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The making of Samuel Beckett's Play/comâedie and Film
Samuel Beckett?s short play Play / Comâedie and his only film Film were written around the same time (1962-1963). They both have self-referential titles that invite meditation on the genres they represent. Although medium-specific opportunities and challenges underlie their very different geneses, they have influenced each other in terms of both form and content. In more ways than one, Film continues where Play left off. Whereas in Play the genesis shows a steady increase in speech tempo to the point of near unintelligibility, the silent Film radically eliminates speech from the outset. Conversely, the cinematic element is also clearly present in Play, notably in the crucial role assigned to the light beam as the mechanical, mindless inquisitor. Both works are grounded in technology and rely heavily on explanatory notes for the members of their production teams, thus exposing the inherently collaborative nature of such projects. The genetic critical analysis of the manuscripts of Play / Comâedie and Film not only contributes to the interpretation of each work separately but also considers the two works together through the prism of Beckett?s multimedial authorship. 00This volume is part of the Beckett Digital Manuscript Project (BDMP), a collaboration between the Centre for Manuscript Genetics (University of Antwerp), the Beckett International Foundation (University of Reading) and the Harry Ransom Humanities Research Center (University of Texas at Austin), with the support of the Estate of Samuel Beckett. The BDMP (www.beckettarchive.org) digitally reunites the dispersed manuscripts of Samuel Beckett?s works and facilitates their examination. The project consists of two parts:0a) a digital archive of Beckett?s a manuscripts, with facsimiles and transcriptions, organized in modules;0b) a series of print volumes, analyzing the genesis of Beckett?s works.
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Impotence and making in Samuel Beckett's trilogy, Molloy, Malone dies and The unnamable and How it is
Impotence and Making in Samuel Beckett's Trilogy is situated at the intersection of the aesthetic, socio-political and theoretical construction of being and not-being; it is about making the self, making others, and making words, set against being unable to make the self, others and words. Concentrating on Samuel Beckett's prose works, though also focusing on some of his dramatic works, the book aims to problematize the categories of 'impotence' and 'making' by showing Beckett's quasi-deconstructive treatment of them as seen through his narrators' images of being unable to make self, other creatures and words (impotence), along with his narrators' images of making self, other creatures and words (making). By demonstrating that his narrators, while being impotent, nevertheless gestate and produce new entities from their bodies in the same way as a mother does a child, the book aims to reveal how, for Beckett's narrators, creativity in its widest sense is envisaged.
eBook
Samuel Beckett and trauma
Samuel Beckett and trauma is the first book that specifically addresses the question of trauma in Beckett, taking into account the recent rise of trauma studies in literature. Beckett is an author whose works are strongly related to the psychological and historical trauma of our age. His works not only explore the multifarious aspects of trauma but also radically challenge our conception of trauma itself by the unique syntax of language, aesthetics of fragmentation, bodily malfunctions and the creation of void. Instead of simply applying current trauma theories to Beckett, this book provides new perspectives that will expand and alter them by employing other theoretical frameworks in literature, theatre, art, philosophy and psychoanalysis. It will inspire anybody interested in literature and trauma, including specialists and students working on twentieth-century world literature, comparative studies, trauma studies and theatre /art.
eBook
Citizens, Courts, and Confirmations
In recent years the American public has witnessed several hard-fought battles over nominees to the U.S. Supreme Court. In these heated confirmation fights, candidates' legal and political philosophies have been subject to intense scrutiny and debate. Citizens, Courts, and Confirmations examines one such fight--over the nomination of Samuel Alito--to discover how and why people formed opinions about the nominee, and to determine how the confirmation process shaped perceptions of the Supreme Court's legitimacy. Drawing on a nationally representative survey, James Gibson and Gregory Caldeira use the Alito confirmation fight as a window into public attitudes about the nation's highest court. They find that Americans know far more about the Supreme Court than many realize, that the Court enjoys a great deal of legitimacy among the American people, that attitudes toward the Court as an institution generally do not suffer from partisan or ideological polarization, and that public knowledge enhances the legitimacy accorded the Court. Yet the authors demonstrate that partisan and ideological infighting that treats the Court as just another political institution undermines the considerable public support the institution currently enjoys, and that politicized confirmation battles pose a grave threat to the basic legitimacy of the Supreme Court.
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Beckett in conversation, \yet again\ = Recontres avec Beckett, \encore\
Collected here are conversations with the author recalled by translators, scholars, artists, and theatre and media practitioners drawing on unpublished notes of meetings and uncollected (mostly) correspondence with him. Through the varied lenses of their reminiscences, readers will appreciate Beckett's remarkable art of letter writing, his conversation punctuated by pregnant pauses, his exceptional humor and talent for friendship, and his punctilious concern for the translations, interpretations, and performance of his works. The readers of this volume will come to share the exhilaration the encounters with Beckett produced in the writers of these memoirs.
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Transatlantic Transcendentalism
The first book devoted to Coleridge’s influence on Emerson and the development of American Transcendentalism. As Samantha Harvey demonstrates, Samuel Taylor Coleridge’s thought galvanized Emerson at a pivotal moment in his intellectual development in the years 1826-1836, giving him new ways to harmonize the Romantic triad of nature, spirit and humanity. Emerson did not think about Coleridge: he thought with Coleridge, resulting in a unique case of assimilative influence. In addition to examining his specific literary, philosophical, and theological influences on Emerson, this book reveals Coleridge’s centrality for Boston Transcendentalism and Vermont Transcendentalism, a movement which profoundly affected the development of modern higher education, the national press, and the emergence of Pragmatism.
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