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  Volume 9, Number 3, December 1966

Table of Contents


Acting for Beckett

p. 237 | DOI: 10.1353/mdr.1966.0042

Beckett and Expressionism

pp. 238-241 | DOI: 10.1353/mdr.1966.0049

Action and Play in Beckett's Theater

pp. 242-250 | DOI: 10.1353/mdr.1966.0055

Samuel Beckett's Dramatic Language

pp. 251-259 | DOI: 10.1353/mdr.1966.0061

Beckett and the Spirit of the Commedia dell'Arte

pp. 260-267 | DOI: 10.1353/mdr.1966.0067


There's Lots of Time in Godot

pp. 268-276 | DOI: 10.1353/mdr.1966.0033

Beckett's "Godot" and the Myth of Alienation

pp. 277-282 | DOI: 10.1353/mdr.1966.0039

Beckett and Ionesco: The Tragic Awareness of Pascal and the Ironic Awareness of Flaubert

pp. 283-291 | DOI: 10.1353/mdr.1966.0046

The Mythic Pattern in Waiting for Godot

pp. 292-299 | DOI: 10.1353/mdr.1966.0053


pp. 300-308 | DOI: 10.1353/mdr.1966.0059

A Note on the Structure of Lucky's Speech

p. 309 | DOI: 10.1353/mdr.1966.0065


The Comic Apocalypse of King Hamm

pp. 310-318 | DOI: 10.1353/mdr.1966.0071

The Beginning of Endgame

pp. 319-323 | DOI: 10.1353/mdr.1966.0037

The Symbolic Structure of Samuel Beckett's All That Fall

pp. 324-332 | DOI: 10.1353/mdr.1966.0044

Krapp's Last Tape and the Proustian Vision

pp. 333-338 | DOI: 10.1353/mdr.1966.0051

Beckett's Play Between Poetry and Performance

pp. 339-346

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