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Record Nr. |
UNINA9910821420403321 |
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Titolo |
Beckett in the cultural field / / edited by Jürgen Siess, Matthijs Engelberts, Angela Moorjani |
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Pubbl/distr/stampa |
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Amsterdam, New York : , : Editions Rodopi, , 2013 |
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©2013 |
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ISBN |
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Descrizione fisica |
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1 online resource (271 p.) |
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Collana |
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Samuel Beckett today/aujourd'hui ; ; 25 |
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Altri autori (Persone) |
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SiessJürgen |
EngelbertsMatthijs |
MoorjaniAngela |
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Disciplina |
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Lingua di pubblicazione |
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Formato |
Materiale a stampa |
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Livello bibliografico |
Monografia |
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Note generali |
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Description based upon print version of record. |
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Nota di contenuto |
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Cover; Title Page; Copyright Page; TABLE OF CONTENTS / TABLE DES MATIÈRES; INTRODUCTION; PART I: CONFRONTING THE ARTS, INVESTIGATING RECEPTION / CONFRONTER LES ARTS, ÉTUDIER LA RECEPTION; 1. NOTHING DOING: Reflections on Samuel Beckett and American Conceptual Art; 2.THE FIGURE IN THE LANDSCAPE IN JACK YEATS AND IN SAMUEL BECKETT; 3.POROSITIES: Aesthetic Correlations between Gertrude Stein and Samuel Beckett; 4.THE 'FREEDOM' OF SARTRE AND BECKETT: The Flies versus Eleutheria; 5.ZONES OF INDETERMINATION: Beckett, Bergson, and the Monad of Murphy's Mind |
PART II: ENTERING THE FIELD / ENTRER DANS LE CHAMP6.BECKETTS MOLLOY IN THE FRENCH CONTEXT; 7.BECKETT AND THE BBC THIRD PROGRAMME; 8.RECONFIGURATION DU CHAMP DES ÉTUDES BECKETTIENNES: Le règne du 'Beckett irlandais'; FREE SPACE; 9.""SPLITTING THE ROCKS"": Derek Mahon's Beckett; 10. BECKETT'S FILM: A Polycentric Parodic Pictorial Parable for Perennial Paradoxes; 11.MAPPING THE FUTURE: Endgame, Premediation, and the War on Terror; 12.NO WAY OUT: The Effect of Surveillance in The Lost Ones; 13.BECKETT'S HAPPY DAYS AND DANTE'S INFERNO, CANTO 10 |
14.BETWEEN BEYONDS: Play's Urns and Their Exhabitants15.LE CHAOS: COMMENT C'EST; 16.VOIX ET ILLIMITÉ DANS L'INNOMMABLE; 17. ""I OPEN"": Narration in Samuel Beckett's Cascando; 18.BECKETT'S BOOTS: |
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The Crux of Meaning; CONTRIBUTORS / AUTEURS |
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Sommario/riassunto |
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The thematic part of this volume of Samuel Beckett Today/Aujourd'hui is devoted mainly to Beckett's texts of the forties and later, and particularly to those he composed after his adoption of the French language. The essays presented in this part of the current issue attempt to see Beckett as a writer among other authors with whom he connects or competes, to examine his relations with artists, whether Beckett stimulates them or is stimulated by them, and to define his 'posture' and his position in the cultural field. How does the budding francophone writer position himself in the cultural fiel |
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