After Beckett / D’après Beckett

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After Beckett / D’après Beckett (edited by Anthony Uhlmann / Sydney; Sjef Houppermans / Leiden and Bruno Clément / Paris) constitutes a collection of over 40 articles selected from contributions to the Sydney Symposium of January 2003 that – as a part of an International Sydney Festival – was one of the major events related to Samuel Beckett of the last decade.
The three sections of the book reflect the most vibrant fields of research in Beckett studies today: “Intertextuality and Theory”, “Philosophy and Theory” and “Textual Genesis, Contextual Genesis and Language”. Scholars from all over the world participating in this collection testify to the durable and universal nature of interest in Beckett’s work.

After Beckett / D’après Beckett (édité par Anthony Uhlmann / Sydney; Sjef Houppermans / Leiden et Bruno Clément / Paris) constitue une collection de plus de 40 articles présentant une sélection parmi les contributions au Colloque International de Sydney qui a eu lieu en janvier 2003 dans le cadre du Festival International de Sydney. Cette réunion a été l’un des événements majeurs de ce début du troisième millénaire pour ce qui concerne les études beckettiennes.
Les trois sections du recueil reflètent les champs d’intérêt les plus importants de la critique beckettienne actuelle: “Intertextualité et confluence”, “Philosophie et Théorie” et “Genèse textuelle, Genèse contextuelle et Langage”. Des universitaires du monde entier ont participé à ce livre et témoignent ainsi de l’intérêt universel et durable de l’œuvre de Samuel Beckett

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Introduction / Avant-Propos 11
I. INTERTEXTUALITY AND CONFLUENCE
1. Angela Moorjani: PEAU DE CHAGRIN: Beckett and Bion on Looking Not to See
2. Chris Ackerley: THE UNCERTAINTY OF SELF: Samuel Beckett and the Location of the Voice
3. Sjef Houppermans: THE EYE, THE VOICE, THE SKIN: la Peau, la Voix, l’OEil
4. Seán Kennedy: “THE ARTIST WHO STAKES HIS BEING IS FROM NOWHERE”: Beckett and Thomas MacGreevy on the Art of Jack B. Yeats
5. Masaki Kondo: ILL SEEN ILL SAID AND IGITUR
6. Minako Okamuro: ALCHEMICAL DANCES IN BECKETT AND YEATS
7. Michael Angelo Rodriguez: “EVERYWHERE STONE IS GAINING”: The Struggle for the Sacred in Samuel Beckett’s Ill Seen Ill Said
8. Anthony Macris: SAMUEL BECKETT, CLAUDE SIMON AND THE MISE EN ABYME OF PARADOXICAL DUPLICATION
9. Anthony Cordingley: KEEPING THEIR DISTANCE: Beckett and Borges Writing after Joyce
10. Hannes Schweiger: SAMUEL BECKETT AND FRIEDERIKE MAYRÖCKER: Attempts at Writing the Self
11. Michael Guest: AUTONOMY AND THE BODY IN SAMUEL BECKETT AND KOBO ABE
12. Mary Bryden: BECKETT AND THE DYNAMIC STILL
13. Sjef Houppermans: LE ROI DES ÉCHECS
14. Yann Mével: APRÈS OU D’APRÈS BECKETT: Joël Jouanneau metteur en scène de Beckett
II. PHILOSOPHY AND THEORY
15. Bruno Clément: CE QUE LES PHILOSOPHES FONT AVEC SAMUEL BECKETT
16. Paul Stewart: “ALL MEN TALK, WHEN TALK THEY MUST, THE SAME TRIPE”: Beckett, Derrida and Needle Wylie
17. James Phillips: BECKETT’S BOREDOM AND THE SPIRIT OF ADORNO
18. Matthew Holt: CATASTROPHE, AUTONOMY AND THE FUTURE OF MODERNISM: Trying to Understand Adorno’s Reading of Endgame
19. Chris Conti: CRITIQUE AND FORM: Adorno on Godot and Endgame
20. Suzie Gibson: THE WORK, THE NEUTRAL AND THE UNNAMABLE
21. Ranjan Ghosh: RECONFIGURING THE WAITING FOR GODOT: Explorations within some Paradigms of Hindu Philosophy
22. Garin Dowd: “VASTS APART”: Phenomenology and Worstward Ho
23. Anthony Uhlmann: “A FRAGMENT OF A VITAGRAPH”: Hiding and Revealing in Beckett, Geulincx, and Descartes
24. Naoya Mori: BECKETT’S WINDOWS AND THE WINDOWLESS SELF
25. David Musgrave: THE ABSTRACT GROTESQUE IN BECKETT’S TRILOGY
26. Amir Ali Nojoumian: SAMUEL BECKETT’S THE UNNAMABLE: The Story of that Impossible Place Named Silence
27. Russell Smith: BECKETT’S ENDLESSNESS: Rewriting Modernity and the Postmodern Sublime
28. Sabbar Saadoon Sultan: THE CRITICAL ASPECTS OF BECKETT’S TRILOGY
29. Andrea L. Yates: ABANDONING THE EMPIRICAL: Repetition and Homosociality in Waiting for Godot
III. TEXTUAL GENESIS, CONTEXTUAL GENESIS AND LANGUAGE
30. David A. Hatch: THE ‘UNTIDY ANALYST’: Dialogue Form, Elenchus, and Subversion in “Three Dialogues with Georges Duthuit”
31. Takeshi Kawashima: CONJUNCTION OF THE ESSENTIAL AND THE INCIDENTAL: Fragmentation and Juxtaposition; or Samuel Beckett’s Critical Writings in the 1930s
32. Dirk van Hulle: ‘(HIATUS IN MS.)’: Watt and the Textual Genesis of Stirrings Still
33. Mark Byron: THE ECSTASY OF WATT
34. Diane Luscher-Morata: MISE EN MOTS DE LA SOUFFRANCE DANS WATT: “A Soliloquy under Dictation”
35. Gerry Dukes: ENGLISHING GODOT
36. William Martin: ESSE AND PERCIPI IN FILM: A ‘Note’ upon the Beckett-Schneider ‘Correspondence’
37. Karine Germoni: PONCTUATION ET RYTHME DANS EN ATTENDANT GODOT ET FIN DE PARTIE DE SAMUEL BECKETT
38. Nadia Louar : LE BILINGUISME DANS L’ŒUVRE DE SAMUEL BECKETT: pas d’après
39. Curt G Willits: HOW IT IS: The Epical Call to Voice at the Limits of Experience
40. Livio Dobrez: THE WORD IN CRISIS: Variations on a Theme by Samuel Beckett
41. Peter Williams: UNSAYING AND THE CATEGORIES OF DISCOURSE IN BECKETT’S GESTURAL TEXTS
CONTRIBUTORS
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