Brief Notices
- Brief Notices
This new translation of the titular play also includes, from the back cover, “many for the first time in English,... the writings that formed the genesis” of the play. The text begins with “About the Translators” (v–viii) and an introduction (ix–xxi). The primary text includes the following sections: “Characters” (1–6); “The Tragedy of a Character” (7–12); “Fragment from Six Characters in Search of an Author: A Novel to be Made” (13–14); “Excerpt from a Letter” (15–16); “Preface to Six Characters” (17–28); “Six Characters in Search of an Author: A Novel to be Made” (29–88). The text concludes with an appendix (89–94) and a select bibliography (95).
This volume begins an introductory essay by the editor, “Towards a Minoritarian Critisism—The Questions We Ask “ (1–16). The primary text includes essays in nine parts. Part 1, “Art and Aesthetics,” includes: C. J. Ackerley, “‘Deux Besoins’: Samuel Beckett and the Aesthetic Dilemma” (17–24); David Lloyd, “‘Siege Laid Again’: Arikha’s Gaze, Beckett’s Painted Stage” (25–43); Ulrika Maude, “Convulsive Aesthetics: Beckett, Chaplin and Charcot” (44–53); Sam Slote, “Pain Degree Zero” (54–66). Part 2, “Fictions,” includes: Paul Stewart, “Sexual Indifference in the Three Novels” (67–77); Andrew V. McFeaters, “A Neuropolitics of Subjectivity in Samuel Beckett’s Three Novels” (78–88); Tomasz Wiśniewski, “Evening, Night and Other Shades of Dark: Beckett’s Short Prose” (89–102). Part 3, “A European Context,” includes: Andrew Gibson, “French Beckett and French Literary Politics 1945–52” (103–16); John Pilling, “Beckett/Sade: Texts for Nothing” (117–30); Jean-Michel Rabaté, “Beckett’s Masson: From Abstraction to Non-Relation” (131–45); Anthony Uhlmann, “Beckett, Duthuit and Ongoing Dialogue” (146–52); Laura Salisbury, “Gloria SMH and Beckett’s Linguistic Encryptions” (153–69); Peter Fifield, “‘I Am Writing a Manifesto Because I Have [End Page 457] Nothing to Say’ (Soupault): Samuel Beckett and the Interwar Avant-Garde” (170–84); Sief Houppermans, “Beckett and Contemporary French Literature” (185–98). Part 4, “An Irish Context,” includes: Anthony Roche, “The ‘Irish’ Translation of Samuel Beckett’s En Attendant Godot” (199–208); Emilie Morin, “Odds, Ends, Beginnings: Samuel Beckett and Theatre Cultures in 1930s Dublin” (209–21); Seán Kennedy, “‘Bid Us Sigh On from Day to Day’: Beckett and the Irish Big House” (222–36); Part 5, “Film, Radio and Television,” includes: Graley Herren, “A Womb with a View: Film as Regression Fantasy” (237–50); Everett C. Frost, “‘The Sound Is Enough’: Beckett’s Radio Plays” (251–68). Part 6, “Language/Writing,” includes: Steven Connor, “‘Was That a Point?’: Beckett’s Punctuation” (269–81); Mark Nixon, “Beckett’s Unpublished Canon” (282–305); Dirk Van Hulle, “Textual Scars: Beckett, Genetic Criticism and Textual Scholarship” (306–19); Adam Piette, “Beckett’s Ill Seen Ill Said: Reading the Subject, Subject to Reading” (320–32). Part 7, “Philosophies,” includes: Matthew Feldman, “Beckett and Philosophy,” (333–44); S. E. Gontarski, “‘Ruse a by’: Watt, the Rupture of the Everyday and Transcendental Empiricism” (345–52); Erik Tonning, “Beckett, Modernism and Christianity” (353–72). Part 8, “Theatre and Performance,” includes: David Tucker, “‘Oh Lovely Art’: Beckett and Music” (373–85); Laura Peja, “Victimised Actors and Despotic Directors: Clichés of Theatre at Stake in Beckett’s Catastrophe” (386–96); John Paul Riquelme, “Staging the Modernist Monologue as Capable Negativity: Beckett’s ‘A Piece of Monologue’ Between and Beyond Eliot and Joyce” (397–408); Anna McMullan, “Designing Beckett: Jocelyn Herbert’s Contribution to Samuel Beckett’s Theatrical Aesthetics” (409–22); Annamaria Cascetta, “Dianoetic Laughter in Tragedy: Accepting Finitude—Beckett’s Endgame” (423–32); Geneviève Chevallier, “Performing the Formless” (433–44). Part 9, “Global Beckett,” includes: Fábio de Souza Andrade, “‘Facing Other Windows’: Beckett in Brazil” (445–52); Predrag Todorovic, “Beckett in Belgrade” (453–64); Mariko Hori Tanaka, “‘Struggling With a Dead Language’: Language of Others in...
