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The hidden self in Beckett’s short fiction
John Robert Keller

internal ‘den’ of schizoid anxiety, with ‘assassins […] in this bed of terror’, but in ‘his distant refuge [i.e. an imagined past or a psychic retreat within the self, he is …] weak, breathless, calm, free’ (62). Walking through the world as an invisible, despised alien, he meets a small boy, ‘holding a Keller_06_ch5+Epil 173 23/9/02, 11:03 am 174 Samuel Beckett and the primacy of love goat by a horn’, who looks at him ‘without visible fear or revulsion’. The boy, he believes, has come to see him out of curiosity: this Wattlike ‘dark hulk […] abandoned on the

in Samuel Beckett and the primacy of love
Abstract only
Glyn White

Aside from the fact that they are all novels of the twentieth century there may seem to be little to link Samuel Beckett’s Watt, B. S. Johnson’s Albert Angelo, Christine Brooke-Rose’s Thru and Alasdair Gray’s Lanark: A Life in Four Books, and the other novels discussed in this book, but a fundamental similarity will present itself to the reader of all these texts

in Reading the graphic surface
Between theatre as cultural form and true media theatre
Wolfgang Ernst

Introducing Samuel Beckett's media theatre A media archaeological investigation of sound recordings, including the challenge of their preservation and restoration, takes its departure from the technical conditions. It does so with a focus on the epistemological implications of what becomes of sound and speech once they can be technically addressed as signals. Very soon in such an analysis of the analogue and digital hardware and software tools used for sound recording, a sono-technical world of its own unfolds, to which

in Beckett and media
Beckett on Film
Jonathan Bignell

actor Michael Gambon (who starred in Endgame ). The event was also reported internationally: Irish America magazine, for example, aimed at émigrés and US citizens claiming Irish ancestry, reported that ‘the Irish Film Center's two theaters were filled with fans eager to catch the premieres of cinematic versions of all 19 of Samuel Beckett's stage plays. Nearly every screening sold out well in advance’ (‘Celebrating’, 2001 ). In September 2001, the London launch was introduced by Harold Pinter at the Barbican, and the directors Conor McPherson and Enda Hughes were

in Beckett’s afterlives
Open Access (free)
Bill Prosser

booby-traps that every attempt at detailed psychological analysis contains, nothing is more appropriate than Beckett’s cautionary advice to Billie Whitelaw: ‘If in doubt – do nothing’.43 104 Beckett and nothing Notes 1 See Vivien Mercier’s famous definition of Godot as ‘a play in which nothing happens, twice’, Vivien Mercier, ‘The uneventful event’, Irish Times (18 February 1956). 2 Samuel Beckett to George Duthuit, 9–10 March 1949, trans. Walter Redfern, in S. E. Gontarski and Anthony Uhlmann, (eds), Beckett After Beckett (Gainesville: University Press of Florida

in Beckett and nothing
Trauma and actor process in the theatre of Samuel Beckett
Nicholas E. Johnson

4 ­ 6 Trauma symptoms 2 ‘Void cannot go’: trauma and actor process in the theatre of Samuel Beckett Nicholas E. Johnson Acting on stage, both as an activity and as a career choice, has intrinsic challenges and certain structures that theoretically could contribute to, or even engender, trauma in those who undertake it. Many theatre projects involve stringent physical demands, intense emotional engagement, pressured time constraints, financial precarity and repetition. Due to the difficulty and duress inherent in certain of his plays, Samuel Beckett has been

in Samuel Beckett and trauma
Abstract only
The acoustic neo-avant-gardes between literature and radio
Inge Arteel
,
Lars Bernaerts
,
Siebe Bluijs
, and
Pim Verhulst

barrier, notwithstanding its recent terminological broadening into ‘late’ modernism (Miller, 1999 ; Weller, 2018 ). Not going too far back in time, one way in which scholars of radio have managed to circumvent this hegemony of modernism, with its temporal and thematic constrictions, is by focusing on one specific author – Harold Pinter, Tom Stoppard (Guralnick, 1995 ), Samuel Beckett (Branigan, 2008 ; Addyman, Feldman and Tonning, 2017 ; Sanchez Cardona, 2018 ; Verhulst, 2022b ), George Bernard Shaw (Conolly, 2009 ), William Shakespeare (Jensen, 2018

in Tuning in to the neo-avant-garde
Visualising a changing city

Delving into a hitherto unexplored aspect of Irish art history, Painting Dublin, 1886–1949 examines the depiction of Dublin by artists from the late-nineteenth to the mid-twentieth century. Artists’ representations of the city have long been markers of civic pride and identity, yet in Ireland, such artworks have been overlooked in favour of the rural and pastoral, falling outside of the dominant disciplinary narratives of nationalism or modernism. Framed by the shift from city of empire to capital of an independent republic, this book chiefly examines artworks by of Walter Frederick Osborne (1857–1903), Rose Mary Barton (1856–1929), Jack Butler Yeats (1871–1957), Harry Aaron Kernoff (1900–74), Estella Frances Solomons (1882–1968), and Flora Hippisley Mitchell (1890–1973), encompassing a variety of urban views and artistic themes. While Dublin is renowned for its representation in literature, this book will demonstrate how the city was also the subject of a range of visual depictions, including those in painting and print. Focusing on the images created by these artists as they navigated the city’s streets, this book offers a vivid visualisation of Dublin and its inhabitants, challenging a reengagement with Ireland’s art history through the prism of the city and urban life.

Open Access (free)
Beckett’s media mysticism in and beyond Rough for Theatre II
Balazs Rapcsak

performed until 1979, where it literally takes centre stage. ABC – A/B In the summer of 1958, Beckett discussed his developing concept of the play with Robert Pinget, who, in ‘Notre ami Samuel Beckett’, gives an account of this conversation, mentioning Beckett's ‘disgust at one point for the theatre, where one doesn't say what one wants to, as in novels or poems’ (qtd. in Beckett, 2014 , 167). Although we may raise the question of whether Pinget managed to capture Beckett's words with utmost fidelity, as if ‘saying what one wants

in Beckett and media
Stimuli, signals and wireless telegraphy in Beckett’s novel Watt
Wolf Kittler

). 22 For Beckett's attempts to determine this relationship by means of a truth table, see Ackerley ( 2006 , 324–5). And for a discussion of references to the distinction between ground and figure in gestalt psychology, see Salisbury ( 2010 , 356–8). Works cited Ackerley , Chris ( 2006 ), ‘ An ‘Other Object of Note’: Circle and Point in Samuel Beckett's Watt ’, Samuel

in Beckett and media