Rethinking Beckett

Do we take Beckett seriously enough? This study starts from the assumption that we do not, and that this arises from an unwillingness to face up to the central philosophical issues implicit in his work. By associating Samuel Beckett with the philosophy of Heidegger, Sartre, and more experimentally, Hegel, this study attempts to illuminate Beckett with the help of these philosophers, on the assumption that his work offers objective correlatives of their central insights.

A survey of Beckett criticism in English, French and German. Samuel Beckett (1906-1989) is an important figure in 20th century literary history: his plays, such as Waiting for Godot and Endgame, have acquired a world-wide reputation, and his novels have proved important touchstones for the critical debates in contemporary literary theory. Born in Dublin, Beckett spent most of his writing life in France and wrote equally well in French and English; his German was also fluent, allowing him to direct hisown plays in German theatres. Any attempt to deal with Beckett must therefore consider the critical response his works have provoked in all three languages. A Critique of Beckett Criticism is the first attempt in book formto give a comprehensive survey of the history and scope of Beckett criticism in French, English, and German. Three parallel chapters examine the three major strands of Beckett criticism, retracing its development using a historical perspective and pointing out different trends, currents and fashions in opinion. Directions for further research are also suggested. P.J. MURPHY is a lecturer in contemporary British literature at the University College of the Cariboo, British Columbia; WERNER HUBER is a professor of English literature at Chemnitz University of Technology; ROLF BREUER is professor of English literature at the University of Paderborn; KONRAD SCHOELL is professor of French literature at the Pädagogische Hochschule Erfurt.

Using the work of W.Bion and D.Winnicott, this book offers a psychoanalytic study of Beckett's aesthetics of absence. Focusing on the first prose trilogy and Waiting for Godot, it offers a critical challenge to accepted viewpoints of Beckett's negative status, not only within psychoanalytic literary criticism, but within Beckett criticism at large.

This book centres on a broadened view of complexity that will enrich engagement with complexity in the social sciences. The key idea is to employ complexity theory to develop a holistic account of practice, agency and expertise. In doing so, the book acknowledges and builds upon the relational character of reductive accounts. It draws upon recent theoretical work on complexity, emergence and relationality to develop a novel account of practice, agency and expertise in and for workplaces. Biological, psychological and social aspects of these are integrated. This novel account overcomes problems in current views of practice, agency and expertise, which suffer from reductive, or fragmented, analyses, based upon individuals, groups, or networks. In retrieving the experiential richness of human activity – often esteemed as the basis of generative and creative life – this book shows how complexity both emerges from, and is, a non-reductive feature of, human experience, especially in daily work. “...an ambitiously wide-ranging volume, questioning the key tenets of respected approaches ..... and offering ..... ‘novel accounts’, which draw on features of complexity thinking.... ...But they go further than any of us in their argument that: ‘whatever reductive moves are made, they ‘flow’ from holistic accounts of relationality which have already affectively engaged the purposes of a co-present group.’ This is the intellectual contribution that is built consistently and persuasively across the chapters.” Professor Emerita Anne Edwards, Oxford University "Hager and Beckett have written a book that will challenge more commonly held notions of agency, practice, skills, and learning. Centering their argument on complexity theory or, as they prefer, complexity thinking, Hager and Beckett argue that it is through relations that we raise questions about, gather data from, and make working sense of the complexity that surrounds us. Groups then, particularly small groups, hold and implement agentive power. And what the authors call co-present groups—ones in which holistic relationality occurs socially, and affectively in distinctive places—“draw us closer to each other, and harness our normativity by enabling negotiability and reason-giving.” If your field of study involves anything remotely sociocultural in nature or if you are just interested in the complex ways we engage as humans with our worlds, you should find a place for this book in your library." Bob Fecho, Teachers College, Columbia University, New York NY, USA

Revisioning Beckett reassesses Beckett's career and literary output, particularly his engagement with what might be called decadent modernism. Gontarski approaches Beckett from multiple viewpoints: from his running afoul of the Irish Censorship of Publications Acts in the 1930s through the 1950s, his preoccupations to "find literature in the pornography, or beneath the pornography,†? his battles with the Lord Chamberlain in the mid-1950s over London stagings of his first two plays, and his close professional and personal associations with publishers who celebrated the work of the demimonde. Much of that term encompasses an opening to the fullness of human experience denied in previous centuries, and much of that has been sexual or decadent. As Gontarski shows, the aesthetics that emerges from such early career encounters and associations continues to inform Beckett's work and develops into experimental modes that upend literary models and middle-class values, an aesthetics that, furthermore, has inspired any number of visual artists to re-vision Beckett.

The world fame of Samuel Beckett is due to a combination of high academic esteem and immense popularity. An innovator in prose fiction to rival Joyce, his plays have been the most influential in modern theatre history. As an author in both English and French and a writer for the page and the stage, Beckett has been the focus for specialist treatment in each of his many guises, but there have been few attempts to provide a conspectus view. This book, first published in 1994, provides thirteen introductory essays on every aspect of Beckett's work, some paying particular attention to his most famous plays (e.g. Waiting for Godot and Endgame) and his prose fictions (e.g. the 'trilogy' and Murphy). Other essays tackle his radio and television drama, his theatre directing and his poetry, followed by more general issues such as Beckett's bilingualism and his relationship to the philosophers. Reference material is provided at the front and back of the book.

From the contents: Beckett and the quest for meaning (Martin Esslin). - Beckett's tonic laughter (Manfred Pfister). - The magic triangle: James Joyce, Samuel Beckett, Arno Schmidt (Friedhelm Rathjen). - Beckett performed in Italy (Annamaria Cascetta). - Beckett and synaesthesia (Yoshiki Tajiri). - Beckett versus the reader (Michael Guest).

This book is the first introduction to unite accessible accounts not only of Beckett's life and work, but of the key literary and theoretical concepts used in the study of his writing.

Beckett’s Late Stage reexamines the Nobel laureate’s post-war prose and drama in the light of contemporary trauma theory. Through a series of sustained close-readings, the study demonstrates how the comings and goings of Beckett’s prose unsettles the Western philosophical tradition; it reveals how Beckett’s live theatrical productions are haunted by the rehearsal of traumatic repetition, and asks what his ghostly radio recordings might signal for twentieth-century modernity. Drawing from psychoanalytic and poststructuralist traditions, Beckett’s Late Stage explores how the traumatic symptom allows us to rethink the relationship between language, meaning, and identity after 1945.