Beckettiana

Editorial

Lucas Margarit, María Inés Castagnino, Marcelo Lara — Wed, 27 Dec 2023 01:28:27 +0000

Beckett y el fin de la literatura – genealogía de un mito

Bruno Clément; Cristian Ton — Wed, 27 Dec 2023 01:32:09 +0000

“Fisiología cerebral” y la irrelevancia de Godot: una Wunderkammer

S. E. Gontarski; Sabrina Silvestrin — Wed, 27 Dec 2023 03:14:39 +0000

El impasse de los senderos: la recepción brasileña de Samuel Beckett

Fábio de Souza Andrade — Wed, 27 Dec 2023 03:15:17 +0000

El cubo y el azul

André Goldfeder — Wed, 27 Dec 2023 03:16:19 +0000

The text explores two modes of presence of poetry in Assez (1966), Imagination morte imaginez (1965) and Sans (1969), included in the compilation Têtes-mortes (1967/1972). On one hand, we will point out some echoes of Poetry, understood as literary and human heritage, said and “unsaid” by the Beckettian text. On the other, we will unfold this commentary in view of its relations with certain echoes of poetry, understood as a discursive mode. Hence an attention to three aspects of poetry in Têtes-mortes: in the form of references, direct and indirect, to authors and problems associated with the poetic tradition; through modes of elaboration and overdetermination of rhythmic, sound and visual dimensions, which suggest the exploration of a region of tension between prose and poetry; and with regard to the problematic of the symbol and the relationship between language and life. On these three levels, poetry will be approached as an instance of staging the relations between time and oblivion, elaborated in the key of a performative paradox that unfolds in different directions. The aim is to associate the poetic in Têtes-mortes to a dynamic in which the enunciation of the loss of objects is overdetermined by the overtones of an enunciation that makes them intermittently present. Ultimately, through the intersection between the posthumous temporality of “remains” and “hollows”, poetry would burst into echoes that overdetermine its own denial. So this aspect will foreground the strategic role of beginnings and endings in the works discussed.

El estatuto de la poesía en la ensayística de Samuel Beckett y T.S. Eliot

Cecilia Lasa — Wed, 27 Dec 2023 03:17:26 +0000

This paper sets out to explore Samuel Beckett and T. S. Eliot’s essays as instances of reflections upon their own poetry. Both poeticise the crisis of 19^th-century language and literary forms in the context of world wars and think of the essay as the genre that allows them to build a conceptual framework related to art: what is the nature, the function and the status of poetic language and how poetry is conceived of in their poems, among other questions. However, the writers differ in how they approach essay writing: Beckett humorously and playfully explores the hybridity of the essay by drawing upon drama and poetry resources; Eliot, makes an instrumental use of his essay as the are subservient to his poetic production and he therefore does not experiment with his own essay writing. Thus, while for the latter poetry is presented is his essays as content to be theoreticized upon, for the former poetry becomes an object of experimentation.

Cascando / Mancando: de la autotraducción como método, a la teoría de la despalabra

Vanesa Cotroneo — Wed, 27 Dec 2023 03:18:15 +0000

This paper analyses Samuel Beckett’s self-translation of his poem Cascando, written in English, to Mancando, written in German, done by the author in 1936. The article proposes that said self-translation is the first among other ones in the author’s oeuvre. Furthermore, it highlights that this particular self-translation’s practice functions as a method towards the theory of the unword, proposed in Beckett’s German Letter of 1937, dedicated to the bookseller Axel Kaun. The paper points out that both texts in German language, Mancando, of 1936, and the German Letter of 1937, somehow, surround the German Diaries of 1936 and 1937, on what a bilingual exploration is anticipated.

As a central hypothesis I argue that the interlingual self-translation of Cascando / Mancando, and the intersemiotic mechanisms applied in the poem Cascando and the homonymous radio play, exhibit the theoretical principles of the German Letter about the poetics of the unword, the failure, and the lessness. In addition, the article compares Cascando and Mancando’s translations into Spanish, in order to affirm that these are two different poems given that, together with the idea of the unword, the English poem focusses on love as a theme, while the German poem, even with more verses and words, emphasises its absence. Finally, the article observes the importance of the cracked voice in the English radial version of Cascando, of 1964, after the initial radio play in French, of 1961.

El impacto de la poética beckettiana en la formación docente en la (pos)pandemia.

Analía Carolina Cefali , Nicolás D’Angelo — Wed, 27 Dec 2023 03:19:05 +0000

As part of the research activities at Instituto Superior de Formación Docente Nº 41, a teacher’s training college based in the town of Adrogué (Buenos Aires, Argentina), we designed a cross-curricular project for the third year of the course of studies. This was carried out in the subjects Literature and Youth, Second Foreign Language (French) and Teaching Rhetorics, which meant approaching Samuel Beckett’s oeuvre in an interdisciplinary manner and in the three languages in which the workshops are taught: English, French, and Spanish, respectively. Our point of departure was the bidiscursivity that characterized Beckett’s work to reflect upon his use of languages. The project included different aspects of his work, our goal being that the students were exposed to different genres as well as were able to explore various approaches to literature. Both the context of production and that of reception were taken into account. The Beckettian poetics was meaningful in terms of uncertainty and hopelessness reflected in the language and the silences, all of which was resignified as of the pandemic. We started this proposal in class by analysing brief poems, especially those that allude to language as “literature of the unword” (Cerrato, 1999; Margarit, 2013), comparing the French and English versions. Afterwards, we reached certain conclusions on “They come” / “Elles viennent” and “What is the Word” / “Comment dire”. Reflecting upon the poems’ iteration and syntax allowed us to later approach the dramatic works until we succeeded in staging Waiting for Godot as well as achieving other productions in different media.

De Samuel Beckett a David Markson: la representación de “lo que hay en la mente”

Pabla Diab — Wed, 27 Dec 2023 03:20:09 +0000

The novel Wittgenstein’s Mistress (1988) by the American writer David Markson (1927-2010) introduces a work with representation and intertextuality that, later, in the named The Notecard Quartet ‒Reader’s Block (1996),This Is Not a Novel (2001), Vanishing Point (2004) and The Last Novel (2007) are taken to saturation: the set of quotes and allusions constitute both novels. Some recurrent techniques of Markson, like repetition and fragmentariness, have also been observed and analyzed in the Irish writer Samuel Beckett. In the same way, links between literature, painting and music. And to this could be added the work with intertextuality and reflection on translation and, obviously, language. Even though in an interview to Markson by Joseph Tabbi (1990) the writer rejects having so direct links with the Irish, the truth is that the particular case of Wittgenstein’s Mistress, with its narrator sitting in front of her typewriter hearing the sound of the keyboard and the scratch of the Scotch tape half peeled off from a broken glass allow to suggest correspondences -to stablish intertextual relationships- both with the novel Murphy (1938) and with the theater plays Endgame (1957) and Happy days (1961) by Samuel Beckett. In this article, from a comparative study of the mentioned works, we will analyze the recurrent technical devices of both writers and we will observe the way in which both Markson and Beckett give to their works a poetic character.

Dirigiendo Footfalls: los elementos poéticos en las puestas en escena de Samuel Beckett

Felipe de Souza Santos — Wed, 27 Dec 2023 03:21:13 +0000

This paper aims to present a reflection on the poetic elements present in Samuel Beckett's stagings of Footfalls. To do so, we will have as object the original dramaturgical text of this dramatic miniature according to Faber and Faber's edition of Beckett’s complete dramatic works and the theatrical notebooks containing manuscripts related to the creative process of the Irish playwright-director for his stagings of Footfalls at the Royal Court Theatre and at the Schiller-Theater Werkstatt, as well as the dramaturgical text revised according to the modifications proposed by Beckett in his manuscripts edited by Stanley Gontarski. As a guiding concept for this reflection, we will use what Gontarski (1998) calls "performance as text" in relation to the stagings directed by Samuel Beckett of some of his plays. The performative aspects elaborated by Beckett in both stagings will be examined in a comparative key in relation to the original dramaturgy of the play, as well as to the revised text, in order to point out the poetic elements present in Footfalls developed or enhanced by Beckett in each staging.

Infiltraciones de lo poético en la trilogía Whitelaw: Not I, Footfalls y Rockaby

Fabio Ferreira — Wed, 27 Dec 2023 03:22:30 +0000

In the Whitelaw Trilogy, composed of the works Not I, Footfalls and Rockaby, various lyrical manifestations that infiltrate the textualities can be identified. These works, dedicated to female voices and honoring actress Billie Whitelaw, show the genesis of the texts through research into drafts and initial versions available at Beckett Achieves in Reading. The self-translation solutions used by Beckett, who originally wrote the texts in English and then translated them into French, are analyzed. The differences in the textuality of the three minidramas reveal possible references to modern traditions and currents, from the Horatian epode to the poetic prose of Octavio Paz, passing through the pages of Mallarmé, the surrealist free verse and the sound prose of Louis Ferdinand Celine. The transversality of genres and hybridizations are accentuated in the final texts, definitively sealing the presence of poetry throughout Beckett's work, although this facet is less known in his role as a poet.

La falta y el sesgo: los poemas de Samuel Beckett según Thomas Kinsella

Agustín Montenegro — Wed, 27 Dec 2023 03:23:23 +0000

In the spring of 1993, Irish poet Thomas Kinsella (1928-2021) writes a commentary on Samuel Beckett’s poetry, published in the Journal of Beckett Studies. This commentary is shortly titled “Poems of Samuel Beckett” and it appears to serve the purpose of finding a common understanding of, and a closeness to, Irish literary tradition. Nevertheless, Kinsella’s findings turn out to be disappointing: from his point of view, there is an entire dimension “missing” in Beckett’s poetry.

In this article we will seek to analyze Kinsella’s commentary and relocate it within its context of appearance, reading it as a possible dialogue between both authors. Our hypothesis sustains that Kinsella’s critique of Beckett’s poetics can be read as a strategy to re-position Beckett’s works towards the margins of national literature. According to Kinsella, there’s a “missing dimension” in Beckett’s poems, a consequence of his solipsistic uprotedness and incommunication.

Nevertheless, as we approach those aspects of Beckett’s poetry which Kinsella deliberately decides not to take into account, we will be able to find that his analysis is bound by a biased point of view. Even more: once identified, that biased reading proves that there are more similarities between Kinsella’s and Beckett’s poetry than Kinsella himself is willing to acknowledge.

“The dog came in the kitchen”, la pausa poética en “Esperando a Godot”

Tereza Cristina Damásio Cerqueira — Wed, 27 Dec 2023 03:24:04 +0000

When we read Professor Ruby Cohn's commentary on Waiting for Godot, we found her reference to the ballad of the dog. We saw that we were not wrong when our attention turned to this line that begins the second act of the aforementioned play by Samuel Beckett. In the following excerpt, translated into Brazilian Portuguese by Prof. Dr. Fábio Andrade (2001), the University of California professor said: "[...] I don't remember any of my interval impressions, but I still see the leaves on the tree in the second act, like pieces of crepe paper. And I immediately grasp the importance of the ballad of the dog. "This is what the play is about," I must have said to myself, as I re-encountered the now familiar jargon of the two tramps [...]." Questions arose as an attempt to understand exactly this part of the play: Vladimir's speech at the beginning of the second act as the form (poetry) within the form (drama). How it performs a function of a pause. But, not just any pause. It is a pause in the form of poetry, whose popular tone and rhythm produce a pause in the rhythm of this drama. However, the ballad of the dog condenses the depth of argument embedded in the expression of "nothing to do" that runs through the entire play and hits us like "a punch in the stomach." Thus, observing the silences and pauses that are in the architecture of the mentioned Beckettian drama, we consider that the short poem "The dog came in the kitchen" is a poetic pause, not only because of its form, but also because it occupies a position of pause within the rhythm of EG , from which the movement that takes place is the search for primordial unity, it is the search for the meaning of being and existing in a world torn by war and everything horrible that remained from it. In this context, we take into consideration the construction of pauses in EG, as found in the 1954 edition by the author (Grove Press), the references to pauses in the montages made by Beckett, as found in the edition of The Theatrical Notebooks of Samuel Beckett, edited by James Knowlson and Douglad Mc Millan (Grove Press New York, 2019), Fábio de Souza Andrade (2001), Ruby Cohn (1997), among others.

El movimiento y el espacio en la poesía de Samuel Beckett

Gabriela Ghizzi Vescovi — Wed, 27 Dec 2023 03:24:56 +0000

This text intends to analyse the way movement and space are created in Samuel Beckett’s poetry and how they change in his works, considering the references and allusions to specific places and routes in the poems of the first part of his production, in comparison to the growing absence of this motion and of the allusions in the later poems. More than that, we intend to observe how the movement is incorporated by the language, the construction, and the form of these texts. Hence, the analysis of the poems may contribute to the perception of the contrasts between inner and outer worlds in Beckett’s oeuvre. The discussion is guided by Theodor Adorno’s perspective on the distinct phases of Modernism. Among the aspects that can be read in Samuel Beckett’s post-war production, the theme of the immobility and of the condemnation to the confinement in the space of the skull, in the inner world, convicted to the uncertainty and imprecision of the words. Therefore, a dystopic face is revealed in the authors final poetry – the destabilisation of subject and society as categories. This creates an experience centred in the mediation of the senses, the drives, and the language.

El Samuel Beckett francés

Llewellyn Brown — Wed, 27 Dec 2023 03:25:39 +0000

Acerca de la Conferencia Internacional Samuel Beckett in Central Europe. Staging and Reception beyond Censorship, Praga, abril de 2023

Vanesa Cotroneo — Wed, 27 Dec 2023 03:26:18 +0000

Cuadernos de notas sobre la puesta en escena de La última cinta de Krapp, Teatro Belisario, Club de lectura, febrero de 2023

Guillermo Ghio, Pablo Turchi — Wed, 27 Dec 2023 03:26:50 +0000

Brasil, Beckett y las coordenadas de una investigación siempre activa

Lucas Margarit — Wed, 27 Dec 2023 03:27:23 +0000

La 7th INTERNATIONAL ANNUAL CONFERENCE / VII CONGRESO ANUAL INTERNACIONAL “Beckett & Poetry - Beckett y la poesía”, Buenos Aires, octubre-noviembre de 2022

José Francisco Fernández, Lucas Margarit — Wed, 27 Dec 2023 03:27:52 +0000

Beckett and Stein, de Georgina Nugent

Manuel Díaz — Wed, 27 Dec 2023 03:28:25 +0000

Sergio Rojas. De algún modo aún. La escritura de Samuel Beckett. Santiago: Pólvora Editorial, 2022

Carolina Brncić — Wed, 27 Dec 2023 03:28:54 +0000

Shakespeare and Beckett. Restless Echoes, Cambridge: Cambridge University Press, 2023, de Claudia Olk

Lucas Margarit — Wed, 27 Dec 2023 03:29:41 +0000

Poesia completa – Samuel Beckett: edição bilingue Relicário Edições, 2022

Thiago S. Pimentel — Wed, 27 Dec 2023 03:30:37 +0000

Reseña de Carnivals of Ruin: Beckett, Ireland and the Festival Form, de Trish McTighe

María Inés Castagnino — Wed, 27 Dec 2023 03:31:09 +0000

Endgame, de Samuel Beckett. 12 de marzo de 2023. Irish Repertory Theater, New York City.

Pedro Larrea — Wed, 27 Dec 2023 03:31:31 +0000

Colaboradores

Fri, 19 Apr 2024 15:51:07 +0000