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Estudo da crise do narrador onisciente nos romances Malone meurt (1951), de Samuel Beckett, e A hora da estrela (1977), de Clarice Lispector. Atravessados pela memória textual de seus autores implícitos, os narradores-escritores Malone e Rodrigo S. M. fracassam ao criar histórias aos moldes do realismo formal. Malgrado seus esforços para estabelecer uma distância segura em relação à matéria narrada, acabam por replicar nela não apenas a si próprios, mas sobretudo motivos, episódios e até mesmo falas de personagens de obras anteriores. Paradoxalmente, a busca por firmarem-se como senhores absolutos do processo ficcional apenas sublinha o quanto são objetos desse processo. / A study about the crisis of the omniscient third-person narrator in the novels Malone meurt (1951), from Samuel Beckett, and A hora da estrela (1977), from Clarice Lispector. Laced by textual memory of their implied authors, the narrators-writers Malone and Rodrigo S. M. fail to tell stories according to the formal realism molds. Despite their efforts to create a safe distance between them and the narratives, they end up not only mirroring themselves in it but mainly mirroring several subjects, episodes, and even phrases from previous work. Paradoxically, their search to be the absolute subject of the creation process only emphasizes how they are objects of this process.

O foco dessa dissertação é o estudo do narrador de uma importante fase da obra em prosa de Samuel Beckett. O período escolhido inicia-se com as novelas Premier Amour (1970), Lexpulsé, Le calmant e La fin (1955), primeiros textos em francês do autor, e encerra-se com a obra Textes pour rien (1955), o que abrange a produção em prosa de Beckett entre 1945 e 1950. A importância deste período está no surgimento e desdobramento do narrador em primeira pessoa tipicamente beckettiano, caracterizado por seu discurso instável, movido a impasses e questionamentos sobre a própria história narrada. O trabalho acompanha a trajetória deste narrador, discutindo também seu importante papel na ruptura com os moldes do realismo formal na narrativa do século XX. / This dissertation studies the narrator in Samuel Beckett s prose, particularly focusing on a critical phase in the authors literary production covering the years of 1945 to 1950. The chosen period begins with the novellas Premier Amour (1970), Lexpulsé, Le calmant and La fin (1955) Becketts first narratives written in French and closes with the work Textes pour rien (1955). The importance of this phase lies in the creation and development of Becketts characteristic first person narrator, whose unstable discourse is fraught with impasses, questioning the very story being narrated. The dissertation follows this narrators journey to discuss the key role it played in breaking with formal realism patterns of the twentieth centurys narrative.

Call number: LD2668 .T4 1964 B16 / Master of Science

This thesis examines representations of sensation within modernist novels alongside contemporary philosophical debates over the concept of qualia. Concentrating on the work of Virginia Woolf, James Joyce, Percy Wyndham Lewis, and Samuel Beckett, it confronts a longstanding critical tradition that has tended to obscure or misunderstand the implications of arguments made by philosophers of mind in relation to literary descriptions of sensation. That the mind is a thing, and that modernist narrative fiction is particularly successful at representing that thing, has become a critical commonplace. In this thesis I argue that interpretations of modernism’s supposed ‘inward turn’ are founded on a mistaken notion of ‘cognitive realism’, a critical position endorsing the idea that it is both possible and desirable to describe the mind (conceived of as a stable and unchanging object) without loss through the development and judicial deployment of new literary techniques. The myth of the inward turn in its various incarnations – the psychologised modernism described by many literary critics in the 50s and 60s, and the neuromodernism subscribed to by many contemporary critics – is, I argue, largely the result of a set of inter-linked misconceptions which attend the cognitive realist paradigm. The notion of qualia is central to my thesis. Defined as the ineffable, irreducible, and subjective properties of conscious experience, qualia emerge concomitantly with modernism, developing out of G. E. Moore’s definition of ‘sense-data’ and Bertrand Russell’s category of ‘sensibilia’. Though still disputed within contemporary philosophy, qualia create huge problems for materialist theories of consciousness, threatening to undermine critical approaches to literature which contend that formal literary strategies can ever hope to transcend the limitations of symbolic language in conveying sensation. The ‘problem’ of qualia referred to in this thesis, therefore, is the problem the concept poses for symbolic descriptions (either mathematic, psychological, or literary) of mental states, especially when those descriptions make special claims (or are interpreted as making special claims) of mimetic veracity. The problem emerged within philosophy at precisely the point at which the representative claims of literature came under direct attack. This thesis argues, therefore, that it is a profoundly literary problem, and that the absence of ‘sensation’ from the written is simply a manifestation of the inherent limitations of language. A critical tendency to re-insert sensory experience into the process of reading – through phenomenological interpretations of modernism, or in contemporary ‘neuroaesthetic’ approaches to literature – thus point to a general anxiety that manifests itself most forcefully in relation to modernist fiction’s ability to ‘write’ sensation. This thesis employs the concept of qualia as a way of contextualising narratives of the mind – philosophical, literary and scientific – from the period. In doing so it seeks to historicise modernism’s ‘crisis of the senses’; locating this argument in a broader theoretical space and questioning the relevance (and novelty) of contemporary approaches to reading the senses in modernism.

Radio drama developed as a genre as new media proliferated and challenged the cultural primacy of print. The methods of production and distribution and the literary genres that developed during the age of print provided models for radio playwrights to follow but also cultural forces for them to challenge. This dissertation considers these dual influences of print on the radio drama of four playwrights: Orson Welles, Dylan Thomas, Samuel Beckett, and Tom Stoppard. Each playwright “remediates” the printed page in radio plays by adapting or evoking the form of various literary texts, including novels (Welles), travel writing (Thomas), diaries and transcribed speech (Beckett), and historical writing (Stoppard). By representing written texts in an electronic, primarily oral medium, these authors examined the status of literary expression in an age of ascendant electronic media. Welles’s The War of the Worlds and Huckleberry Finn, Thomas’s Under Milk Wood and other broadcasts, Beckett’s Rough for Radio II and Embers, and Stoppard’s In the Native State highlight defining features of the print tradition and reveal how practices of writing and “reading” changed in the radio environment. These plays suggest that radio prompted writers to reconsider the literary author’s creative role, the text’s stability, and the audience’s interaction with the work. “Radio Texts” ultimately argues, therefore, that radio drama’s significance transcends its place in media history and dramatic criticism; the works I examine also point to radio plays’ important role in authors’ re-evaluation of literary expression in a changing twentieth-century media ecology. / text

<p>This study constitutes an attempt to bring the notion of stupidity into relation with ethics and creativity, through a reading of Samuel Beckett's Endgame. Employing Emmanuel Lévinas' theories on ethics - the responsible responsiveness in regard to the Other and the concept of the Face - the objective is to demonstrate how stupidity, conceived as lack of control and knowledge, functions as a precondition for the ethical relation between humans, as well as that of the individual to her creativity.</p>

This paper considers two purposes for actor training—textual interpretation and devising original works—through the teaching of a class based on contemporary theatrical clown and physical theatre exercises which are then applied to Samuel Beckett’s Waiting for Godot. Devised work can be used to interpret a script, and a script can be used as a jumping-off point to devise new works. Beginning with an explanation of the teaching methods for the class, the paper then gives a background of clowns who performed in Beckett’s plays, and analyzes various productions' use of games to enliven text. Exercises from the class are used as examples of exploring the uncovering of clown personas and the application of games to both Beckett scene-work and invented theatre pieces. The students’ final performances are examined to demonstrate the effectiveness of the classwork, confirming that textual interpretation and devising are complementary instead of opposing practices.

L'œuvre à l'étude dans cet essai est la nouvelle intitulée Premier Amour de Samuel Beckett. À travers l'analyse de deux mises en scène de l’acte d'inscription présentes dans cette courte fiction, ce mémoire traite de la question que nous posent les inscriptions lorsque nous les lisons et lorsque nous les inscrivons. Il se divise donc en deux chapitres : le premier déploie l'étude de l'inscription linguistique en tant qu'inscription visible et lisible; le second se concentre sur l'inscription en tant qu'elle est marquée par le concept de legs. En caractérisant et en comparant ces deux inscriptions, d’une part funéraire (l'épitaphe que compose le narrateur pour lui-même suite à la mort de son père) et d’autre part amoureuse (le nom que trace le narrateur au moment où il « tombe amoureux »), ce mémoire expose comment Premier Amour peut être envisagé comme un premier pas dans une compréhension générale de la constitution écrite d'un « legs littéraire ». Surtout, il explicite comment s’orchestre l'imbrication conceptuelle de l’inscription et du legs qu'elle véhicule et présuppose, puisque cette imbrication est inhérente à la compréhension de notre monde et de la littérature. En conclusion, cette étude mène à considérer le rapport conflictuel entre la contemporanéité rêvant d’un monde sans inscriptions et l’inévitabilité de l’inscription. / This dissertation deals with the representations of the act of inscribing in Samuel Beckett’s short story Premier Amour with a particular focus on two specific inscriptions – namely firstly, the funeral (the epitaph the narrator composes for himself after his father’s death) and secondly, the beloved (the name he inscribes once he “falls in love”). By looking at these, the dissertation investigates the notions of both reading and writing. The dissertation is divided into two chapters: the first, which looks at the inscription as something visible and legible; and the second, which focuses on inscribing as an act which has a legacy. By using and comparing these two approaches, this dissertation demonstrates how Premier Amour can be seen as a first step towards a general comprehension of a written “literary legacy”. Specifically, the dissertation shows the linguistic construction of the conceptual interlacing of the inscriptions and the legacy it conveys and presupposes, as this interlacing is inherent to our understanding of the literary and the human world. By means of a conclusion, this dissertation considers the conflicting relationship between, on the one hand, the contemporaneousness which dreams of a world without inscription, and on the other hand, the inevitability of inscription.