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Abstract
Waiting for Godot is not often presented as homologous with Beckett’s narrative fiction. However, a close consideration of the status of the boy(s) in the play shows that the drama text undermines the dichotomy between inner and outer world, which Beckett was addressing in comparable ways in his novels and art criticism.
Author:
Abstract
Recent developments in the critical arena indicate that scholars are showing a keen interest in tracing Samuel Beckett’s influence on, or presence in, the non-Western world. They focus on how the Beckettian oeuvre is translated and adapted in various corners of the world. This study aims to contribute to this trend by examining the adaptations of Waiting for Godot in Pakistan. It operates on two interconnected levels. First, it explores how the metaphor of Godot was employed to adapt to Pakistan’s political context. Second, it posits that the adaptable structure of Waiting for Godot empowers artists to mirror the audience’s worldview, resulting in one-of-a-kind interpretations that contest the Eurocentric perspective. The pliability of Beckettian oeuvre encourages diverse literary responses.
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Abstract
This study traces the play of thresholds in Beckett’s short text “neither”. Since its publication in 1976, the text has been haunted by its thematic indeterminacy. Originally published as a poem, it was gathered with other pieces of short prose on Beckett’s suggestion when he insisted that it was a short story. The protagonist (though it is too strong a term to be used in the present context) finds themself before the mobile gates of the neitherworld “whose doors once neared gently close/once turned away from gently part again”. Beckett’s text creates a paradigmatic limbo, a non-space tussling with the ghosts of being. The movement is not, as Garin Dowd contends, “from its presence to its absence, from its being to non-being, from its formation to its emptying”; the beingness of being is already reduced to shadows. The reflex of opening and closure, the subject of the text, is further displaced on to the door, effectively quashing the potency of human agency. The door here is the reality of being. The effigy of a person is left stranded on the in-between spaces. This inbetweenness is located on the site of excluded middle—a site considered untenable in the classical logic. Moreover, the study looks at the ontological praxis of this inbetweenness.
Abstract
This paper focuses on an adaptation of Beckett’s Waiting for Godot in the Muslim context of Pakistan. Firstly, it looks at previous performances of the play with female actors. Secondly, it examines why female characters are introduced in the adaptation, which is strikingly opposite to Beckett’s idea of characterization in Waiting for Godot. Thirdly, it explores how such alteration is significant in the context of the Muslim culture of Pakistan. Finally, the play thus adapted for a local audience is read in a political light.
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Abstract
Allusions to gendered violence and sexual assault in Samuel Beckett’s works raise difficult questions in today’s classroom and theatre auditoria. So too does the physical subjugation that Beckett’s female actors often endure on stage. How far might our post-#MeToo sensibilities usefully inform our reading of instances of gendered subjugation and sexualised violence in Beckett’s theatre? This article focuses on Not I as a playtext that combines intimations of sexual assault with a history of female actors suffering physically in performance. It uses the lens of rape play—enacted for therapeutic value within the BDSM community for sexual assault survivors—to read Not I as an embodied trauma narrative, and to open up discussion of forms of coercion and consent in Beckett’s work.
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Abstract
This article engages closely with Beauvoir’s claim that risk is the criterion of value. The article first discusses the meaning of “risk” and its role as the yardstick of values and then questions the contrast Beauvoir establishes between giving life and risking life by examining the experience of pregnancy. The author argues that a close reading of Beauvoir’s The Second Sex demonstrates that, once we remove the lens of patriarchy, the opposition between giving life and risking life crumbles.
Énigme, prière, identité
Author:
Dans Esther Tellermann: Énigme, prière, identité, première monographie consacrée à l’œuvre de l’écrivain, Aaron Prevots met en lumière un regard poétique novateur sur des réalités tant intérieures qu’extérieures. Il montre comment Tellermann (1947-) explore l’intime du monde, ses textures et ses contours, ses terres insituables semblant s’entrecroiser, et le rêve et le mythe faits tremplin pour une traversée renouvelée de l’Histoire et du deuil. Il appréhende le caractère énigmatique de longues suites de chants dont la forme peut s’apparenter à celle de la prière, ainsi que les enjeux identitaires d’un dire singulièrement ouvert à l’Autre. En examinant des textes de 1999-2019, Aaron Prevots souligne le lyrisme décentré d’un poète majeur et la présence de ses pairs comme interlocuteurs.
In Esther Tellermann: Enigma, Prayer, Identity, the first book-length study of the writer’s œuvre, Aaron Prevots highlights her innovative poetic approach to inner and outer realities. He shows how Tellermann (1947-) explores the world’s innermost structures, its textures and contours, its indeterminate places that seemingly intersect, and dreams and myth as springboards for experiencing anew historical turning points and timeless rites of mourning. He considers the enigmatic quality of long suites of poetic song whose form can resemble that of prayer, as well as the stakes regarding identity when poetic expression foregrounds openness to the Other. In examining texts from 1999-2019, Aaron Prevots emphasizes this major poet’s decentered lyricism and the presence of fellow writers as interlocutors.
In Esther Tellermann: Enigma, Prayer, Identity, the first book-length study of the writer’s œuvre, Aaron Prevots highlights her innovative poetic approach to inner and outer realities. He shows how Tellermann (1947-) explores the world’s innermost structures, its textures and contours, its indeterminate places that seemingly intersect, and dreams and myth as springboards for experiencing anew historical turning points and timeless rites of mourning. He considers the enigmatic quality of long suites of poetic song whose form can resemble that of prayer, as well as the stakes regarding identity when poetic expression foregrounds openness to the Other. In examining texts from 1999-2019, Aaron Prevots emphasizes this major poet’s decentered lyricism and the presence of fellow writers as interlocutors.
Énigme, prière, identité
Author:
Dans Esther Tellermann: Énigme, prière, identité, première monographie consacrée à l’œuvre de l’écrivain, Aaron Prevots met en lumière un regard poétique novateur sur des réalités tant intérieures qu’extérieures. Il montre comment Tellermann (1947-) explore l’intime du monde, ses textures et ses contours, ses terres insituables semblant s’entrecroiser, et le rêve et le mythe faits tremplin pour une traversée renouvelée de l’Histoire et du deuil. Il appréhende le caractère énigmatique de longues suites de chants dont la forme peut s’apparenter à celle de la prière, ainsi que les enjeux identitaires d’un dire singulièrement ouvert à l’Autre. En examinant des textes de 1999-2019, Aaron Prevots souligne le lyrisme décentré d’un poète majeur et la présence de ses pairs comme interlocuteurs.
In Esther Tellermann: Enigma, Prayer, Identity, the first book-length study of the writer’s œuvre, Aaron Prevots highlights her innovative poetic approach to inner and outer realities. He shows how Tellermann (1947-) explores the world’s innermost structures, its textures and contours, its indeterminate places that seemingly intersect, and dreams and myth as springboards for experiencing anew historical turning points and timeless rites of mourning. He considers the enigmatic quality of long suites of poetic song whose form can resemble that of prayer, as well as the stakes regarding identity when poetic expression foregrounds openness to the Other. In examining texts from 1999-2019, Aaron Prevots emphasizes this major poet’s decentered lyricism and the presence of fellow writers as interlocutors.
In Esther Tellermann: Enigma, Prayer, Identity, the first book-length study of the writer’s œuvre, Aaron Prevots highlights her innovative poetic approach to inner and outer realities. He shows how Tellermann (1947-) explores the world’s innermost structures, its textures and contours, its indeterminate places that seemingly intersect, and dreams and myth as springboards for experiencing anew historical turning points and timeless rites of mourning. He considers the enigmatic quality of long suites of poetic song whose form can resemble that of prayer, as well as the stakes regarding identity when poetic expression foregrounds openness to the Other. In examining texts from 1999-2019, Aaron Prevots emphasizes this major poet’s decentered lyricism and the presence of fellow writers as interlocutors.