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Samuel Beckett and the Theatre of the Witness explores Beckett's representation of physical pain in his theatre plays in the long aftermath of World War II, emphasising how the issues raised by this staging of pain speak directly to matters lying at the heart of his work: the affective power of the human body; the doubtful capacity of language as a means of communication; the aesthetic and ethical functioning of the theatre medium; and the vexed question of intersubjective empathy. Alongside the wartime and post-war plays of fellow Francophone writers Albert Camus, Eugène Ionesco, Pablo Picasso, and Marguerite Duras, this study resituates Beckett's early plays in a new conceptualising of le théâtre du témoin or a 'theatre of the witness'. These are plays concerned with the epistemological and ethical uncertainties of witnessing another's pain, rather than with the sufferer's own direct experience. They raise troubling questions about our capacity to comprehend and respond to another being's pain. Drawing on an interdisciplinary framework of extant criticism, recorded historical audience response, theatre and affect theory, and medical understandings of bodily pain, Hannah Simpson argues that these plays do not offer any easily negotiable encounter with physical suffering, pushing us to recognise the very 'otherness' of another being's pain, even as it invades our own affective sphere. In place of any comforting transcendence or redemption of endured pain, they offer a starkly sceptical, even pessimistic probing of what it is to witness another's suffering.
The State of Stylistics contains a broad collection of papers that investigate how stylistics has evolved throughout the late 20th and early 21st centuries. In so doing, it considers how stylisticians currently perceive their own respective fields of enquiry. It also defines what stylistics is, and how we might use it in research and teaching.
What can wordplay--as understood in the broadest sense--teach us about language, its functions, characteristics, structure, and workings? Using Lewis Carroll's Alice as a starting point, Yanguello takes the reader on a vivid and unconventional voyage into the world(s) of language, charting the major themes of linguistics along the way. This is an entertaining and original introduction to the nature of language that will appeal to students and teachers alike.
This book is a study of literary concern with ontology throughout the twentieth century. It consists of ten essays, each of which focuses on one or various writers’ absorption with the nature of man and his ‘being in this world.’ The volume discusses Gertrude Stein, Virginia Woolf, Franz Kafka, Thomas Stearns Eliot, Milan Kundera, Eugène Ionesco, Albert Camus, Marguerite Duras, Toni Morrison and Nathalie Sarraute as reflecting ontological concerns These writers, although not subscribing to the Sartrean proclamation that ‘existence precedes essence’, did consider the related existential questions concerning man’s freedom and responsibility for his ‘being-living’ (in Stein’s terminology). Their works are symptomatic of modern man’s preoccupation with understanding the self as a source of wisdom. These essays were written over many years and represent the author’s own findings and thoughts over that time, assembled here between the covers of one book. In addition to fulfilling that function, and their pertinence when they were written, they offer the reader a nostalgic journey to the twentieth century’s literary adventures and creativity. A new novel was born and the breakdown of the rigid distinctions between genres made it possible for a novelist to write poetry, and for a poet or playwright to explore a common theme with a novelist, while they all shared with contemporary philosophers an obsession with the nature of man’s being in this world. This book therefore throws light on the intellectual preoccupations of this era.
South African quarterly.