{"title":"荒无人烟的地方","authors":"J. Goodall","doi":"10.1163/18757405-03301005","DOIUrl":null,"url":null,"abstract":"\n Given that the condition of ‘mortal liveness’ was a greater cause for perplexity in Beckett’s writing than the notion of an afterlife, this essay considers evocations of a post-mortal state in The Unnamable and the three works of the later trilogy, Nohow On, as a continuum from the pre-natal state he claims to recall. The paintings of Jack B. Yeats, an acknowledged influence on Beckett, exhibit significant parallels in the evocation of figures whose tenuous presence in the landscape erases the boundary between shades and mortal beings.","PeriodicalId":53231,"journal":{"name":"Samuel Beckett Today/Aujourd''hui","volume":null,"pages":null},"PeriodicalIF":0.3000,"publicationDate":"2021-07-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"In the Middle of Nowhere\",\"authors\":\"J. Goodall\",\"doi\":\"10.1163/18757405-03301005\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"\\n Given that the condition of ‘mortal liveness’ was a greater cause for perplexity in Beckett’s writing than the notion of an afterlife, this essay considers evocations of a post-mortal state in The Unnamable and the three works of the later trilogy, Nohow On, as a continuum from the pre-natal state he claims to recall. The paintings of Jack B. Yeats, an acknowledged influence on Beckett, exhibit significant parallels in the evocation of figures whose tenuous presence in the landscape erases the boundary between shades and mortal beings.\",\"PeriodicalId\":53231,\"journal\":{\"name\":\"Samuel Beckett Today/Aujourd''hui\",\"volume\":null,\"pages\":null},\"PeriodicalIF\":0.3000,\"publicationDate\":\"2021-07-19\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Samuel Beckett Today/Aujourd''hui\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.1163/18757405-03301005\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"N/A\",\"JCRName\":\"LITERARY THEORY & CRITICISM\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Samuel Beckett Today/Aujourd''hui","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1163/18757405-03301005","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"N/A","JCRName":"LITERARY THEORY & CRITICISM","Score":null,"Total":0}
引用次数: 0
摘要
鉴于在贝克特的作品中，“凡人的生活”比“来世”的概念更让人困惑，本文认为，《不可名状》和后来三部曲的三部作品《Nohow On》中对死后状态的唤起，是他声称回忆的产前状态的连续体。公认对贝克特有影响的叶芝(Jack B. Yeats)的画作，在唤起人物形象方面表现出了显著的相似之处，这些人物在风景中脆弱的存在抹去了阴影与凡人之间的界限。
Given that the condition of ‘mortal liveness’ was a greater cause for perplexity in Beckett’s writing than the notion of an afterlife, this essay considers evocations of a post-mortal state in The Unnamable and the three works of the later trilogy, Nohow On, as a continuum from the pre-natal state he claims to recall. The paintings of Jack B. Yeats, an acknowledged influence on Beckett, exhibit significant parallels in the evocation of figures whose tenuous presence in the landscape erases the boundary between shades and mortal beings.
求助内容：
应助结果提醒方式：
京公网安备 11010802042870号
