and body, rather than the separation between the two. This paper argues that the complexity of the mind-body nexus represented in Beckett’s writing requires a theoretical frame beyond the Cartesian model. In particular, it traces the influence of medieval and early modern medicine, in its pre
become more frequently acknowledged and manipulated within twentieth and twenty-first century literature, its connectivity is both built upon yet differs from earlier modern and postmodern works. Laurence Sterne’s The Life and Opinions of Tristram Shandy, Gentleman is an excellent starting point for
Everett C. Frost
This essay continues – and in part relies upon – my discussion of Beckett's dialogue with the early modern occasionalist Arnold Geulincx begun in “Beckett and Geulincx's Metaphysics” (appearing separately in this issue). It focuses on Beckett's reading of Geulincx's as reflected in his notes included in the collection of manuscripts. Analysing the meaning of Geulincx's maxim, “Ubi nihil vales ibi nihil velis” and its ethical implications, I discuss why Beckett considered it a key to his work. Since Emmanuel Levinas deliberately challenges the Cartesian foundationalist assumptions on which Geulincx's ethics rest, I examine Beckett in the light of this opposition.
This article examines the relationship between the character-narrators of Beckett's , , , , and funerary sculpture of the late Middle Ages and the early modern period. In the German Diaries, Beckett expresses his admiration for this particular form of religious sculpture, in which the dead are represented as “senile,” “humble,” and “collapsed,” and perceives its kinship with his own world. The first part of this article explores the affinities between Beckett's supine characternarrators and prone funerary statues. The second part analyses the process of secularization that Beckett's writing inflicts on this religious artistic motif.
actors finished at the Globe, they danced joyfully around the stage, performing distinctly non-Victorian choreography. While this was an anachronistic nod to the jig performed after plays in early modern England and now adopted by actors at the Globe, the cast’s lively dancing nonetheless appeared
Le cas de la virgule “anglaise”, du sous-commatisme et des connecteurs logiques
(Lyon : PUL , 2013), 219–229. Pilling, John, A Samuel Beckett Chronology (New York : Palgrave MacMillan, 2006). Williams, James, “Beckett Between the Words : Punctuation and the Body in the English Prose,” dans SBT / A 24, “Early Modern Beckett/Beckett et le début de l’ ère moderne
Beckett’s Letters to Barbara Bray and the Epistolary Drama of Happy Days
). Saunders, Max, Self-Expression: Life-Writing, Autobiografiction, and the Forms of Modern Literature (Oxford: Oxford UP , 2010). Schneider, Gary, The Culture of Epistolarity: Vernacular Letters and Letter Writing in Early Modern England, 1500–1700 (Newark, DE : U of Delaware P, 2005). Van Hulle, Dirk
Its Place in Korean Theatre History
appropriations of foreign works into their own plays are all thought to be limitations of the early modern Korean theatre movement. Of course, between 1921 and the late 1950s there were many other theatre practitioners who pursued non-realist theatre, and some of them, such as U-Jin Kim, also introduced and
Hutcheon, A Poetics of Postmodernism , p. xii . 86 Bryon Lee Grigsby, Pestilence in Medieval and Early Modern Literature (New York: Routledge, 2004), pp. 39–102. 87 As part of Stalin’s postwar policy to stop people from dwelling upon the war or at least upon its horrors, the amputees were sent off to