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Trying to understand Beckett

Nothing' has been at the centre of Samuel Beckett's reception and scholarship from its inception. This book explains how the Beckett oeuvre, through its paradoxical fidelity to nothing, produces critical approaches which aspire to putting an end to interpretation: in this instance, the issues of authority, intertextuality and context, which this book tackles via 'nothing'. By retracing the history of Beckett studies through 'nothing', it theorises a future for the study of Beckett's legacies and is interested in the constant problem of value in the oeuvre. Through the relation between Beckett and nothing, the relation between voice and stone in Jean-Paul Sartre and Beckett, we are reminded precisely of the importance of the history of an idea, even the ideas of context, influence, and history. The book looks at something that has remained a 'nothing' within the Beckett canon so far: his doodles as they appear in the Human Wishes manuscript. It also looks at the material history of televisual production and places the aesthetic concerns of Beckett's television plays. The book then discusses the nexus between nothing and silence in order to analyse the specific relations between music, sound, and hearing. It talks about the history of materiality through that of neurology and brings the two into a dialogue sustained by Beckett texts, letters and notebooks. The book investigates the role of nothing through three works called neither and Neither: Beckett's short text, Morton Feldman's opera, and Doris Salcedo's sculptural installation.

Mechtild Widrich

Colombian artist Doris Salcedo: she had firearms surrendered by FARC (the Revolutionary Armed Forces of Colombia) melted down and, in collaboration with women who had suffered sexual abuse in the decades-long conflict, hammered them into sheet metal, used them to design and line the floor of the memorial space called Fragmentos in Bogotá [ Fig. 7.1 ]. The cathartic acts of the women hammering the metal, some of which Salcedo filmed, laughing and crying as they beat the recycled raw material into forms more

in Monumental cares
Derval Tubridy

interstices between both by way of neither. Drawing together prose, music and sculpture, I investigate the role of nothing through three works called neither and Neither: Beckett’s short text (1976), Morton Feldman’s opera (1977), and Doris Salcedo’s sculptural installation (2004).5 The Columbian artist Doris Salcedo’s work explores the politics of absence, particularly in works such as Unland: Irreversible Witness (1995–98), which acts as a sculptural witness to the disappeared victims of war. Her installation Neither draws on both Feldman’s music and Beckett’s text

in Beckett and nothing
Olivier Lewis

. They were designed by an artist called Doris Salcedo; built from Revolutionary Armed Forces of Colombia (FARC) rifles, pistols, and grenade launchers; and hammered into the ground by civilian victims (e.g., those who were raped by paramilitaries, guerrillas, or army soldiers) (Parkin, 2018 ). Salcedo said the objective of the “anti-monument” was to make something

in Counter-terrorism and civil society