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Irony can provide a means to communication, catharsis, and freedom that a person needs in order to survive in a world of permanent chaos and oppression. Ironic Samuel Beckett offers an unorthodox look at Waiting for Godot, Endgame, and Happy Days from the perspective of irony. This analysis questions the notion the Beckett's "theater of the absurd" is essentially circular or based on nothingness, and invites the reader to reconsider established notions about Beckett and his work.
In prose possessed of the radically stripped-down beauty and ferocious wit that characterize his work, this early novel by Nobel Prize winner Samuel Beckett recounts the grotesque and improbable adventures of a fantastically logical Irish servant and his master. Watt is a beautifully executed black comedy that, at its core, is rooted in the powerful and terrifying vision that made Beckett one of the most influential writers of the twentieth century.
Tragic Play explores the deep philosophical significance of classic and modern tragedies in order to cast light on the tragic dimensions of contemporary experience. Romanticism, it has often been claimed, brought tragedy to an end, making modernity the age after tragedy. Christoph Menke opposes this modernist prejudice by arguing that tragedy remains alive in the present in the distinctively new form of the playful, ironic, and self-consciously performative. Through close readings of plays by William Shakespeare, Samuel Beckett, Heiner Müller, and Botho Strauss, Menke shows how tragedy re-emerges in modernity as "tragedy of play." In Hamlet, Endgame, Philoktet, and Ithaka, Menke integrates philosophical theory with critical readings to investigate shifting terms of judgment, curse, reversal, misfortune, and violence.
Thoroughly revised and expanded for a new generation of readers, this classic guide to enjoying literature to its fullest—a lively, enlightening, and entertaining introduction to a diverse range of writing and literary devices that enrich these works, including symbols, themes, and contexts—teaches you how to make your everyday reading experience richer and more rewarding. While books can be enjoyed for their basic stories, there are often deeper literary meanings beneath the surface. How to Read Literature Like a Professor helps us to discover those hidden truths by looking at literature with the practiced analytical eye—and the literary codes—of a college professor. What does it mean when a protagonist is traveling along a dusty road? When he hands a drink to his companion? When he’s drenched in a sudden rain shower? Thomas C. Foster provides answers to these questions as he explores every aspect of fiction, from major themes to literary models, narrative devices, and form. Offering a broad overview of literature—a world where a road leads to a quest, a shared meal may signify a communion, and rain, whether cleansing or destructive, is never just a shower—he shows us how to make our reading experience more intellectually satisfying and fun. The world, and curricula, have changed. This third edition has been thoroughly revised to reflect those changes, and features new chapters, a new preface and epilogue, as well as fresh teaching points Foster has developed over the past decade. Foster updates the books he discusses to include more diverse, inclusive, and modern works, such as Angie Thomas’s The Hate U Give; Emily St. John Mandel’s Station Eleven; Neil Gaiman’s Neverwhere; Elizabeth Acevedo’s The Poet X; Helen Oyeyemi's Mr. Fox and Boy, Snow, Bird; Sandra Cisneros’s The House on Mango Street; Zora Neale Hurston’s Their Eyes Were Watching God; Maggie O’Farrell’s Hamnet; Madeline Miller’s Circe; Pat Barker’s The Silence of the Girls; and Tahereh Mafi’s A Very Large Expanse of Sea.
Perhaps no other critical label has been made to cover more ground than "irony," and in our time irony has come to have so many meanings that by itself it means almost nothing. In this work, Wayne C. Booth cuts through the resulting confusions by analyzing how we manage to share quite specific ironies—and why we often fail when we try to do so. How does a reader or listener recognize the kind of statement which requires him to reject its "clear" and "obvious" meaning? And how does any reader know where to stop, once he has embarked on the hazardous and exhilarating path of rejecting "what the words say" and reconstructing "what the author means"? In the first and longer part of his work, Booth deals with the workings of what he calls "stable irony," irony with a clear rhetorical intent. He then turns to intended instabilities—ironies that resist interpretation and finally lead to the "infinite absolute negativities" that have obsessed criticism since the Romantic period. Professor Booth is always ironically aware that no one can fathom the unfathomable. But by looking closely at unstable ironists like Samuel Becket, he shows that at least some of our commonplaces about meaninglessness require revision. Finally, he explores—with the help of Plato—the wry paradoxes that threaten any uncompromising assertion that all assertion can be undermined by the spirit of irony.
Samuel Beckett claimed he couldn't talk about his work, but he proves remarkably forthcoming in these pages, which document the thirty-year working relationship between the playwright and his principal producer in the United States, Alan Schneider. The 500 letters capture the world of theater as well as the personalities of their authors.
A selectively comprehensive bibliography of the vast literature about Samuel Beckett's dramatic works, arranged for the efficient and convenient use of scholars on all levels.
The three pieces that comprise this volume are among the most delicate and disquieting of Samuel Beckett’s later prose. Each confined to a single consciousness in a closed space, these stories are a testament to the mind’s boundless expanse. In Company, a man—"one on his back in the dark"—hears a voice speak to him, describing significant moments from his lifetime, and yet these memories may be merely fables and figments invented for the sake of companionship. Ill Seen Ill Said tells of a solitary old woman who paces around a cabin, burdened by existence itself. And Worstword Ho explores a world devoid of rationality and purpose, containing the famous directive: "Try again. Fail Again. Fail Better." The quintessential distillation of Beckett’s philosophy on human existence and the ultimate example of his minimalist approach to fiction, Nohow On is a vital collection, concerned with conception and perception, memory and imagination.
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.
The Ironic Temper and the Comic Imagination examines and illuminates the role which the ironic temper plays in the creation of complex literary comedy. The book focuses on ironic comedy, though not of the kind that is characterized by the surprises and shocks, the incongruities and reversals, of circumstantial irony. Circumstantial—or situational—irony cannot stand alone; it serves, for example, the aggressive functions of satire, or the irrational impulses of farce, or the benevolent, whimsical, or pain-defeating energies of humor.