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[null,null,"Autore",null,"Wimbush Andy, Dr."]
[null,null,"Titolo",null,"Still: Samuel Beckett’s Quietism / / Andy Wimbush, Paul Stewart"]
[null,null,"Pubbl/distr/stampa",null,"Hannover, : ibidem, 2020"]
[null,null,"ISBN",null,"3-8382-7369-9"]
[null,null,"Edizione",null,"[1st ed.]"]
[null,null,"Descrizione fisica",null,"1 online resource (291 pages) : illustrations"]
[null,null,"Collana",null,"Samuel Beckett in Company ; 7"]
[null,null,"Disciplina",null,"848.91409"]
[null,null,"Soggetti",null,"Samuel Beckett"]
[{"$nulls":4},"Quietism"]
[{"$nulls":4},"Quietismus"]
[{"$nulls":4},"Philosophy"]
[{"$nulls":4},"Philosophie"]
[null,null,"Lingua di pubblicazione",null,"Inglese"]
[null,null,"Formato",null,"Materiale a stampa"]
[null,null,null,"Livello bibliografico","Monografia"]
[null,null,null,"Nota di bibliografia","Includes bibliographical references and index."]
[null,null,"Nota di contenuto",null,"Intro -- Acknowledgements -- Abbreviations and conventions -- Published works by Samuel Beckett -- Unpublished works by Samuel Beckett -- Other works -- Reference books -- Beckett's correspondents -- Introduction La vie très quiétiste -- Chapter 1 Dereliction into Literature: Quietism and Beckett's 1930s -- Quietism in Seventeenth-Century Catholicism -- Arthur Schopenhauer's Quietism -- Beckett and Schopenhauer -- Áskesis, Mysticism, and Belief -- André Gide and Dostoevskian Quietism -- Christian Mysticism -- Quietism and Hellenistic Philosophy -- A Basis for Quietism -- Humanistic Quietism -- Abject Self-Referring Quietism -- Geulincx and Quietism? -- Quietism continues -- Conclusion -- Chapter 2 A Sufferer of My Pains: Murphy and the Little World -- Tat tvam asi -- The Alyosha Mistake -- Luciferian Concentration -- The Need for Brotherhood -- Into the Big World -- Conclusion -- Chapter 3 Remnants of a Pensum: Decay and quietist aesthetics from Dream of Fair to Middling Women to Molloy -- Moran's Prayer -- Molloy and the Contemplative Life -- The Thing in Ruins -- The Fundamental Unheroic -- The Tranquillity of Decomposition -- Moran Checks the Rot -- Moran's Putrefaction -- Quietism, Violence, and Contradiction -- Conclusion -- Chapter 4 The Sage Under the Bo: How It Is, Ernst Haeckel and  Beckett's (German) Buddhism -- Beckett and Buddhism: A Biographical and Critical History -- The Western Religious Epic in How It Is -- Darwin and the Natural Order -- The Eastern Sage -- Victims "]
[{"$nulls":4},"and Tormentors -- The End of Suffering? -- Conclusion -- Chapter 5 so much short of blessed nothing: Salvation, rebirth and the late prose -- Beckett's novel 'series' -- Proustian Rebirth -- Rebirth in the Trilogy -- The Mystic Paradox -- True refuge: from Ping to Lessness -- Unhappily no: Company -- The One True End to Time and Grief: Stirrings Still -- Conclusion."]
[{"$nulls":4},"Afterword -- Bibliography -- Published works by Samuel Beckett -- Unpublished work by Samuel Beckett -- Secondary material on Beckett -- General works -- Index."]
[null,null,null,"Sommario/riassunto","In the 1930s, a young Samuel Beckett confessed to a friend that he had been living his life according to an ‘abject self-referring quietism’. Andy Wimbush argues that ‘quietism’—a philosophical and religious attitude of renunciation and will-lessness—is a key to understanding Beckett’s artistic vision and the development of his career as a fiction writer from his early novels Dream of Fair to Middling Women and Murphy to late short prose texts such as Stirrings Still and Company. Using Beckett’s published and archival material, Still: Samuel Beckett’s Quietism shows how Beckett distilled an understanding of quietism from the work of Arthur Schopenhauer, E.M. Cioran, Thomas à Kempis, Fyodor Dostoevsky, and André Gide, before turning it into an aesthetic that would liberate him from the powerful literary traditions of nineteenth-century realism and early twentieth-century high modernism. Quietism, argues Andy Wimbush, was for Beckett a lifelong preoccupation that shaped his perspectives on art, relationships, ethics, and even notions of salvation. But most of all it showed Beckett a way to renounce authorial power and write from a position of impotence, ignorance, and incoherence so as to produce a new kind of fiction that had, in Molloy’s words, the ‘tranquility of decomposition’."]