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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.

Open Access (free)
Reading James Baldwin’s Existential Hindsight in Go Tell It on the Mountain
Miller Wilbourn

This essay reads James Baldwin’s first novel, Go Tell It on the Mountain, through the lenses of European existentialism and Black existential thought to arrive at a new understanding of the novel itself as well as essential stages of its development. Archival sources and close reading reveal Baldwin’s historically and existentially informed artistic vision, summed up in the terms hindsight and insight. His thoughtful, uncomfortable engagement with the past leads to a recuperated relationship to the community and constitutes existential hindsight, which informs his inward understanding of himself—his insight. This investigation draws on various works from Baldwin’s fiction, essays, interviews, and correspondence to arrive at a better understanding of the writer’s intellectual and artistic development, focusing especially on the professed objectives behind, and major revisions of, the novel. I conclude the essay through a close reading of the conversion scene that constitutes Part Three of Go Tell It on the Mountain.

James Baldwin Review
Open Access (free)
Jeffrey Flynn

and political tensions in each country. This includes some fascinating vignettes – as luminaries from the Left and Right, from Günter Grass, William F. Buckley and Jean-Paul Sartre, had to have something to say about Biafra. Capturing all the debates engendered about Biafra in each country hammers home the point that simply seeing suffering never dictates a unified response from viewers; even when one response dominates, images often engender a conflict of interpretations

Journal of Humanitarian Affairs
Marie-Luce Desgrandchamps
Lasse Heerten
Arua Oko Omaka
Kevin O'Sullivan
, and
Bertrand Taithe

with them, notably Bertrand Russell and Jean-Paul Sartre, put up the International War Crimes Tribunal in 1966. Genocide in a third world conflict had thus already been widely discussed – but mainly within a leftist counter public, and part as a dominant paradigm of anti-imperialism. Imperialism created genocides, and this was hence the main issue from this perspective ( Kalter, 2016 ). What was new about Biafra was that international mainstream media, like The Times or Der Spiegel

Journal of Humanitarian Affairs
Revisiting collaboration in French crime fiction of the 1980s
Claire Gorrara

New Order 1940–1944 (New York: Columbia University Press,  1972), ‘embarrassed silence’ (p. xiii); Gerhard Hirschfeld and Patrick Marsh  (eds),  Collaboration in France:  Politics and Culture during the Nazi Occupation, 1940–1944 (Oxford: Berg, 1987), ‘persistent reticence’ (p. vii); and  Bertram M. Gordon, Collaborationism in France during the Second World  War  (Ithaca,  NY  and  London:  Cornell  University  Press,  1980),  ‘sensitive  subject’ (p. 361).   1   • 78 • Resurgent collaboration   3  Susan Suleiman, ‘“Choosing our past”: Jean-PaulSartre as

in French crime fiction and the Second World War
‘News that STAYS news’?
Helen Goethals

emotions to ethics, we need to turn to the thinking about emotions which was being done at the time, and in particular that of I.A. Richards, R.G. Collingwood, Bertrand Russell and Jean-Paul Sartre. It was Bertrand Russell who, in a book read by Timothy, was the first to bestow upon the emotions an ethical function. In the last chapter of Religion and Science , Russell defines ethical values as desires for whatever each person subjectively defines as ‘the Good’. Such definitions lie outside the domain of scientific knowledge: ‘That is to say, when we assert that this or

in The Munich Crisis, politics and the people
Paul Blackledge

attempts to reduce either agency to structure or vice versa. Jean-Paul Sartre (1905–80) made one of the earliest contributions to this discussion, in which he placed the free individual at the centre of his reconstruction of historical materialism; and while his project must ultimately be regarded as a failure, his critique of the schematic historiography of Stalinism undoubtedly marked a positive contribution to the renewal of historical materialism in the post-war decades. While Sartre’s was the towering voice of the post-war French and international left, his star

in Reflections on the Marxist theory of history
Abstract only
W. J. McCormack

a novelist as Jean-Paul Sartre can be of assistance here. Writing of a distinctive feature in modernism, Jameson observes that It is not so much a question of literary space ... as it is of false space: a kind of confusion pointed out by Bergson, in which the old habits of purely visual, spatial perception, grind

in Dissolute characters
Politics and aesthetics
Carl Lavery

intention in proposing this is not to suggest that Genet’s relationship to art was without transformation or change, but simply to stress the sense of both continuity and difference in his approach to the political dimension of the aesthetic. 1968 and after In an ironic twist that would have surprised Jean-Paul Sartre, his earliest biographer, Genet was, from 1968 until his death in 1986, the consummate political activist. 4 Some of the causes and movements which he supported were (in no particular order): the Viet-Cong, the Algerian Liberation Front (FLN), the Black

in The politics of Jean Genet’s late theatre
Bryan Cheyette

colonialism, but the unassimilated Jewish majority. As Gillian Rose has shown, Jews within French post-structuralism are invariably essentialised as the ineffable alterity within western metaphysics (Rose 1993: 14– 24). Rather than reading Algerian Jews back in relation to these contemporary formulations, Fanon helps us to understand postwar Jewry in relation to the colonial struggle in less abstract and more historically grounded terms. To this end, I will read Frantz Fanon’s Peau noire alongside Jean-Paul Sartre’s Réflexions sur la question juive (1946) which had a

in Frantz Fanon’s 'Black Skin, White Masks