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Abstract

This article considers Beckett’s faces in the light of Giorgio Agamben’s account of the face as a disputed biopolitical marker. Agamben refers to the face both in terms of social and juridical identity in ancient Rome and as an icon of contemporary biopolitics, as social identity gives way to biometric recognition. Beckett’s own face figures prominently in the series of machine-generated Eigenface portraits created by artist Trevor Paglen in 2017, and whose use of the Eigenface method invokes modern facial recognition technologies. The Eigenface is examined here in relation to a gallery of ghostly progenitors: the faces of Beckett’s late plays.

Open Access
In: Samuel Beckett Today / Aujourd'hui

Abstract

The following article offers an analysis of Samuel Beckett’s short story “Dante and the Lobster” through the lens of Gianni Vattimo’s weak thought. It claims that Beckett’s short story provides a more practical perspective on Vattimo’s notion of weakness and on his call for an ethics based on pietas. As it focuses on the specific vulnerability of individual entities—specifically a lobster about to be boiled alive—“Dante and the Lobster” highlights the importance of considering weakness not merely as an abstract notion but as an actual condition of beings.

Open Access
In: Samuel Beckett Today / Aujourd'hui

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.

Open Access
In: Samuel Beckett Today / Aujourd'hui
In: Samuel Beckett Today / Aujourd'hui

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.

Open Access
In: Samuel Beckett Today / Aujourd'hui
Author:

Abstract

Spectrality remains a key motif and metaphor in Beckett’s writing; many of his wandering and destitute creations seem on their way towards another kind of life, uncomfortably close to death, and remarkably close to the spirit world. This article outlines some of the paradoxes that surround Beckett’s relation to the ghost as a dramatic device; it emphasises how uneasily Beckett’s work sits within the tradition of the ghost play, and unravels some of the preoccupations and interests shaping Beckett’s treatment of dialogues with the dead.

Open Access
In: Samuel Beckett Today / Aujourd'hui
Author:

Abstract

The woman’s wordless scream in Not I and Happy Days acts as a spectral-yet-embodied rendering of unspoken and apparently unspeakable sexual trauma. If trauma symptomology is itself a form of bodily haunting—the past intruding into the present—the wordless scream performs this phenomenon on Beckett’s stage, as a disruptive return of the repressed through the body itself. This essay explores how the performed scream returns embodied trauma to embodied expression in Not I and Happy Days, emphasising the voice as a simultaneously spectral yet profoundly corporeal force. It then examines the potential therapeutic effect of the scream in performance, drawing on a range of actor testimonies.

Open Access
In: Samuel Beckett Today / Aujourd'hui
Author:

Abstract

This article examines the place of Beckett’s work amongst recent artworks sited at the Northern Irish border/ north of Ireland border. Using Dylan Quinn’s Fulcrum, the Happy Days Enniskillen International Beckett Festival’s Walking for Waiting for Godot, and the collaborative community project Across and In-Between as key examples, I explore how Beckett’s work has become absorbed into the kinds of wider arts and political discourses—and indeed crises—that this border-site reflects. These projects share a concern for placing bodies at the border, asking us to see from the situation of the border, to trace its often-impalpable contours with the frail tools of words and bodies.

Open Access
In: Samuel Beckett Today / Aujourd'hui
Author:

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.

Open Access
In: Samuel Beckett Today / Aujourd'hui

Résumé

Entre Sam et Bram les lignes sont complexes et les couleurs varient. Amis et compagnons, sur des chemins de traverse, ils se rencontrent dans leur conception absolue de l’œuvre d’art. Beckett tente de parler des peintures et y reconnaît (là aussi) un inévitable échec. Bram lit Sam et aime s’y perdre.

Open Access
In: Samuel Beckett Today / Aujourd'hui