Search results

You are looking at 1 - 3 of 3 items for :

  • "musicalisation" x
  • Refine by access: All content x
Clear All
Open Access (free)
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.

Catherine Laws

suggests, by attempting an understanding of silence from a perspective other than that of language, ‘we can see how the alternative saying/not saying does not necessarily translate into the logocentric dichotomy language/ silence’.9 Music and silence in early Beckett To my mind, Beckett’s later conception of sound and silence is implicit in his earlier notions and uses of music. The critical reading of Beckett’s work as a gradual extinguishing of the voice is often accompanied by a related and yet seemingly contradictory one: increasing musicalisation. These two

in Beckett and nothing
Abstract only
The acoustic neo-avant-gardes between literature and radio
Inge Arteel
Lars Bernaerts
Siebe Bluijs
, and
Pim Verhulst

text) and the aural level (of disintegrating and merging voices), interconnected with non-human sounds. To conclude, Gilfillan elaborates on the collaborative production process of the ORF Kunstradio programme and points out how this acoustic art uses broadcasting not so much to claim medium specificity, as in Palitzsch’s time, but to transgress the studio creation and enlarge the scope of aural receptivity. The musicalisation of language is a constant practice in the radio plays of the Austrian poet, composer and musician Gerhard Rühm. In his chapter, Roland

in Tuning in to the neo-avant-garde