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Dans l’œuvre de Samuel Beckett, les personnages féminins qui au début sont quasi absents, prennent de plus en plus d’importance et présentent alors différentes images féminines. L’univers féminin qui apparaît ne cesse de prendre de l’ampleur. Pour aborder le fait féminin, il faut prendre en compte les différents langages esthétiques spécifiques des personnages-femmes. En effet, ces langages - faits de diverses tournures imagées -, mettent en exergue l’identité féminine de ces personnages. Ces langages recouvrent de nombreux domaines : corporel, gestuel, scénique et pictural. Cette recherche permet de mieux comprendre le traitement du féminin dans l’œuvre dramatique de Samuel Beckett et de souligner les aspects majeurs des personnages féminins. / In Samuel Beckett’s works the female characters are seen to be absent at the beginning, but throughout the story their presence becomes more significant, and represents the different images of the female characters.The female characters in his work expand and grow constantly.To understand the female characters, we need to analyze the languages that have been used by each character. The languages provide a different image which highlights the identity of each character. They also cover many areas such as body, gestural, scenic, and pictorial. This research paper helps us to better understand how Samuel Beckett deals with feminine in his works, and highlights the major features of the female characters.

Thèse numérisée par la Direction des bibliothèques de l'Université de Montréal.

[pt] Este estudo toma por objeto as cartas escritas por Samuel Beckett entre 1929 e 1940. Examina particularmente as suas significantes reflexões e inflexões sobre a linguagem, explorando certos temas que ali se destacam: escrita, língua, gramática, estilo, clichê, entre outros. Detendo-nos na década que testemunhou seu desabrochar como escritor e artista, refletimos sobre as formas como essas questões de linguagem se entretecem com motivos beckettianos clássicos, tais como a imobilidade, a impossibilidade, a doença e o impasse. Parte-se de uma perspectiva da linguagem como práxis, em viés pós-estruturalista, mas busca-se tomar como norte do estudo os termos do próprio Beckett, sobretudo aqueles que ganham expressão em sua mais famosa e rica carta do período – a Carta Alemã de 1937. Entre as imagens extraídas dessa carta que guiam o estudo do restante da correspondência, estão a do véu da língua materna, a da sacra (des)natureza da palavra, a da floresta de símbolos, com seus pássaros nunca silentes, a do ataque às palavras em nome da beleza, a do pecado involuntário contra uma língua estrangeira. Dessas e com essas metáforas, vemos surgir, inseparáveis, a ideia e a práxis de uma escrita rompida, deslocada, pilar da Liga Logoclasta da qual Beckett é fundador e fervoroso entusiasta. / [en] The present study is based on the letters written by Samuel Beckett between 1929 and 1940. It examines in particular his significant thoughts and consequent implications on language, exploring certain subjects that arise therefrom: writing, Grammar, style, cliché, among others. Having chosen to limit our study to the decade that witnessed his blossoming as a writer and artist, we consider the forms through which the previously mentioned language matters are connected to classical beckettian motives, such as, immobility, impossibility, sickness and impasse. Following a perspective that assumes language as praxis, from a post-structuralist point of view, we elect Beckett’s own terms, especially those that gained expression in his richest and most famous letter of the period – the 1937 German Letter –, as our central pillar. Among the images extracted from this letter guiding the study of the remainder of his correspondence are: the native s language veil, the sacred unnature of the word, the forest of symbols and its never silent birds of interpretation, the word-storming in the name of beauty and the involuntary violation against a foreign language. From and with these metaphors we see rising inseparably the idea and praxis of a ruptured, a displaced writing which is also the foundation for the Logoclast s League, of which entity Beckett is the founder member and most fervent enthusiast.

No description available.

[pt] Esta dissertação propõe um diálogo da obra do crítico e filósofo Walter Benjamin com a obra do dramaturgo e romancista Samuel Beckett. Os dois escritores do século XX, embora tenham sido contemporâneos durante alguns anos de suas vidas e se afligido por questões em comum, não chegaram a comentar nada um sobre o outro. Isso talvez se explique pelo fato de que, na busca por fugir do regime nazista, sem visto para realizar a travessia da França para a Espanha, Benjamin comete suicídio em 1940, quando Beckett ainda estava no início de sua produção literária. Do contrário, possivelmente o crítico alemão teria pensado sobre a obra do autor irlandês, tantas são as afinidades entre eles. Para torná-las visíveis, esta dissertação se divide em três capítulos. O primeiro investiga, com base na teoria de Benjamin, o declínio das narrativas tradicionais que eram passadas oralmente entre as gerações e a ascensão de outras formas de comunicação possibilitadas pela escrita, como a informação e, sobretudo, o romance no âmbito da literatura. O segundo capítulo pretende explicitar a diferença entre o silêncio involuntário, porque traumático, dos combatentes da Primeira Guerra Mundial, diagnosticado por Benjamin, e o deliberado gesto performativo de silenciar com o qual Beckett busca tornar a linguagem porosa. O terceiro capítulo propõe aproximações entre o corpo fragmentário da escrita ensaística, adotada por Benjamin, e a maneira como Beckett eleva a incompletude da ruína aos corpos de seus personagens, que enfrentam a decadência não apenas de seus membros, mas também de suas memórias e, mais radicalmente, de sua própria identidade. / [en] This dissertation proposes a dialogue between the works from the critic and philosopher Walter Benjamin and the dramatist and romancist Samuel Beckett. The two Twentieth-century writers, although have been contemporaries during some years and afflicted by common issues, didn t have the chance to comment anything one about the other. Maybe this could be explained giving the fact that, in search for flee from the Nazi regime, without a visa to cross the border from France to Spain, Benjamin commited suicide in 1940, while Beckett was still starting his literary production. Otherwise, possibly the German critic would have thought about the work of the Irish author, given so many affinities between them. To make these apparent, this thesis is divided in three chapters: The first investigates, according to Benjamin s theory, the decline of the traditional narratives passed orally between generations and the ascension of other ways of communication made possible by writing, as the press and, especially, the novel within the literature. The second chapter seeks to explain the difference between the involuntary silence, as a trauma, of the First World War combatants, diagnosed by Benjamin, and the deliberate and performative gesture of silencing with which Beckett pursue make the language porous. The third chapter proposes approximations between the fragmentary body of the essayistic writing, adopted by Benjamin, and the way Beckett elevates the incompleteness of ruin to the bodies of his characters, who face de decadence not only of their limbs, but also of their memories and, more radically, of their own identity.

Diss. phil. Basel, 2006 (kein Austausch). / Im Buchh.: Saarbrücken : Pfau-Verlag. Literaturverz.

Submitted by Fabiano Vassallo (fabianovassallo2127@gmail.com) on 2017-05-15T17:39:08Z No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Dissertação Ana Paula experiência interior na obra narrativa de samuel beckett versao final 2.pdf: 1038395 bytes, checksum: 245a30783cab0781ca93b1d33e41e260 (MD5) / Approved for entry into archive by Josimara Dias Brumatti (bcgdigital@ndc.uff.br) on 2017-05-18T13:07:46Z (GMT) No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Dissertação Ana Paula experiência interior na obra narrativa de samuel beckett versao final 2.pdf: 1038395 bytes, checksum: 245a30783cab0781ca93b1d33e41e260 (MD5) / Made available in DSpace on 2017-05-18T13:07:46Z (GMT). No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Dissertação Ana Paula experiência interior na obra narrativa de samuel beckett versao final 2.pdf: 1038395 bytes, checksum: 245a30783cab0781ca93b1d33e41e260 (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / O objetivo desta dissertação é analisar os aspectos da experiência beckettiana que se pode caracterizar como “interior” devido às suas implicações para a subjetividade, partindo da noção de experiência interior apresentada por Georges Bataille em seu livro homônimo de 1943. A discussão centra-se em torno da figura do sujeito beckettiano e a da forma como ele se inscreve na linguagem na novela O Calmante e nos Textos para nada. Este sujeito se apresenta como narrador-personagem de sua própria história e, ao encenar seu processo de escrita, demonstra a insuficiência do código face à diversidade do “eu” e do “mundo”. Através do desenvolvimento de seu caminho narrativo, que questiona e desconfia constantemente da linguagem, ele realiza sua experiência singular. Neste percurso abre-se a possibilidade de tensionamento dos limites da razão, da moral, da lógica, do “eu” e da linguagem / The aim of this dissertation is to analyze the Beckettian experience that can be characterized as “interior” because of its consequences for the subjectivity, starting from the notion of inner experience developed by Georges Bataille in his book of 1943. The discussion is centered around the figure of the subject that presents himself as the narrator-character of his own story and, by dramatizing his process of writing, demonstrates the insufficiency of the code regarding the diversity of the “I” and the “world”. Through the development of his narrative, that constantly questions and doubts the language, he realizes his singular experience. This process opens the possibility to tension the limits of reason, moral, logic, of the “I” and the language

In repositioning Beckett’s Not I in relation to Rushdie and Coetzee, I show that The Satanic Verses and Foe suggest approaches to language similar to Beckett’s play, insofar as each text interrogates the ability of the marginalized speaking subject to maintain control of his or her voice, finding that the speaking subject’s voice is constantly infused with the voices of others. Additionally, I demonstrate Beckett’s relevance to the postcolonial environment and delineate convergences and divergences in how Rushdie and Coetzee formulate the voices, bodies, and identities of marginalized and postcolonial speaking subjects.

This thesis takes up the question of intertextuality between the Bible and Samuel Beckett’s oeuvre. It starts with the contention that this relationship has acquired something of the status of a commonplace within Beckett studies; not that substantial scholarly works have not widened out considerably the way that this is understood, but in Ruby Cohn’s words: ‘today every Beckett student knows his literary allegiances—the Bible and Dante, above all’. The Bible’s status for Beckett comes to be treated as a matter of common sense. In response to this critical situation, one aspect of the thesis is to disclose and analyse previously overlooked examples of the Bible’s presence in Beckett’s work, engaging with hitherto occluded parts of the oeuvre (unpublished manuscript texts and the French works, for example). But at the same time, it looks to critically question what is at stake in the claim that the Bible is a matter of common knowledge for Beckett. The methodology put to work in the thesis always begins in close readings of Beckett’s texts, and also of the discourses surrounding his oeuvre. In doing so, it resists an idea that close reading entails a retreat into an ahistorical formalism; rather, it argues for an historicism that does not simply rest on broad notions of orthodoxy and shared values. Rather than taking for granted a common sense idea of what the Bible is (even in the limited sense of what it is for Beckett), the thesis argues for its instability as a ‘text’ across more than one language. Nor, I argue, does Beckett’s oeuvre fix down a particular, single notion of the Bible as the relevant one for its own purposes (the King James Bible, for instance); on the contrary, his work is deeply engaged with the Bible in all its complex, multilingual textuality. The thesis contends that the particular relationship between Beckett and the Bible poses distinctive problems for the kinds of epistemological value invested in a certain understanding of intertextuality; indeed, I look throughout to interrogate the authority invested in familiarity—both that of the author and that of the critic. Following this thread, the thesis also undertakes a sustained engagement with the way in which archival materials are used and valued by a critical practice interested in questions of intertextuality. Through this, I look to do two things at once: both to respond to the extraordinary value of archival documentation for opening up new possibilities within Beckett studies, and at the same time to analyse closely the extents and limitations of what can be claimed on the basis of such analyses. In working through these kinds of question, and responding to the particular exigencies produced by the Bible in relation to the Beckett oeuvre, I also engage with critical issues having to do with theories of affect, the notion of style (asking what it means to adduce some piece of text as ‘biblical’ or ‘Beckettian’), and the analysis of intertextuality in performance. Through all of these readings, the thesis is interested in what it means to read intertextuality in relation to a Beckett ‘oeuvre’, when the ambit of that oeuvre, its internal interrelationships and its points of connection with the world, constantly shift and reformulate themselves. Rather than treating the Bible as a thread that can be safely followed from one end of the oeuvre to the other, guaranteeing a continuity that remains free from the complexities, irruptions and discontinuities performed in Beckett’s texts, the thesis argues that biblical intertextuality is actively involved in those complex Beckettian movements.