Buch, Englisch, Band 18, 428 Seiten, Format (B × H): 155 mm x 230 mm, Gewicht: 862 g
Beckett and Romanticism. Beckett at Reading 2006
Buch, Englisch, Band 18, 428 Seiten, Format (B × H): 155 mm x 230 mm, Gewicht: 862 g
Reihe: Samuel Beckett Today / Aujourd'hui
ISBN: 978-90-420-2301-7
Verlag: Brill | Rodopi
In the past few decades there have been scattered efforts to address the topic of Beckett and Romanticism, but it remains difficult to fathom his ambiguous and somewhat paradoxical attitude toward this period in literature, music and art history. Although far from being a comprehensive examination, the dossier on “Beckett and Romanticism” represents the first sustained attempt to give an impetus to the study of this complex theme. Presented here are contributions on Beckett’s attitudes toward Romantic aesthetics in general, including notions such as the sublime, irony, failure, ruins, fragments, fancy, imagination, epitaphs, translation, unreachable horizons, the infinite, the infinitesimal and the unfinished, but also on Beckett’s reading about the Romantic period, his affinity with specific Romantic artists and their influence on works such as Murphy, the trilogy, Krapp’s Last Tape and All Strange Away.
The second part of the current issue presents a selection of papers given at the Beckett at Reading 2006 conference in Reading, organised by the Beckett International Foundation to honour the writer’s centenary. Reflecting the importance of the Beckett Foundation’s Archive to scholars, many of these essays present new empirical research in the field of manuscript studies. Further areas of research are illuminated by other contributions which, together with the essays contained in the ‘Free Space’ section, show the importance and benefits of scholarly dialogue and cross-fertilization between different approaches in current Beckett Studies.
Fachgebiete
Weitere Infos & Material
Introduction
Beckett and Romanticism
Dirk Van HULLE: “Accursed Creator”: Beckett, Romanticism and “the Modern Prometheus”
Paul LAWLEY: Failure and Tradition: Coleridge / Beckett
Elizabeth BARRY: The Long View: Beckett, Johnson, Wordsworth and the Language of Epitaphs
Mark NIXON: Beckett and Romanticism in the 1930s
Chris ACKERLEY: Samuel Beckett and Anthropomorphic Insolence
Franz Michael MAIER: Two Versions of Nacht und Träume: What Franz Schubert Tells Us about a Favourite Song of Beckett
John BOLIN: The “irrational heart”: Romantic Disillusionment in Murphy and The Sorrows of Young Werther
Andrew EASTHAM: Beckett’s Sublime Ironies: The Trilogy, Krapp’s Last Tape, and the Remainders of Romanticism
Michael Angelo RODRIGUEZ: Romantic Agony: Fancy and Imagination in Samuel Beckett’s All Strange Away
Beckett at Reading 2006
María José CARRERA: “En un lugar della mancha”: Samuel Beckett’s Reading of Don Quijote in the Whoroscope Notebook
Friedhelm RATHJEN: Neitherways: Long Ways in Beckett’s Shorts
John PILLING: From an Abandoned Work: “all the variants of the one”
Anthony CORDINGLEY: Beckett and “l’ordre naturel”: The Universal Grammar of Comment c'est/How It Is
Marion FRIES-DIECKMANN: Beckett and the German Language: Text and Image
Rónán MCDONALD: “What a male!”: Triangularity, Desire and Precedence in “Before Play” and Play
Sean LAWLOR: “Alba” and “Dortmunder”: Signposting Paradise and the Balls-aching World
David A. HATCH: Samuel Beckett’s “Che Sciagura” and the Subversion of Irish Moral Convention
Paul STEWART: A Rump Sexuality: The Recurrence of Defecating Horses in Beckett’s Oeuvre
Gregory BYALA: Murphy, Order, Chaos
Maximilian de GAYNESFORD: Knowing How To Go On Ending
Karine GERMONI: The Theatre of Le Dépeupleur
Dirk Van HULLE / Mark NIXON: “Holo and unholo”: The Beckett Digital Manuscript Project
Free Space
Jackie BLACKMAN: Beckett Judaizing Beckett: “a Jew from Greenland” in Paris
Russell SMITH: “The acute and increasing anxiety of the relation itself”: Beckett, the Author-Function, and the Ethics of Enunciation
Thomas J. COUSINEAU: Demented vs. Creative Emulation in Murphy
Sjef HOUPPERMANS: Falling Down and Standing Up and Falling Down Again…
Carla TABAN: Molloy: de ‘jeux de mots’ aux modalités po(ï)étiques de configuration textuelle
Guillaume GESVRET: Posture de la prière, écriture de la précarité (Mal vu mal dit, Cap au pire et. que nuages.)
Anne COUSSEAU: Rencontre de Charles Juliet avec Samuel Beckett: “Cette parole nue qui vient de la souffrance”
Notes on Contributors
