Download Free Becketts Art Of Absence Book in PDF and EPUB Free Download. You can read online Becketts Art Of Absence and write the review.

Using the work of W.Bion and D.Winnicott, this book offers a psychoanalytic study of Beckett's aesthetics of absence. Focusing on the first prose trilogy and Waiting for Godot, it offers a critical challenge to accepted viewpoints of Beckett's negative status, not only within psychoanalytic literary criticism, but within Beckett criticism at large.
This collection presents articles that examine Joyce and Beckett’s mutual interest in and use of the negative for artistic purposes. The essays range from philological to psychoanalytic approaches to the literature, and they examine writing from all stages of the authors’ careers. The essays do not seek a direct comparison of author to author; rather they lay out the intellectual and philosophical foundations of their work, and are of interest to the beginning student as well as to the specialist.
At stake in this book is a struggle with language in a time when our old faith in the redeeming of the word-and the word's power to redeem-has almost been destroyed. Drawing on Benjamin's political theology, his interpretation of the German Baroque mourning play, and Adorno's critical aesthetic theory, but also on the thought of poets and many other philosophers, especially Hegel's phenomenology of spirit, Nietzsche's analysis of nihilism, and Derrida's writings on language, Kleinberg-Levin shows how, because of its communicative and revelatory powers, language bears the utopian "promise of happiness," the idea of a secular redemption of humanity, at the very heart of which must be the achievement of universal justice. In an original reading of Beckett's plays, novels and short stories, Kleinberg-Levin shows how, despite inheriting a language damaged, corrupted and commodified, Beckett redeems dead or dying words and wrests from this language new possibilities for the expression of meaning. Without denying Beckett's nihilism, his picture of a radically disenchanted world, Kleinberg-Levin calls attention to moments when his words suddenly ignite and break free of their despair and pain, taking shape in the beauty of an austere yet joyous lyricism, suggesting that, after all, meaning is still possible.
This volume focusses on a rarely discussed method of meaning production, namely via the absence, rather than presence, of signifiers. It does so from an interdisciplinary, transmedial perspective, which covers systematic, media-comparative and historical aspects, and reveals various forms and functions of missing signifiers across arts and media. The meaningful silences, blanks, lacunae, pauses, etc., treated by the ten contributors are taken from language and literature, film, comics, opera and instrumental music, architecture, and the visual arts. Contributors are: Nassim Balestrini, Walter Bernhart, Olga Fischer, Saskia Jaszoltowski, Henry Keazor, Peter Revers, Klaus Rieser, Daniel Stein, Anselm Wagner, Werner Wolf
Forming a pair with the voice, the gaze is a central structuring element of Samuel Beckett’s creation. And yet it takes the form of a strangely impersonal visual dimension testifying to the absence of an original exchange of gazes capable of founding personal identity and opening up the world to desire. The collapse of conventional reality and the highlighting of seeing devices—eyes, mirrors, windows—point to the absence of a unified representation. While masks and closed spaces show the visible to be opaque and devoid of any beyond, light and darkness, spectres—manifestations without origin—reveal a realm beyond the confines of identity, where nothing provides a mediation with the seen, or sets it within perspective. Finally, Beckett’s use of the audio-visual media deepens his exploration of the irreducibly real part of existence that escapes seeing. This study systematically examines these essential aspects of the visual in Beckett’s creation. The theoretical elaborations of Jacques Lacan—in relation with corresponding developments in the history and philosophy of the visual arts—offer an indispensible framework to understand the imaginary not as representation, but as rooted in the fundamental opacity of existence.
Join Sister Wendy on a journey through Lent, and discover the timeless wisdom to be found in some of the world’s greatest paintings. Illustrated in full colour with over forty famous and lesser-known masterpieces of Western art, this beautiful book will lead you into a deeply prayerful response to all that these paintings convey to the discerning eye. ‘For those who want to appreciate the spirituality behind some of the world’s greatest works of art, this book will be hugely inspiring – not only during Lent but at any time of the year.’ Dr Janina Ramirez, art historian and broadcaster
Leland de la Durantaye helps us understand Beckett’s strangeness and notorious difficulty by arguing that Beckett’s lifelong campaign was to mismake on purpose—not to denigrate himself, or his audience, or reconnect with the child or savage within, but because he believed that such mismaking is in the interest of art and will shape its future.
“On Beckett: Essays and Criticism” is the first collection of writings about the Nobel Prize–winning author that covers the entire spectrum of his work, and also affords a rare glimpse of the private Beckett. More has been written about Samuel Beckett than about any other writer of this century – countless books and articles dealing with him are in print, and the progression continues geometrically. “On Beckett” brings together some of the most perceptive writings from the vast amount of scrutiny that has been lavished on the man; in addition to widely read essays there are contributions from more obscure sources, viewpoints not frequently seen. Together they allow the reader to enter the world of a writer whose work has left an impact on the consciousness of our time perhaps unmatched by that of any other recent creative imagination.
Samuel Beckett’s work is littered with ironic self-reflexive comments on presumed audience expectations that it should ultimately make explicable sense. An ample store of letters and anecdotes suggests Beckett’s own preoccupation with and resistance to similar interpretive mindsets. Yet until now such concerns have remained the stuff of scholarly footnotes and asides. Beckett’s Imagined Interpreters and the Failures of Modernism addresses these issues head-on and investigates how Beckett’s ideas about who he writes for affect what he writes. What it finds speaks to current understandings not only of Beckett’s techniques and ambitions, but also of modernism’s experiments as fundamentally compromised challenges to enshrined ways of understanding and organizing the social world. Beckett’s uniquely anxious audience-targeting brings out similarly self-doubting strategies in the work of other experimental twentieth-century writers and artists in whom he is interested: his corpus proves emblematic of a modernism that understands its inability to achieve transformative social effects all at once, but that nevertheless judiciously complicates too-neat distinctions drawn within ongoing culture wars. For its re-evaluations of four key points of orientation for understanding Beckett’s artistic ambitions—his arch critical pronouncements, his postwar conflations of value and valuelessness, his often-ambiguous self-commentary, and his sardonic metatheatrical play—as well as for its running dialogue with wider debates around modernism as a social phenomenon, this book is of interest to students and researchers interested in Beckett, modernism, and the relations between modern and contemporary artistic and social developments.