No description available.

Thesis (Ph.D.)--Boston University. Please note: This work is permanently embargoed in OpenBU. No public access is forecasted for this item. To request private access, please click on the locked Download file link, and fill out the appropriate web form. / This edition fills a gap in Samuel Beckett scholarship by gathering the accurate texts of all original poems by Beckett in English and French and all of Beckett's translations of his poems (into English, French and, in one case, German), including a number of poems not previously published or collected. Below each poem, the edition provides a section of textual commentary, stating the date of the poem's origin as it can best be ascertained; a record of extant manuscripts, typescripts, and other archival sources containing the poem; a record of its publications in periodicals, collections and elsewhere; an explanation of any corrections to the text; and a record of the poem's textual variants, including both wording and punctuation. Also supplied are English translations of all the French poems that Beckett did not translate himself. The introduction to the edition provides a broad overview of the archival materials pertaining to Beckett's poetry and a history of its composition and publication; addresses a range of textual and dating problems concerning poems and their archival and published versions; and states the principles underlying the choice of their most authoritative texts and their arrangement in the volume. / 2031-01-01

Zugl.: Berlin, Freie Univ., Diss., 2006

Texte remanié de: Dissertation--Frankfurt--Johann-Wolfgang-Goethe-Universität, 2002. / Résumé. Bibliogr. p. 273-297.

Thesis (M.A.)--Ohio State University, 1964. / Includes bibliographical references (leaves 85-90). Available online via OhioLINK's ETD Center.

Thesis (Ph. D.)--Florida State University, 2003. / Advisor: Dr. S.E. Gontarski, Florida State University, College of Arts and Sciences, Dept. of English. Title and description from dissertation home page (viewed Oct. 2, 2003). Includes bibliographical references.

No description available.

This thesis discusses Samuel Beckett's non-verbal language, as observed in his novel, The Unnamable, his film, Film, and his pieces for television, Quadrat I + II. Beckett's sensory focus is nascent in The Unnamable, as Beckett explores the disintegration of verbal language in order to prepare ground for imagery. Imagery, here, is considered to arise from an art that is able to communicate directly with the sensory capacities of its audience. This is in contrast to artworks that primarily utilise verbal language expression, and thus communicate sensory information indirectly. Film succeeds The Unnamable by eleven years and is, effectively, a silent work. Rather than existing as an image in its own right, however, Film is primarily involved in a discussion of the nature of imagery, as the subject matter of Film is a debate with Berkeley’s statement “Esse est percipi”, that is, “to be is to be perceived”. In this film, the reader is encouraged to think about sensory engagement, rather than actively being engaged in a sensory way. Quadrat I + II were first broadcast in 1982 and are both speechless, though sound remains. These two works represent the culmination of Beckett's visual explorations as they engage with the senses directly. This thesis posits that the unique openness of Beckett’s texts demands a particular creativity of its readers, in that the texts may be considered incomplete without reader/viewer contribution to meaning. Beckett’s sensory focus means that readers’ creative understanding of texts is often imagistic in its own right. In addition, the openness of Beckett’s texts invites readers to share the experience of his protagonists. As protagonists are also presented as being involved in acts of creation, and are concerned with the nature of perception, this means that the experience of the reader is, effectively, one of making images. Thus, Beckett works to indirectly, as well as directly, to give the reader a sensory experience. This thesis primarily utilises the theories of Gilles Deleuze, Jacques Derrida, and the theory of Phenomenology to defend this position.

No description available.

Zugl.: Berlin, Freie Univ., Habil.-Schr., 2005