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This book places sex and sexuality firmly at the heart of Beckett. From the earliest prose to the late plays, Paul Stewart uncovers a profound mistrust of procreation which nevertheless allows for a surprising variety of non-reproductive forms of sex which challenge established notions of sexual propriety and identity politics.
This Element brings to Beckett questions that have emerged from gender, queer, and trans theory, engages with the history of feminism and sexuality studies, and develops a theoretical framework able to account for what we have previously overlooked, underplayed, and misinterpreted in Beckett.
Beckett's early writing is structured upon very sharply defined gender polarities. Objects of alarm, lust, derision, or indifference, women incarnate the 'Other', Beckett's shift from fiction to stage and media drama - giving a voice to women - unsettles this adversarial structure. In the later prose and drama, gender qualifies Beckett's people for neither fear nor favour. Mary Bryden's analysis, embraces not only Beckett's published prose and drama, but also a number of unpublished and draft manuscripts from Reading University's Beckett Archive.
This is the first book to focus on masculinity in Samuel Beckett's work as a way to understand his historical and national context, the difficulty of reading and interpreting his texts, and his ruthless disintegration of sexual and gendered norms throughout his oeuvre.
This book investigates the themes of female entrapment and the feminine gaze, and explores how they function as theatrical metaphors in Samuel Beckett's later plays. It offers a novel perspective on love between Beckettian women, interrogating the trope of bodily sickness and its manifestations on the stage, and analysing how this relates to queer drives in women. Ambitious and thought-provoking, the book engages with the work of a range of theorists on psychoanalysis, feminism, sexuality, voyeurism and theatricality. The arguments presented here will be of interest to specialists in modernism and postmodernism, theatre, and gender studies.
This is the first book to focus on masculinity in Samuel Beckett's work as a way to understand his historical and national context, the difficulty of reading and interpreting his texts, and his ruthless disintegration of sexual and gendered norms throughout his oeuvre.
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 book, first published in 1993, is the first full-length analysis of Samuel Beckett’s later drama in the context of contemporary critical and performance theory. It employs a close, textual examination of the later plays as a springboard for exploring ideas around authority, gender and the ideology of performance. Recent work in the world of critical theory has suggested new ways of looking at performance practice. McMullan argues that, while contemporary theory can deepen our understanding of Beckett’s dramatic practice, his drama places performance in the context of a metaphysical history and a metatheatrical tradition, thereby confronting and provoking some of the central debates in performance studies’ engagement with critical theory.
Palgrave Advances in Samuel Beckett Studies explores the evolution of critical approaches to Beckett's writing. It will appeal to graduate students (and advance undergraduates) as well as scholars, for it offers both an overview of Beckett studies and investigates current debates within the interdisciplinary critical arena. Each of the contributors is an eminent Beckett specialist who has published widely in the field. The volume contains an introduction, twelve essays and a guide for further reading.