Thesis (Ph. D.)--UCLA, 2008. / Vita. Includes bibliographical references (leaves 233-230).

111f. / Submitted by Suelen Reis (suziy.ellen@gmail.com) on 2013-04-01T17:46:09Z No. of bitstreams: 1 Uendel%20Silva.pdf: 669882 bytes, checksum: cd7d6d4225d9e7a8ad6f9eaa936bac05 (MD5) / Approved for entry into archive by Ednaide Gondim Magalhães(ednaide@ufba.br) on 2013-04-10T13:46:03Z (GMT) No. of bitstreams: 1 Uendel%20Silva.pdf: 669882 bytes, checksum: cd7d6d4225d9e7a8ad6f9eaa936bac05 (MD5) / Made available in DSpace on 2013-04-10T13:46:03Z (GMT). No. of bitstreams: 1 Uendel%20Silva.pdf: 669882 bytes, checksum: cd7d6d4225d9e7a8ad6f9eaa936bac05 (MD5) Previous issue date: 2010 / rata-se de análise crítico/descritiva da peça Fim de Partida (1954-1956) de Samuel Beckett (1906-1989), tendo como eixo de análise a temática do fracasso, bem como os modos diversos através dos quais tal temática é abordada pelo autor na referida obra. Observa-se a configuração de uma crítica beckettiana a modelos dramatúrgicos, bem como a estruturação de um questionamento em torno da dramaturgia em si e da própria possibilidade de representação. Ao longo da dissertação, são abordados primeiramente aspectos biográficos do autor, as principais influências que sofreu e o processo de criação da peça Fim de Partida; realiza-se ainda um estudo comparativo entre a referida peça e os romances que constituem a trilogia beckettiana do pós-guerra – Molloy, Malone Morre e O Inominável –, para, em seguida, examinar-se então elementos dramatúrgicos mais específicos como espaço, tempo, ação e personagens em Fim de Partida, a fim de melhor abordar a temática do fracasso na citada peça. / Salvador

Traditional criticism of Samuel Beckett's The Unnamable has sought to establish a universal "truth" or unified consciousness behind the dispersive nature of the text, and consequently readings of the novel have been both reductive and inadequate. Because Beckett's text distorts and displaces traditional narrative tools, and the Western metaphysical tradition from which they arise, criticism concerned with the upheaval of tradition is more appropriate for reading The Unnamable. The thesis takes three different textual positions in the text--the question of beginnings and endings in the text, the problematic of the subject (the proliferation of the "I" versus a concept of the unified consciousness), and the notion of propriety in the concept of the proper name--and engages in textual play with the text. By using certain modified methods of what we might provisionally call "deconstruction," the readings open the metaphors in the text, and examine the nature of the distortion of tradition that Beckett achieves? the readings are productive rather than reductive. The thesis is more concerned with enacting the upheaval of The Unnamable, and is less concerned with describing the textual ruptures or arriving at any fixed meanings or conclusions, for that would be to remain strictly within the tradition that Beckett and the decontructors attempt to dislodge. / Arts, Faculty of / English, Department of / Graduate

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Mémoire numérisé par la Direction des bibliothèques de l'Université de Montréal.

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<p>This dissertation examines the ways in which Beckett, in his post-trilogy fiction, challenges the "meaning-ful" structures of the traditional novel {character, plot, action) and offers the reader, in their place, new narrative strategies. These strategies {mnemonic, canonic, catechetical, recursive) are an experiment with linguistic and narrative structures and can be seen to "dis-close" what Beckett terms as the chaos and flux behind form.</p> <p>Chapter II establishes those sorts of "meaning-ful" structures which give form to the chaos of experience, structures which, according to Frank Kermode, make sense of man's life, both in myth and in fiction, by enabling him to place a "telos" on nothingness. In this way, man constructs a world filled with teleological sequence, and consequently, "objectifies" and "spatializes" his life by insisting that there is concordance and consonance in the world.</p> <p>Chapters III and IV deal primarily with the "syntax of weakness" and the "rhetoric of abstractiom" that are characteristic of Beckett's narrative st_rategies. On the levels of language and narrative, Beckett's prose can be seen to subvert the traditional form of fiction (sequential progression of plot; motivated action; character development and presentation; ordered fictional universes with spacetime co-ordinates; and linearity) and to deprive language of its accustomed, grammatical form.</p> <p>Chapter V shows the sort of fictional world we are left with when such human consanances (normal linguistic structures and ordered fictional universes) are removed. The reader is denied that traditional fictional world, a world which, as Beckett shows us, is illusory, and which both defies category and works to dismantle--de-construct-its form.</p> <p>Beckett's fiction becomes all the more provocative when we see that his denial of closure in fiction--the formal need to have beginnings and ends--opens up the hermeneutic potential of the text. Readers, accustomed to more traditional narrative structures, are involved in a dialectic when they attempt to impose order and form om a body of language that, replete with ambiguities and abstractions, defies that impulse to establish consonance and continues to sabotage the reader's pre-conditioned impulse to construct meaning.</p> / Thesis / Doctor of Philosophy (PhD)