{"title":"Samuel Beckett et Fyodor Dostoïevski","authors":"Llewellyn Brown","doi":"10.1163/18757405-03502002","DOIUrl":"https://doi.org/10.1163/18757405-03502002","url":null,"abstract":"Résumé Les liens entre Beckett et Dostoïevski, plus nombreux que supposé précédemment, se manifestent par une série de motifs en commun qui permettent de relire le tournant conduisant de L’Innommable à En attendant Godot . Estragon fait allusion à l’œuvre Carnets du sous-sol , dont le motif éponyme provient du roman de Tchernychevsky Que faire ? Représentant des qualités négatives, il s’agit du lieu de prédilection du personnage de Dostoïevski. C’est aussi le domaine de la voix monologique de L’Innommable , et qu’Estragon désigne rétrospectivement à partir du lieu de stabilité que représente la scène théâtrale, mais qui retrouvera sa place centrale dans le théâtre ultérieur.","PeriodicalId":53231,"journal":{"name":"Samuel Beckett Today/Aujourd''hui","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-10-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135821524","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Beckett’s Prose Fiction and Waiting for Godot","authors":"Matthijs Engelberts","doi":"10.1163/18757405-03502006","DOIUrl":"https://doi.org/10.1163/18757405-03502006","url":null,"abstract":"Abstract Waiting for Godot is not often presented as homologous with Beckett’s narrative fiction. However, a close consideration of the status of the boy(s) in the play shows that the drama text undermines the dichotomy between inner and outer world, which Beckett was addressing in comparable ways in his novels and art criticism.","PeriodicalId":53231,"journal":{"name":"Samuel Beckett Today/Aujourd''hui","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-10-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135780920","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Reimagining Godot","authors":"Muhammad Saeed Nasir","doi":"10.1163/18757405-03502011","DOIUrl":"https://doi.org/10.1163/18757405-03502011","url":null,"abstract":"Abstract Recent developments in the critical arena indicate that scholars are showing a keen interest in tracing Samuel Beckett’s influence on, or presence in, the non-Western world. They focus on how the Beckettian oeuvre is translated and adapted in various corners of the world. This study aims to contribute to this trend by examining the adaptations of Waiting for Godot in Pakistan. It operates on two interconnected levels. First, it explores how the metaphor of Godot was employed to adapt to Pakistan’s political context. Second, it posits that the adaptable structure of Waiting for Godot empowers artists to mirror the audience’s worldview, resulting in one-of-a-kind interpretations that contest the Eurocentric perspective. The pliability of Beckettian oeuvre encourages diverse literary responses.","PeriodicalId":53231,"journal":{"name":"Samuel Beckett Today/Aujourd''hui","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-10-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135821516","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"En attendant Godot (1952) de Samuel Beckett et Gerry (2002) de Gus Van Sant au prisme de Gilles Deleuze","authors":"Julie Bénard","doi":"10.1163/18757405-03502005","DOIUrl":"https://doi.org/10.1163/18757405-03502005","url":null,"abstract":"Résumé Alors que la première représentation publique d’ En attendant Godot s’inscrit dans un contexte d’après-guerre, Gerry de Gus Van Sant voyait le jour au tournant du XX e et XXI e siècles. Si les deux œuvres partagent les mêmes thématiques, c’est leur esthétique qui les rapproche en reposant sur un même principe : l’épuisement. Tout comme Gilles Deleuze qui déterminait dans son essai “L’Épuisé” (1992) trois sortes d’épuisements chez Beckett, Fabien Boully en identifie également trois chez le cinéaste. Cet article propose de faire dialoguer les deux œuvres à l’étude autour de l’épuisement du langage, de l’espace et de la représentation.","PeriodicalId":53231,"journal":{"name":"Samuel Beckett Today/Aujourd''hui","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-10-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135821520","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Réception critique du triptyque romanesque de Samuel Beckett","authors":"Eva Touron","doi":"10.1163/18757405-03502007","DOIUrl":"https://doi.org/10.1163/18757405-03502007","url":null,"abstract":"Résumé L’objet principal de cet article est de décrire la réception critique de la trilogie romanesque ( Molloy , Malone meurt , L’Innommable ) de Samuel Beckett dans la presse française des années 1951 à 1953. L’étude menée a pour vocation de proposer un inventaire de la critique littéraire de l’époque, et de mettre en avant un type de lectorat précis, à savoir le lecteur expert contemporain de Samuel Beckett, identifiable à travers l’écriture journalistique. Dans le dessein de proposer un compte-rendu aussi objectif que possible, notre démarche consistera tout d’abord à évaluer la valence lexicale des coupures de presse, déclinée selon trois modalités (méliorative, péjorative ou neutre) puis à l’articuler à plusieurs variables explicitées au cours de l’article.","PeriodicalId":53231,"journal":{"name":"Samuel Beckett Today/Aujourd''hui","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-10-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135821521","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Vulnerable Landscapes","authors":"Michał Kisiel","doi":"10.1163/18757405-03502009","DOIUrl":"https://doi.org/10.1163/18757405-03502009","url":null,"abstract":"Abstract This article focuses on Samuel Beckett’s selected short prose works “The Lost Ones” and “Ping,” which both present ruinous landscapes that have witnessed an unspeakable catastrophe. Both texts attempt to reflect such deterioration in the collapse of language. Following environmental criticism and new materialism, this paper analyses Beckett’s texts as potential representatives of a poetics for the Anthropocene. Such a project withdraws from evoking spectacular images of an ecocide witnessed by narrators unaffected by the deteriorating reality; instead, it grasps the necessary crisis of narration as a part of a world that is falling apart.","PeriodicalId":53231,"journal":{"name":"Samuel Beckett Today/Aujourd''hui","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-10-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135821522","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"The Good-for-Nothing","authors":"Andre Furlani","doi":"10.1163/18757405-03502010","DOIUrl":"https://doi.org/10.1163/18757405-03502010","url":null,"abstract":"Abstract Forty years after Susan Sontag aptly called the great Swiss Modern Robert Walser “a good-humored, sweet Beckett” the writers’ affinities remain unappreciated, even as they both achieved belated recognition in the same year, 1953, Beckett of course with En attendant Godot and Walser with Carl Selig’s edition of Dichtungen in Prosa . In terms readily applicable to the author of the Trilogy, Nouvelles and Textes pour rien , Walser described his work as “a multifariously cut-up or ripped-apart book of the self.” This self-dismantling narrative self is typically a socially inassimilable good-for-nothing, a Taugenichts who reappears in Beckett as the deadbeat or propre-à-rien . The feverishly self-editing, impudently contradictory and provisional idiom of such later fiction as The Robber ( Der Räuber , 1925) strikingly presages L’Innommable/The Unnamable .","PeriodicalId":53231,"journal":{"name":"Samuel Beckett Today/Aujourd''hui","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-10-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135821517","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Performing Beckett at the Irish Border","authors":"Trish McTighe","doi":"10.1163/18757405-03501004","DOIUrl":"https://doi.org/10.1163/18757405-03501004","url":null,"abstract":"\u0000 This article examines the place of Beckett’s work amongst recent artworks sited at the Northern Irish border/ north of Ireland border. Using Dylan Quinn’s Fulcrum, the Happy Days Enniskillen International Beckett Festival’s Walking for Waiting for Godot, and the collaborative community project Across and In-Between as key examples, I explore how Beckett’s work has become absorbed into the kinds of wider arts and political discourses—and indeed crises—that this border-site reflects. These projects share a concern for placing bodies at the border, asking us to see from the situation of the border, to trace its often-impalpable contours with the frail tools of words and bodies.","PeriodicalId":53231,"journal":{"name":"Samuel Beckett Today/Aujourd''hui","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2023-03-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76279131","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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