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Death is indisputably central to Beckett's writing and reception. This collection of research considers a number of Beckett's poems, novels, plays and short stories through considerations of mortality and death. Chapters explore the theme of deathliness in relation to Beckett's work as a whole, through three main approaches. The first of these situates Beckett's thinking about death in his own writing and reading processes, particularly with respect to manuscript drafts and letters. The second on the death of the subject in Beckett links dominant 'poststructural' readings of Beckett's writing to the textual challenge exemplified by the The Unnamable. A final approach explores psychology and death, with emphasis on deathly states like catatonia and Cotard's Syndrome that recur in Beckett's work. Beckett and Death offers a range of cutting-edge approaches to the trope of mortality, and a unique insight into the relationship of this theme to all aspects of Beckett's literature.
The first sustained exploration of aporia as a vital, subversive, and productive figure within Beckett's prose and theatre.
Much has been written on Beckett and Sade, yet nothing systematic has been produced. This Element is systematic by adopting a chronological order, which is necessary given the complexity of Beckett's varying assessments of Sade. Beckett mentioned Sade early in his career, with Proust as a first guide. His other sources were Guillaume Apollinaire and Mario Praz's book, La Carne, La morte e il Diavolo Nella Letteratura Romantica (1930), from which he took notes about sadism for his Dream Notebook. Dante's meditation on the absurdity of justice provides closure facing Beckett's wonder at the pervasive presence of sadism in humans.
There is little doubt that Alain Badiou is one of the most challenging and controversial figures in contemporary philosophy. This volume of essays brings together leading commentators from both sides of the Atlantic to provide an introduction to Badiou's work through critical studies of his more productive and controversial ideas. Over the course of three decades, his numerous and extensive texts have challenged traditional views on ontology, mathematics, aesthetics, literature, politics, ethics, philosophy, and sexual difference. His texts on Plato, Saint Paul, Pascal, Lacan, Althusser, Heidegger, MallarmeŒ, Pessoa, and Beckett are among the most perceptive and penetrating essays on contemporary philosophical and literary culture. In addition to providing insight into the basic conceptual apparatus of Badiou's philosophy, the essays also offer a more substantial critical assessment of the import of his main theses for different disciplines.
A landmark collection showcasing the diversity of Samuel Beckett's creative output The 35 original chapters in this Companion capture the continued vitality of Beckett studies in drama, music and the visual arts and establish rich and varied cultural contexts for Beckett's work world-wide. As well as considering topics such as Beckett and science, historiography, geocriticism and philosophy, the volume focuses on the post-centenary impetus within Beckett studies, emphasising a return to primary sources amid letters, drafts, and other documents. Major Beckett critics such as Steven Connor, David Lloyd, Andrew Gibson, John Pilling, Jean-Michel Rabate, and Mark Nixon, as well as emerging researchers, present the latest critical thinking in 9 key areas: Art & Aesthetics; The Body; Fiction; Film, Radio & Television; Global Beckett; Language / Writing; Philosophy; Reading; and Theatre & Performance. Edited by eminent Beckett scholar S. E. Gontarski, the Companion draws on the most vital, ground-breaking research to outline the nature of Beckett studies for the next generation.
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.
Samuel Beckett and the Terror of Literature addresses the relevance of terror to understanding the violence, the suffering, and the pain experienced by the narrative voices of Beckett's major post-1945 works in prose: The Unnamable, Texts for Nothing, How It Is, Company, Ill Seen Ill Said, and Worstward Ho. Through a sustained dialogue with the theoretical work of Maurice Blanchot, it accomplishes a systematic interrogation of what happens in the space of literature when writing, and first of all Beckett's, encounters the language of terror, thereby giving new significance - ethical, ontological, and political - to what speaks in Beckett's texts.a a
Revisioning Beckett reassesses Beckett's career and literary output, particularly his engagement with what might be called decadent modernism. Gontarski approaches Beckett from multiple viewpoints: from his running afoul of the Irish Censorship of Publications Acts in the 1930s through the 1950s, his preoccupations to “find literature in the pornography, or beneath the pornography,” his battles with the Lord Chamberlain in the mid-1950s over London stagings of his first two plays, and his close professional and personal associations with publishers who celebrated the work of the demimonde. Much of that term encompasses an opening to the fullness of human experience denied in previous centuries, and much of that has been sexual or decadent. As Gontarski shows, the aesthetics that emerges from such early career encounters and associations continues to inform Beckett's work and develops into experimental modes that upend literary models and middle-class values, an aesthetics that, furthermore, has inspired any number of visual artists to re-vision Beckett.
Discusses the most recent advances in the Beckett field and the new methods used to approach it.