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Up to now, Samuel Beckett has been considered largely as a commentator on the human condition and on the angst of our time, and as a novelist and a playwright who undermines and manipulates the metaphysical assumptions and conventions that underlie language and representation. This book offers a new perspective. The contributors, all outstanding Beckett scholars, emphasize three significant aspects of Beckett's career that have been acknowledged but given insufficient consideration. Beckett is a translator, an experimenter with form and expression in two languages simultaneously; Beckett is a multimedia creator who has worked with several kinetic, verbal, and visual possibilities and resources; Beckett has inspired experimentation and creativity in others. Thus, translation is viewed in this book not as a secondary production, but rather as a dynamic process that involves adaptations, interpretations, transformations, and transpositions, all activities requiring strategies and techniques for transcoding on the part of the translator. The scholars represented in this book examine both what is translated and how it is translated, with the result that a new set of questions about Beckett's works is raised, and the answers point to further avenues of research.
The global reception of Samuel Beckett raises numerous questions: in which areas of the world was Beckett first translated? Why were Beckett texts sometimes slow to penetrate certain cultures? How were national literatures impacted by Beckett's oeuvre? Translating Samuel Beckett around the World brings together leading researchers in Beckett studies to discuss these questions and explore the fate of Beckett in their own societies and national languages. The current text provides ample coverage of the presence of Beckett in geographical contexts normally ignored by literary criticism, and reveals unknown aspects of the 1969 Nobel Prize winner interacting with translators of his work in a number of different countries.
Provides valuable insight into one of the most exciting developments in Beckett Studies in recent years.
In 1934, Nancy Cunard published Negro: An Anthology, which brought together more than two hundred contributions, serving as a plea for racial justice, an exposé of black oppression, and a hymn to black achievement and endurance. The anthology stands as a virtual ethnography of 1930s racial, historic, artistic, political, and economic culture. Samuel Beckett, a close friend of the flamboyant and unconventional Cunard, translated nineteen of the contributions for Negro, constituting Beckett's largest single prose publication. Beckett traditionally has been viewed as an apolitical postmodernist rather than as a willing and major participant in Negro's racial, political, and aesthetic agenda. In Beckett in Black and Red, Friedman reevaluates Beckett's contribution to the project, reconciling the humanism of his life and work and valuing him as a man deeply engaged with the greatest public issues of his time. Cunard believed racial justice and equality could be achieved only through Communism, and thus "black" and "red" were inextricably linked in her vision. Beckett's contribution to Negro demonstrates his support for Cunard's interest in surrealism as well as her political causes, including international republicanism and anti-fascism. Only in recent years have Cunard's ideas begun to receive serious consideration. Beckett in Black and Red radically revalues Cunard and reconceives Beckett. His work in Negro shows a commitment to cultural and individual equality and worth that Beckett consistently demonstrated throughout his life, both in personal relationships and in his writing.
This work relates the adventures of an unnamed narrator crawling through the mud while dragging a sack of canned food. It is written as a sequence of unpunctuated paragraphs divided into three sections.
This collection gathers together the Nobel Prize-winning writer Samuel Beckett's English poems (including Whoroscope, his first published verse), English translations of poems by Eluard, Rimbaud, Apollinaire, and Chamfort, and poems in French, several of which are presented in translation.
An indispensable guide to the oeuvre of Samuel Beckett, spanning sixty years
Explores Beckett's engagement with various technologies throughout his artistic career. This collection of essays is the first comprehensive discussion of the role technology plays in shaping Beckett's trademark aesthetics. Samuel Beckett and Technology assembles an innovative and diverse range of scholarly approaches to the topic, which collectively renegotiate our understanding of his work in prose, theatre, film, radio and television. What emerges from these discussions is the centrality of technology for Beckett's creative imagination, a factor that is equally enabling as it is limiting. At the same time, the book reveals how theories of technology can yield new readings of the way Beckett responds to the conditions of technological modernity. As such, Beckett's work is examined in its relation to historical and contemporary technologies, discourses of technicity and technē, post-humanism and the digital age. Galina Kiryushina is a Doctoral Candidate and Researcher at the Centre for Irish Studies, Faculty of Arts, Charles University Prague. Einat Adar is Lecturer in English Literature at the University of South Bohemia. Mark Nixon is Associate Professor in Modern Literature at the University of Reading, where he is also the Co-Director of the Beckett International Foundation.
This book maps out the novel's complex network of intertexts, sources and echoes, interprets its highly experimental writing and explains the work's great significance for twentieth-century literature. It offers a clear pathway into this remarkable bilingual novel, identifying Beckettâ (TM)s use of previously unknown sources in the history of Western philosophy, from the ancient and modern periods, and challenging critical orthodoxies. Through careful archival scholarship and attention to the dynamics of self-translation, the book traces Beckettâ (TM)s transformation of his narratorâ (TM)s â ~ancient voiceâ (TM), his intellectual heritage, into a mode of aesthetic representation that offers the means to think beyond intractable paradoxes of philosophy. This shift in the workâ (TM)s relation to tradition marks a hiatus in literary modernism, a watershed moment whose deep and enduring significance may now be appreciated.
Arising from a dissatisfaction with blandly general or abstrusely theoretical approaches to translation, this book sets out to show, through detailed and lively analysis, what it really means to translate literary style. Combining linguistic and lit crit approaches, it proceeds through a series of interconnected chapters to analyse translations of the works of D.H. Lawrence, Virginia Woolf, James Joyce, Samuel Beckett, Henry Green and Barbara Pym. Each chapter thus becomes an illuminating critical essay on the author concerned, showing how divergences between original and translation tend to be of a different kind for each author depending on the nature of his or her inspiration. This new and thoroughly revised edition introduces a system of 'back translation' that now makes Tim Parks' highly-praised book reader friendly even for those with little or no Italian. An entirely new final chapter considers the profound effects that globalization and the search for an immediate international readership is having on both literary translation and literature itself.