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This book is about Raymond Federman and his incredible textual obsession with Samuel Beckett. Federman was a scholar of Beckett, postmodern theorist, a self-translator and avant-garde novelist. Born in Paris in 1928, all of his immediate family perished in the Holocaust. Federman escaped thanks to his mother, who hid him in a closet. After the war, he migrated to America and devoted his life to scholarship and creative writing. In both, he devoted his life to Beckett. Federman’s creative and theoretical writings contaminate and pervert each other just as, in his novels, French contaminates English and fiction perverts reality. His work is centered on the details of his survival, enacting a perpetual return to the closet, as previous studies have demonstrated. By examining Beckettian (and by extension Joycean) intertextuality in the novels of Raymond Federman, this study traces the contours of a second closet.
A leading Beckett scholar and editor of the Cambridge Companion to Beckett, offers a coherent critical account of Beckett's earliest years.
More Nights Than Days is a unique exploration of the experience of children who survived the Holocaust—including Roma and Sinti victims—and the genocides in Cambodia, Rwanda, and Bosnia. Children are among the principal victims of armed conflicts and slaughters; nonetheless, they perceive events through the prism of their unique perspective and have a range of coping techniques adults don't possess. This overview of writings of ninety-one child survivors bears evidence from a wide range of human ruthlessness. The author presents little-known texts along with famous memoirs and autobiographical fiction, with abundant quotations. Many of these are not only compelling as historical testimony, but poetic and stirringly expressive. Yudit Kiss has not written a historical study or literary criticism of the children’s books. She explores, instead, what the authors went through and what they felt and understood about their experience. An accessible and captivating reading, this volume presents a close-up, human size dimension of the destruction. The books written by child survivors also describe the resources and means that helped them to remain human even in the deepest well of inhumanity, offering precious lessons about resistance and resilience.M
Drawing on research by French authors, this book introduces a major new concept, the (M)other tongue, and shows its relevance to language learning and pediatrics in a multicultural society. It is for students and lecturers in languages, linguistics, translation studies and education, and for child psychologists, psychiatrists and speech therapists.
Didi, Gogo, Pozzo, Lucky—the bizarre names stand out strangely against the bare-bones landscape of Waiting for Godot. In an intriguing new study of one of the most haunting plays of this century, Frederick Busi shows that these names serve important dramatic functions, reinforcing the changing roles assumed by the mysterious characters in their tortuous search for—and avoidance of—self. Busi also explores Beckett's convoluted literary relationship with James Joyce, especially as revealed in the plays-within-the-play and verbal jigh jinks of Finnegan's Wake, where, as in Godot, the same characters keep dreamily encountering themselves in different disguises, under shifting names. Beckett's strong affinities with Cervantes and the common debt of these two authors to the traditions of commedia dell'arte lead Busi to important insights into the shifting master-slave relationship so prominent in Godot, as in Don Quixote. The religious implications of Godot—the subject of so much critical debate—are placed in a new perspective by Busi's provocative observation that certain early Christian heretical works and certain books of the Apocrypha contain not only the idea of the Devil/God, Judas/Jesus identifications implied in Godot but also a number of names that Beckett seems to have had in mind when he wrote his play. Rich in linguistic, historical, and psychological learning, Busi's examination of the names in Godot leads the reader to a fuller awareness of Beckett's extraordinarily complex imagination. As Wylie Sypher writes in the foreword, the book is "an invitation to expand our reading of Beckett in many directions."
Contains three sections: Beckett and Romanticism, the conference proceedings of Beckett at Reading 2006, and a collection of miscellaneous essays. This title presents contributions on Beckett's attitudes toward Romantic aesthetics in general. It reflects the importance of the Beckett Foundation's Archive to scholars.
_______________ 'A triumph of scholarship and sympathy... one of the great post-war biographies' - Independent 'A landmark in scholarly criticism... Knowlson is the world's largest Beckett scholar. His life is right up there with George Painter's Proust and Richard Ellmann's Joyce in sensitivity and fascination' - Daily Telegraph 'It is hard to imagine a fuller portrait of the man who gave our age some of the myths by which it lives' - Evening Standard _______________ SHORTLISTED FOR THE WHITBREAD PRIZE _______________ Samuel Beckett's long-standing friend, James Knowlson, recreates Beckett's youth in Ireland, his studies at Trinity College, Dublin in the early 1920s and from there to the Continent, where he plunged into the multicultural literary society of late-1920s Paris. The biography throws new light on Beckett's stormy relationship with his mother, the psychotherapy he received after the death of his father and his crucial relationship with James Joyce. There is also material on Beckett's six-month visit to Germany as the Nazi's tightened their grip. The book includes unpublished material on Beckett's personal life after he chose to live in France, including his own account of his work for a Resistance cell during the war, his escape from the Gestapo and his retreat into hiding. Obsessively private, Beckett was wholly committed to the work which eventually brought his public fame, beginning with the controversial success of "Waiting for Godot" in 1953, and culminating in the award of the Nobel Prize for Literature in 1969.
Suppose that, before he is writing fiction, before he is writing drama, before he is writing any of the autonomous, highly polished pieces that make up his life work, Beckett is writing Beckett. What follows from this? In Beckett Writing Beckett, H. Porter Abbott argues that, by the time he had written Waiting for Godot, Beckett's art had crystallized as a life project keyed to the simultaneous action of writing and reading the self. How does such an interpretive shift change the way we see the salient features of Beckett's art: his extraordinary and persistent assaults on narrative, his restless exploration of genres and media, his attempts to exercise autocratic control over performance and publication, his increasingly musical formal structures, his tireless capacity to invent? How, moreover, does this view relate to the contempt for autobiography so pervasive in Beckett's work? In approaching these questions, Abbott seeks to redirect current discussion of such concepts as "the author" and "originality". Arguing on several widely contested fronts in Beckett criticism, including such vexed issues as Beckett's postmodernism, his politics, and his relation to his audience, Abbott develops an interpretive method grounded in the concept of "autographical action". The method allows Abbott to articulate the centrality of the inexhaustible strangeness of Beckett's work, and to do so without robbing that strangeness of its power to surprise.
This book is the first sustained examination of Samuel Beckett’s pivotal engagements with post-war BBC radio. The BBC acted as a key interpreter and promoter of Beckett’s work during this crucial period of his "getting known" in the Anglophone world in the 1950s and 1960s, especially through the culturally ambitious Third Programme, but also by the intermediary of the house magazine, The Listener. The BBC ensured a sizeable but also informed reception for Beckett’s radio plays and various “adaptations” (including his stage plays, prose, and even poetry); the audience that Beckett's works reached by radio almost certainly exceeded in size his readership or theatre audiences at the time. In rethinking several key aspects of his relationship with the BBC, a mix of new and familiar Beckett critics take as their starting point the previously neglected BBC radio archives held at the Written Archive Centre in Caversham, Berkshire. The results of this extended reassessment are timely and, in many cases, quite surprising for readers of Beckett and for scholars of radio, “late modernism,” and post-war British culture more broadly.