Browse results

You are looking at 1 - 10 of 3,549 items for :

  • Postmodernism x
  • Upcoming Publications x
  • Upcoming Publications x
  • Just Published x
  • Search level: All x
Clear All
Experimental translation has been surging in popularity recently—with avant-garde translation at the combative forefront. But how to do it? How to read it?
Translator, Touretter plays on the Italian dictum traduttore, traditore—“translator, traitor”—to mobilize the affective intensity of Tourettic tics as a practical guide to making and reading avant-garde translations. It smashes the theoretical literature on the sublime from Longinus to Kant into Motherless Brooklyn, both the 1999 novel by Jonathan Lethem and its 2019 screen adaptation by Edward Norton, in order to generate out of their collision a series of models—visual, aural/oral, and kinesthetic—for avant-garde literary translation.

Abstract

Beckett criticism has long privileged vision and audition when discussing memory. The present study proposes to examine, rather, tactility in Beckett’s work. Touching and feeling are not only prominent features of what is remembered (or imagined, or remembered as never having occurred); they also trigger remembrance and body parts themselves hold memories. I argue that touching and holding are indispensable features of memories and of representations of remembering in Beckett’s postwar prose texts. The body remains a central preoccupation of his work up until the end of his life, and the body’s persistence in his work can help us revise our understanding of cognition generally, and memory specifically, in Beckett’s fictions.

In: Samuel Beckett Today / Aujourd'hui
Author:

Résumé

Cet article vise à rendre compte des représentations de Samuel Beckett, en tant qu’homme et écrivain, et des usages fictionnels de sa vie, dans trois romans publiés en France, entre 2013 et 2020 : Gaby et son maître, d’Arthur Bernard, L’Apiculture selon Samuel Beckett, de Martin Page, et Le Tiers Temps, de Maylis Besserie. Ces fictions biographiques prennent plus ou moins ouvertement Samuel Beckett pour objet tout en recourant à l’imagination dans des proportions et selon des modalités variables. Notre étude, diachronique, se veut sensible à la singularité du projet porté par chacun de ces romans.

In: Samuel Beckett Today / Aujourd'hui

Abstract

This essay examines tinnitus in Samuel Beckett’s Embers as a hidden audiological disability that informs the core soundscape of the radio drama. Henry’s tinnitus as an invisible condition replaces his voice and transforms into a dramatic and personal anchor, one that parodies conventional radiophonic narratives by explicating how the tics of his ears propel his sonic narrative. Henry’s radiographic quest for silence is not betrayed by the phantom sound or the tic in his ears, or his troupe of phantom characters, but rather by his failure to appreciate, reveal, and prove his disability to his hearing audience. To this end, the article assays and expands key concepts in social understanding of audiological disabilities such as ‘dysconscious audism’, and ‘impaired consciousness’, to address a phonocentric culture that either suppresses or normalizes such otological disorders by disregarding them as invisible personal matters rather than a debilitating handicap.

In: Samuel Beckett Today / Aujourd'hui
Free 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
Author:

Résumé

Alors que la première représentation publique d’En attendant Godot s’inscrit dans un contexte d’après-guerre, Gerry de Gus Van Sant voyait le jour au tournant du XX e et XXI e siècles. Si les deux œuvres partagent les mêmes thématiques, c’est leur esthétique qui les rapproche en reposant sur un même principe : l’épuisement. Tout comme Gilles Deleuze qui déterminait dans son essai “L’Épuisé” (1992) trois sortes d’épuisements chez Beckett, Fabien Boully en identifie également trois chez le cinéaste. Cet article propose de faire dialoguer les deux œuvres à l’étude autour de l’épuisement du langage, de l’espace et de la représentation.

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

Abstract

Forty years after Susan Sontag aptly called the great Swiss Modern Robert Walser “a good-humored, sweet Beckett” the writers’ affinities remain unappreciated, even as they both achieved belated recognition in the same year, 1953, Beckett of course with En attendant Godot and Walser with Carl Selig’s edition of Dichtungen in Prosa. In terms readily applicable to the author of the Trilogy, Nouvelles and Textes pour rien, Walser described his work as “a multifariously cut-up or ripped-apart book of the self.” This self-dismantling narrative self is typically a socially inassimilable good-for-nothing, a Taugenichts who reappears in Beckett as the deadbeat or propre-à-rien. The feverishly self-editing, impudently contradictory and provisional idiom of such later fiction as The Robber (Der Räuber, 1925) strikingly presages L’Innommable/The Unnamable.

In: Samuel Beckett Today / Aujourd'hui
Author:

Résumé

L’objet principal de cet article est de décrire la réception critique de la trilogie romanesque (Molloy, Malone meurt, L’Innommable) de Samuel Beckett dans la presse française des années 1951 à 1953. L’étude menée a pour vocation de proposer un inventaire de la critique littéraire de l’époque, et de mettre en avant un type de lectorat précis, à savoir le lecteur expert contemporain de Samuel Beckett, identifiable à travers l’écriture journalistique. Dans le dessein de proposer un compte-rendu aussi objectif que possible, notre démarche consistera tout d’abord à évaluer la valence lexicale des coupures de presse, déclinée selon trois modalités (méliorative, péjorative ou neutre) puis à l’articuler à plusieurs variables explicitées au cours de l’article.

In: Samuel Beckett Today / Aujourd'hui