{"title":"大卫·劳埃德，《贝克特的作品:绘画与戏剧》","authors":"J. Bénard","doi":"10.4000/ebc.7053","DOIUrl":null,"url":null,"abstract":"In Beckett’s Thing: Theatre and Painting (2016), David Lloyd sheds new light on Samuel Beckett’s aesthetic ties to painting, which the writer himself describes in his essays about art, reconsidering the relationship between the subject behind representation and the object of representation. Starting from the premise that the object won’t be laid bare as long as the subject’s possessive gaze and instrumental way to represent it prevails, Lloyd does away with the consensual and somewhat simplis...","PeriodicalId":53368,"journal":{"name":"Etudes Britanniques Contemporaines","volume":"1 1","pages":""},"PeriodicalIF":0.0000,"publicationDate":"2019-05-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"David Lloyd, Beckett’s Thing: Painting and Theatre\",\"authors\":\"J. Bénard\",\"doi\":\"10.4000/ebc.7053\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"In Beckett’s Thing: Theatre and Painting (2016), David Lloyd sheds new light on Samuel Beckett’s aesthetic ties to painting, which the writer himself describes in his essays about art, reconsidering the relationship between the subject behind representation and the object of representation. Starting from the premise that the object won’t be laid bare as long as the subject’s possessive gaze and instrumental way to represent it prevails, Lloyd does away with the consensual and somewhat simplis...\",\"PeriodicalId\":53368,\"journal\":{\"name\":\"Etudes Britanniques Contemporaines\",\"volume\":\"1 1\",\"pages\":\"\"},\"PeriodicalIF\":0.0000,\"publicationDate\":\"2019-05-06\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Etudes Britanniques Contemporaines\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.4000/ebc.7053\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"\",\"JCRName\":\"\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Etudes Britanniques Contemporaines","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.4000/ebc.7053","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"","JCRName":"","Score":null,"Total":0}
David Lloyd, Beckett’s Thing: Painting and Theatre
In Beckett’s Thing: Theatre and Painting (2016), David Lloyd sheds new light on Samuel Beckett’s aesthetic ties to painting, which the writer himself describes in his essays about art, reconsidering the relationship between the subject behind representation and the object of representation. Starting from the premise that the object won’t be laid bare as long as the subject’s possessive gaze and instrumental way to represent it prevails, Lloyd does away with the consensual and somewhat simplis...
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