{"title":"Earth, World, and the Human","authors":"M. Farrant","doi":"10.1163/18757405-03202005","DOIUrl":"https://doi.org/10.1163/18757405-03202005","url":null,"abstract":"\u0000 This essay reads the ungraspable relation to death in Beckett’s works as a means to think through our contemporary era of climate crisis. Beckett’s singular aesthetics of human finitude can be a powerful resource for thinking the unthinkable. By envisaging finitude in terms of the limits imposed on life by both space and time, this essay seeks to ground the existential framework of Beckett’s oeuvre in terms of an always embedded self. Looking at the short story “The End,” I show how such embeddedness may work to evade totalisation or abstraction in terms of a universal worldview, yet also how it poses problems for any privileging of materiality as such. Beckett’s writings are thereby seen to produce a dynamic ethics between world and earth, the global and the local, life and death.","PeriodicalId":53231,"journal":{"name":"Samuel Beckett Today/Aujourd''hui","volume":"9 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2020-07-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83233315","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":"“All that inner space one never sees”","authors":"Ulrika Maude","doi":"10.1163/18757405-03202008","DOIUrl":"https://doi.org/10.1163/18757405-03202008","url":null,"abstract":"\u0000 Beckett’s prose, drama, correspondence and working notes contain numerous references to processes that pertain to unconscious, involuntary bodily functionality and materiality. In this respect, the body’s viscera and their processes cannot properly be said to belong to the subject, and yet everything over which we have agential control is premised on these deeper vegetative or physiological processes; thought and feeling, as Molloy puts it, ‘dance their sabbath’ in the ‘caverns’ of the body. If the conception of the ‘human’ is premised on rationality, then the viscera are non-human, object-like. Beckett’s anti-rationalist emphasis on affective, visceral experience in How It Is (along with the novel’s veiled allusions to Pavlov’s conditioning and Watson’s behaviourism) operates in tension with the more elevated intertextual references that signpost the humanist tradition.","PeriodicalId":53231,"journal":{"name":"Samuel Beckett Today/Aujourd''hui","volume":"26 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2020-06-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80975210","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":"How It Is","authors":"Nicholas Johnson","doi":"10.1163/18757405-03201007","DOIUrl":"https://doi.org/10.1163/18757405-03201007","url":null,"abstract":"\u0000 After first developing a taxonomy of intermedial prose performance based on distinctions in how an audience member or user experiences the work phenomenologically, this essay offers a performance history of some unusual translations, adaptations and intermedial responses to Samuel Beckett’s novel How It Is. Examples range widely across media, from the audio recordings of Patrick Magee to the experimental jazz records of Michael Mantler, and from the recent stage work of Gare St Lazare to the art installation of Mirosław Bałka. Such works reflect the experimental character of the novel itself, forcing a reconsideration of the discourse of the ‘unperformable.’","PeriodicalId":53231,"journal":{"name":"Samuel Beckett Today/Aujourd''hui","volume":"17 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2020-04-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72879054","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, Music, Intermediality","authors":"Catherine Laws","doi":"10.1163/18757405-03201009","DOIUrl":"https://doi.org/10.1163/18757405-03201009","url":null,"abstract":"\u0000 The topic of ‘Beckett and music’ has gained considerable attention in recent years. In previous work I have argued that music in Beckett’s plays does not, as some have suggested, exist beyond or exceed the ambiguities of body, knowledge and subjectivity that are apparent in other aspects of his work, but rather that its use parallels and reinforces these processes. If this kind of intermediality, involving music, operates already in some of Beckett’s work, how does it manifest when musicians work with or in relation to it? This question is addressed through a discussion of John Tilbury’s version of Worstward Ho, for piano, recorded voice and electronics.","PeriodicalId":53231,"journal":{"name":"Samuel Beckett Today/Aujourd''hui","volume":"152 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2020-04-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85085704","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":"Part 2. The Early Fiction and Criticism: Apprenticeship and Vision","authors":"","doi":"10.1515/9780691196787-004","DOIUrl":"https://doi.org/10.1515/9780691196787-004","url":null,"abstract":"","PeriodicalId":53231,"journal":{"name":"Samuel Beckett Today/Aujourd''hui","volume":"57 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2019-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73820163","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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