/10.1163/18757405-03102004","url":null,"abstract":"\u0000 This article reinterprets the Algerian writer Mohammed Dib’s 1992 novel Le désert sans détour through the analysis of its reference to Samuel Beckett’s En attendant Godot. I argue that for Dib, Beckett offers an important model for a post-revolutionary politics that expresses extreme skepticism over clichéd notions of historical progress and universal humanism. Recuperating this ignored Beckettian strand in Dib’s novel, I revise the critical reception that has read the text as apolitical and focused on spirituality. I offer a better understanding of Dib’s aesthetic as one emerging out of a dialectical tension between discourses of Sufi illumination and a Beckettian politics radically enmeshed in the world.","PeriodicalId":53231,"journal":{"name":"Samuel Beckett Today/Aujourd''hui","volume":"2016 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2019-10-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83413200","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: 10.1163/18757405-03101008
Bernard-Olivier Posse
Cet article analyse les relations de Samuel Beckett avec l’ un des poètes phares du surréalisme français : Paul Eluard. Malgré de nombreux rapprochements entre l’ auteur irlandais et le mouvement d’ avant-garde dans la critique beckettienne, l’ appréhension systématique de cette position n’ a jamais été entreprise. Cet article se donne donc pour objectif de tracer un rapide regard sur l’ échange et le dialogue esthétique entretenu par Beckett avec Paul Eluard. Seront mises en avant les traductions du poète français effectuées par Beckett pour la revue This Quarter, ainsi que leurs relations avec certains des textes critiques écrits par Beckett durant les années trente au sein desquels le poète français apparaît, soit en filigrane, soit textuellement.
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Pub Date : 2019-04-11DOI: 10.1163/18757405-03101012
Xander Ryan
This article gives a close-reading of Beckett’s letters to Barbara Bray, focusing on the years between their first meeting in 1956 and Bray’s move to Paris in May 1961. In this correspondence Beckett grappled with the difficulties of “human conversation”, as the letters raised questions regarding the construction of the self in dialogue and the (in)ability of language to bridge distance between two individuals. I propose that Happy Days, written between October 1960 and June 1961, emerged from this fraught epistolary process, and that the play can be read as a dramatization of the letter writer’s address to their absent interlocutor. The connection is supported by Beckett’s use of draft fragments of the play-text within the letter exchange itself.
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