{"title":"“一种容纳混乱的形式”:贝克特《快乐时光》中的退化和/作为残疾","authors":"Seán Kennedy, J. Valente","doi":"10.3366/edinburgh/9781474456692.003.0022","DOIUrl":null,"url":null,"abstract":"The essay begins with Max Nordau’s theory of degeneration, which intact form signals cultural health and broken form cultural deterioration, to show how Samuel Beckett de-pathologized the indices of degeneracy by finding a form to “normalize” the messy feelings of non-normative experience. Beckett uses disability as aesthetic principle by formalising affect, thereby universalizing divergence from ideals of embodiment.","PeriodicalId":371259,"journal":{"name":"The Edinburgh Companion to Irish Modernism","volume":"8 1","pages":"0"},"PeriodicalIF":0.0000,"publicationDate":"2020-08-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"‘A form that accommodates the mess’: Degeneration and / as Disability in Beckett’s Happy Days\",\"authors\":\"Seán Kennedy, J. Valente\",\"doi\":\"10.3366/edinburgh/9781474456692.003.0022\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"The essay begins with Max Nordau’s theory of degeneration, which intact form signals cultural health and broken form cultural deterioration, to show how Samuel Beckett de-pathologized the indices of degeneracy by finding a form to “normalize” the messy feelings of non-normative experience. Beckett uses disability as aesthetic principle by formalising affect, thereby universalizing divergence from ideals of embodiment.\",\"PeriodicalId\":371259,\"journal\":{\"name\":\"The Edinburgh Companion to Irish Modernism\",\"volume\":\"8 1\",\"pages\":\"0\"},\"PeriodicalIF\":0.0000,\"publicationDate\":\"2020-08-31\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"The Edinburgh Companion to Irish Modernism\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.3366/edinburgh/9781474456692.003.0022\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"\",\"JCRName\":\"\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"The Edinburgh Companion to Irish Modernism","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.3366/edinburgh/9781474456692.003.0022","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"","JCRName":"","Score":null,"Total":0}
‘A form that accommodates the mess’: Degeneration and / as Disability in Beckett’s Happy Days
The essay begins with Max Nordau’s theory of degeneration, which intact form signals cultural health and broken form cultural deterioration, to show how Samuel Beckett de-pathologized the indices of degeneracy by finding a form to “normalize” the messy feelings of non-normative experience. Beckett uses disability as aesthetic principle by formalising affect, thereby universalizing divergence from ideals of embodiment.
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