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James McNaughton

Accessing his letters and German diaries, this article argues that Beckett changes his aesthetic response to the rise of fascism during and after his trip to Nazi Germany in 1936-37. Before the trip Beckett satirises a stereotypical modernism's inability to counter the rise of totalitarianism; when confronted with Nazi totalising narratives of art and history, however, Beckett reevaluates the capacity of modernism to frustrate increasingly irrational fascist narratives. He even posits his German diaries as a documentary alternative to fascist histories. Not until he returns, however, does Beckett manage to formulate in his creative work a satisfying aesthetic response.

“Choose Your Horror”

An Introduction to Beckett’s Political Aesthetic on the International Stage

James McNaughton

,” for instance, as a physicalized satire of Edmund Burke’s counter-enlightenment concept of “entailment” (48–50). Or, to give another example, Watt ’s famous pot ironically reworks the infamous eintopf of 1930s Nazi propaganda, designed to commit the population personally to German food security and

“A Worthless Reptile”

The Turkish Language Reforms and Samuel Beckett

Gabriel Quigley

translations but that “Ringelnatz […] isn’t worth the effort” (1983, 170). Beckett proceeds to discuss translation more generally in the letter, but by referring to the diaries that Beckett kept on his trip to Nazi Germany in 1936–1937, James McNaughton shows that Beckett’s letter evidences how he “confront

Shimon Levy

spoken by Ashkenazi Jews in Europe, mixed here with a lot of French, a little Spanish and some Romanian, Russian and German; because of the location chosen—a railway station on the French-Spanish border, where the two refugees, Albert and Levy, the names of Estragon and Vladimir in an early French

“From one world to another”

Beckett’s Radio Plays

Everett C. Frost

the opening lines in German from memory, 5 and was taken aback when Faith Wilding, the project’s co-producer who accompanied me to the meetings with Beckett, continued the quotation in flawless German, having been raised in a community of German pacifist refugees from the Nazis. The two became lost

“I Switch Off”

Beckett, Bion, and Thinking in Torturous Times

Laura Salisbury

out in favour of an unnamed and unnamable demand and sets of actions that are remembered and repeated, though there is little sense of their being worked through, in the Freudian sense. In What Where , and in the German Was Wo , then, neither toques nor Gestapo uniforms suggest that kind of

María José Carrera

UNESCO project puts them in the context of the post-war cultural endeavour to re-appropriate a figure that Nazi Germany had used for its own purposes (122–123). This fits with the close reading of “Recado terrestre” done by Ferreira Frias, who describes Mistral’s Goethe as a redemptive agent for