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The critical figure : negativity in selected works by Proust, Joyce and Beckett / William David WatsonWatson, William David January 2000 (has links)
This dissertation represents an interpretation of the different forms of negativity in the modernist work that can be understood in terms of that which is unsaid, unsayable, or any other means of refusing to give an affirmative proposition regarding the world the work describes. It explores this negativity as both a representation of that which cannot be represented, and as an operational negativity, or negation, that takes part in the unmaking of the work's figures. The function of this negativity, as interpreted in Marcel Proust's Remembrance of Things Past (1913-1927), James Joyce's Ulysses (1922) and Krapp's Last Tape (1959) by Samuel Beckett, is to rewrite the representations of the work. Negativity is then also understood as a transformation and conditioning of elements already present in the literary work, that lead to ambivalent and problematic representations in the work. In this sense, negativity can be understood as a form of rewriting of the work's representations. The interpretations of the works of Proust, Joyce and Beckett are guided by this understanding, as given in the introduction, of negativity. In the analysis of Proust's novel, in "The Unmaking of Proust: Negation and Errors in Remembrance of Things Past", this form of negativity is situated in relation to Proust's handling of epistemological questions and mimetic references to reality in his work. The analysis of Joyce's work in "The Wandering of Language in James Joyce's Ulysses" discusses his treatment of language and the origins of language as being characterized by a negation that increases the difficulty of the language, and attempts to negate its origins. Finally, in the analysis of Beckett's "Krapp's Last Tape", in "Beckett, Proust, and the End of Literature", it is shown that negativity conditions both the reception of the influence of Proust by Beckett, and the play's attempt to suggest the end of writing. In conclusion the dissertation returns to the idea of negativity as a form of rewriting, and briefly indicates that the function of negativity in these novels can be understood as a form of invention. / Thesis (M.A.)--Potchefstroom University for Christian Higher Education, 2000.
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The critical figure : negativity in selected works by Proust, Joyce and Beckett / William David WatsonWatson, William David January 2000 (has links)
This dissertation represents an interpretation of the different forms of negativity in the modernist work that can be understood in terms of that which is unsaid, unsayable, or any other means of refusing to give an affirmative proposition regarding the world the work describes. It explores this negativity as both a representation of that which cannot be represented, and as an operational negativity, or negation, that takes part in the unmaking of the work's figures. The function of this negativity, as interpreted in Marcel Proust's Remembrance of Things Past (1913-1927), James Joyce's Ulysses (1922) and Krapp's Last Tape (1959) by Samuel Beckett, is to rewrite the representations of the work. Negativity is then also understood as a transformation and conditioning of elements already present in the literary work, that lead to ambivalent and problematic representations in the work. In this sense, negativity can be understood as a form of rewriting of the work's representations. The interpretations of the works of Proust, Joyce and Beckett are guided by this understanding, as given in the introduction, of negativity. In the analysis of Proust's novel, in "The Unmaking of Proust: Negation and Errors in Remembrance of Things Past", this form of negativity is situated in relation to Proust's handling of epistemological questions and mimetic references to reality in his work. The analysis of Joyce's work in "The Wandering of Language in James Joyce's Ulysses" discusses his treatment of language and the origins of language as being characterized by a negation that increases the difficulty of the language, and attempts to negate its origins. Finally, in the analysis of Beckett's "Krapp's Last Tape", in "Beckett, Proust, and the End of Literature", it is shown that negativity conditions both the reception of the influence of Proust by Beckett, and the play's attempt to suggest the end of writing. In conclusion the dissertation returns to the idea of negativity as a form of rewriting, and briefly indicates that the function of negativity in these novels can be understood as a form of invention. / Thesis (M.A.)--Potchefstroom University for Christian Higher Education, 2000.
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Godot in Earnest: Beckettian Readings of WildeTucker, Amanda 08 1900 (has links)
Critics and audiences alike have neglected the idea of Wilde as a precursor to Beckett. But I contend that a closer look at each writer's aesthetic and philosophic tendencies-for instance, their interest in the fluid nature of self, their understanding of identity as a performance, and their belief in language as both a way in and a way out of stagnancy -will connect them in surprising and highly significant ways. This thesis will focus on the ways in which Wilde prefigures Beckett as a dramatist. Indeed, many of the themes that Beckett, free from the constraints of a censor and from the societal restrictions of Victorian England, unabashedly details in his drama are to be found residing obscurely in Wilde. Understanding Beckett's major dramatic themes and motifs therefore yields new strategies for reading Wilde.
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Confrontation: Endeavors in FutilityBarlow, Gabriel Lashley 01 January 2007 (has links)
This paper is intended to compliment and describe the body of work that has been produced within the time I have been enrolled as a graduate student at Virginia Commonwealth University's Photography and Film department. The paper will include information on both my MFA candidacy presentation as well as a description of the evolution of my artistic endeavors. The main focus of this document is to discuss my formal examination of performance based video works pertaining to the absurd as described by Camus, and later expressed by Samuel Beckett, also the role of the masculine body's physicality within ritualized actions.
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Amongst shadows and labyrinths : a visual poetics for Samuel Beckett's Ohio ImpromptuBoessio, Ana Lúcia Montano January 2010 (has links)
O objeto de estudo desta tese é a composição pictórica de Ohio Impromptu, de Samuel Beckett. Sendo assim, apresenta uma poética visual como estratégia interdisciplinar de análise da obra, incluindo a sua versão em filme. A partir de sua contextualização histórico-social na pós-modernidade, tendo por base autores como Zygmunt Bauman e David Harvey, juntamente com a definição, delimitação e contextualização das referências artísticas presentes na peça e no filme, é analisado o modo como as escolhas pictóricas feitas pelo autor interferem no conceito de espaço e suas relações com o tempo, assim como o espaço do livro enquanto elemento de conexão entre espaço e tempo em relação ao espectador-leitor, Listener, Reader e autor. O espaço é analisado por dois ângulos: o pictórico, ou seja, de que modo o espaço é trabalhado e tratado na obra de arte contemporânea, especialmente no que se refere à ruptura do espaço do quadro e o derretimento das fronteiras da obra enquanto categoria; o literário, a partir do que Gaston Bachelard propõe como poética do espaço – uma topoanálise da obra enquanto espaço de síntese do imemorial com a memória, um estudo psicológico sistemático dos locais da nossa vida privada. Nesse teatro do passado, que é a nossa memória, às vezes acreditamos nos conhecer no tempo; no entanto, o que realmente conhecemos é apenas uma série de fixações nos espaços de estabilidade de seres que não querem seguir adiante no tempo, que no seu próprio passado, quando vão à procura do tempo perdido, querem suspender a passagem do mesmo. A poética do espaço lida com o espaço da nossa solidão e, ali, espaço é tudo, já que o tempo não anima a memória. As metáforas apresentadas por Gaston Bachelard podem ser facilmente relacionadas com o universo de Ohio Impromptu, não somente porque Listener e Reader estão colocados em uma sala, ao redor de uma mesa, mas principalmente porque o texto está imerso no espaço do devaneio que é, de acordo com o autor, a casa das memórias. Ohio Impromptu é uma casa com sótãos e porões, cantos e corredores cheios de memórias não reveladas, palavras não ditas, sentimentos e faces inesquecíveis – uma síntese perfeita do imemorial com a memória. Através de uma poética visual, somada a uma topoanálise, chegamos à presença velada do autor e sua própria história permeando o espaço da obra, e a um conceito de tempo como antítese do tempo pósmoderno; um tempo que persiste pela repetição, que resiste ao apagamento; o tempo do mito. Através destes procedimentos de análise, chegamos a uma noção de tempo em Beckett enquanto kairos. / The object of study of this dissertation is the pictorial composition of Ohio Impromptu, by Samuel Beckett. Therefore, it presents a visual poetics as an interdisciplinary strategy of analysis of the work, including its film version. From its socialhistorical contextualization within postmodernity, based on authors such as Zygmunt Bauman and David Harvey, altogether with the definition, delimitation and contextualization of the artistic references present in the play and in the film, it is analyzed the way the pictorial choices made by the author interfere in the concept of space and its relations with time, as much as the space of the book as an element of connection between space and time in regard to the reader-spectator, Listener, Reader, and author. The space is analyzed from two perspectives: the pictorial one, that is, the way the space is constructed and treated in contemporary artwork, especially in regard to the rupture of the space of the painting and the melting of the frontiers of the work as category; the literary one, from what Gaston Bachelard proposes as a poetics of the space – a topoanalysis of the work as a space of synthesis of the immemorial with memory, a systematic psychological study of the locals of our private life. In this theater of the past, which is our memory, sometimes we believe to know ourselves in time; instead, what we really know is just a series of fixations in the spaces of stability of human beings who do not want to move on in time, who in their own past, when they go in search of the lost time, want to suspend the passage of time. Space retains the compressed time. The poetics of space deals with the space of our loneliness. Here, space is everything, for time does not animate memory. The metaphors presented by Gaston Bachelard can be easily related to the universe of Ohio Impromptu, not only because Listener and Reader are set in a room, around a table, but especially because the text is immersed in the space of reverie which is, according to the author, the house of memories. Ohio Impromptu is a house of attics and basements, corners and corridors full of unrevealed memories, unspoken words, unforgettable feelings and faces – a perfect synthesis of the immemorial with memory. Through a visual poetics, added to a topoanalysis, we reach the veiled presence of the author and his own story permeating the space of the work, and a concept of time as an antithesis of the postmodern time; a time that persists through repetition, a time that resists erasure; the time of myth. Through these procedures of analysis, we reach a concept of time in Beckett as kairos.
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”Kvinnan föder grensle över en grav” : En studie av det groteska i Samuel Becketts I väntan på Godot / ”They give birth astride of a grave” : A study of the grotesque in Samuel Becketts Waiting for GodotJohansson, Emma January 2014 (has links)
This essay examines the grotesque in Samuel Becketts wellknown play Waiting for Godot. The play is primarily seen as an icon of absurdism, and it is such not appropriate to examine the play as if it belongs to the litterary genre of grotesque. The primary purpose of absurdism is to reveal the pointless- and emptiness of existence. In order to illustrate these points absurdism will often make use of the common characteristics of the grotesque. With this in mind I present, within this essay, an eximination of whether Samuel Becket makes use of these characteristics to assist his portayal of emptiness in Waiting for Godot. A prior understanding of absurdism is required and i have as such primarly used Martin Esslins famous studies. The studies of the grotesque are mainly represented by two theorists. Michail Bachtin's theory is based around the medieval carnival culture, whose archetype was the duality of the body expressed through the pregnant death. Bachtin seeks to highlight the grotesques close connection with laughter as a relief and covers it's use during the middle ages and the renneissance. Wolfgang Kayser studies the term as it is used during the romanticism and modernism. Kayser describes the grotesque as "cold" and alienating. He describes the word as an ”estranged world”. The analysis relies mostly on Bachtin's theories and examines the play from the viewpoint of the picture of the grotesque body, sense of time, the logic of the upside down world and the connection to the carnivals culture of laughter but also examines if Kayser's theories of the ”estranged world” are compatible. Finally, I reach the conclusion that even though Bachtins theory treats the grotesque in a time long before Beckett's, a reading of Waiting for Godot from the perspective of the carnival culture is interesting. The laughter and the open, grotesque body, plays as expected a large role in the handling of the emptiness, the cyclic sense of time is found in the play and never ceases to repeat, the upside down world's logic and it's abolition of hierarchies is significant and the world in the play seems alien to itself.
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Amongst shadows and labyrinths : a visual poetics for Samuel Beckett's Ohio ImpromptuBoessio, Ana Lúcia Montano January 2010 (has links)
O objeto de estudo desta tese é a composição pictórica de Ohio Impromptu, de Samuel Beckett. Sendo assim, apresenta uma poética visual como estratégia interdisciplinar de análise da obra, incluindo a sua versão em filme. A partir de sua contextualização histórico-social na pós-modernidade, tendo por base autores como Zygmunt Bauman e David Harvey, juntamente com a definição, delimitação e contextualização das referências artísticas presentes na peça e no filme, é analisado o modo como as escolhas pictóricas feitas pelo autor interferem no conceito de espaço e suas relações com o tempo, assim como o espaço do livro enquanto elemento de conexão entre espaço e tempo em relação ao espectador-leitor, Listener, Reader e autor. O espaço é analisado por dois ângulos: o pictórico, ou seja, de que modo o espaço é trabalhado e tratado na obra de arte contemporânea, especialmente no que se refere à ruptura do espaço do quadro e o derretimento das fronteiras da obra enquanto categoria; o literário, a partir do que Gaston Bachelard propõe como poética do espaço – uma topoanálise da obra enquanto espaço de síntese do imemorial com a memória, um estudo psicológico sistemático dos locais da nossa vida privada. Nesse teatro do passado, que é a nossa memória, às vezes acreditamos nos conhecer no tempo; no entanto, o que realmente conhecemos é apenas uma série de fixações nos espaços de estabilidade de seres que não querem seguir adiante no tempo, que no seu próprio passado, quando vão à procura do tempo perdido, querem suspender a passagem do mesmo. A poética do espaço lida com o espaço da nossa solidão e, ali, espaço é tudo, já que o tempo não anima a memória. As metáforas apresentadas por Gaston Bachelard podem ser facilmente relacionadas com o universo de Ohio Impromptu, não somente porque Listener e Reader estão colocados em uma sala, ao redor de uma mesa, mas principalmente porque o texto está imerso no espaço do devaneio que é, de acordo com o autor, a casa das memórias. Ohio Impromptu é uma casa com sótãos e porões, cantos e corredores cheios de memórias não reveladas, palavras não ditas, sentimentos e faces inesquecíveis – uma síntese perfeita do imemorial com a memória. Através de uma poética visual, somada a uma topoanálise, chegamos à presença velada do autor e sua própria história permeando o espaço da obra, e a um conceito de tempo como antítese do tempo pósmoderno; um tempo que persiste pela repetição, que resiste ao apagamento; o tempo do mito. Através destes procedimentos de análise, chegamos a uma noção de tempo em Beckett enquanto kairos. / The object of study of this dissertation is the pictorial composition of Ohio Impromptu, by Samuel Beckett. Therefore, it presents a visual poetics as an interdisciplinary strategy of analysis of the work, including its film version. From its socialhistorical contextualization within postmodernity, based on authors such as Zygmunt Bauman and David Harvey, altogether with the definition, delimitation and contextualization of the artistic references present in the play and in the film, it is analyzed the way the pictorial choices made by the author interfere in the concept of space and its relations with time, as much as the space of the book as an element of connection between space and time in regard to the reader-spectator, Listener, Reader, and author. The space is analyzed from two perspectives: the pictorial one, that is, the way the space is constructed and treated in contemporary artwork, especially in regard to the rupture of the space of the painting and the melting of the frontiers of the work as category; the literary one, from what Gaston Bachelard proposes as a poetics of the space – a topoanalysis of the work as a space of synthesis of the immemorial with memory, a systematic psychological study of the locals of our private life. In this theater of the past, which is our memory, sometimes we believe to know ourselves in time; instead, what we really know is just a series of fixations in the spaces of stability of human beings who do not want to move on in time, who in their own past, when they go in search of the lost time, want to suspend the passage of time. Space retains the compressed time. The poetics of space deals with the space of our loneliness. Here, space is everything, for time does not animate memory. The metaphors presented by Gaston Bachelard can be easily related to the universe of Ohio Impromptu, not only because Listener and Reader are set in a room, around a table, but especially because the text is immersed in the space of reverie which is, according to the author, the house of memories. Ohio Impromptu is a house of attics and basements, corners and corridors full of unrevealed memories, unspoken words, unforgettable feelings and faces – a perfect synthesis of the immemorial with memory. Through a visual poetics, added to a topoanalysis, we reach the veiled presence of the author and his own story permeating the space of the work, and a concept of time as an antithesis of the postmodern time; a time that persists through repetition, a time that resists erasure; the time of myth. Through these procedures of analysis, we reach a concept of time in Beckett as kairos.
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Amongst shadows and labyrinths : a visual poetics for Samuel Beckett's Ohio ImpromptuBoessio, Ana Lúcia Montano January 2010 (has links)
O objeto de estudo desta tese é a composição pictórica de Ohio Impromptu, de Samuel Beckett. Sendo assim, apresenta uma poética visual como estratégia interdisciplinar de análise da obra, incluindo a sua versão em filme. A partir de sua contextualização histórico-social na pós-modernidade, tendo por base autores como Zygmunt Bauman e David Harvey, juntamente com a definição, delimitação e contextualização das referências artísticas presentes na peça e no filme, é analisado o modo como as escolhas pictóricas feitas pelo autor interferem no conceito de espaço e suas relações com o tempo, assim como o espaço do livro enquanto elemento de conexão entre espaço e tempo em relação ao espectador-leitor, Listener, Reader e autor. O espaço é analisado por dois ângulos: o pictórico, ou seja, de que modo o espaço é trabalhado e tratado na obra de arte contemporânea, especialmente no que se refere à ruptura do espaço do quadro e o derretimento das fronteiras da obra enquanto categoria; o literário, a partir do que Gaston Bachelard propõe como poética do espaço – uma topoanálise da obra enquanto espaço de síntese do imemorial com a memória, um estudo psicológico sistemático dos locais da nossa vida privada. Nesse teatro do passado, que é a nossa memória, às vezes acreditamos nos conhecer no tempo; no entanto, o que realmente conhecemos é apenas uma série de fixações nos espaços de estabilidade de seres que não querem seguir adiante no tempo, que no seu próprio passado, quando vão à procura do tempo perdido, querem suspender a passagem do mesmo. A poética do espaço lida com o espaço da nossa solidão e, ali, espaço é tudo, já que o tempo não anima a memória. As metáforas apresentadas por Gaston Bachelard podem ser facilmente relacionadas com o universo de Ohio Impromptu, não somente porque Listener e Reader estão colocados em uma sala, ao redor de uma mesa, mas principalmente porque o texto está imerso no espaço do devaneio que é, de acordo com o autor, a casa das memórias. Ohio Impromptu é uma casa com sótãos e porões, cantos e corredores cheios de memórias não reveladas, palavras não ditas, sentimentos e faces inesquecíveis – uma síntese perfeita do imemorial com a memória. Através de uma poética visual, somada a uma topoanálise, chegamos à presença velada do autor e sua própria história permeando o espaço da obra, e a um conceito de tempo como antítese do tempo pósmoderno; um tempo que persiste pela repetição, que resiste ao apagamento; o tempo do mito. Através destes procedimentos de análise, chegamos a uma noção de tempo em Beckett enquanto kairos. / The object of study of this dissertation is the pictorial composition of Ohio Impromptu, by Samuel Beckett. Therefore, it presents a visual poetics as an interdisciplinary strategy of analysis of the work, including its film version. From its socialhistorical contextualization within postmodernity, based on authors such as Zygmunt Bauman and David Harvey, altogether with the definition, delimitation and contextualization of the artistic references present in the play and in the film, it is analyzed the way the pictorial choices made by the author interfere in the concept of space and its relations with time, as much as the space of the book as an element of connection between space and time in regard to the reader-spectator, Listener, Reader, and author. The space is analyzed from two perspectives: the pictorial one, that is, the way the space is constructed and treated in contemporary artwork, especially in regard to the rupture of the space of the painting and the melting of the frontiers of the work as category; the literary one, from what Gaston Bachelard proposes as a poetics of the space – a topoanalysis of the work as a space of synthesis of the immemorial with memory, a systematic psychological study of the locals of our private life. In this theater of the past, which is our memory, sometimes we believe to know ourselves in time; instead, what we really know is just a series of fixations in the spaces of stability of human beings who do not want to move on in time, who in their own past, when they go in search of the lost time, want to suspend the passage of time. Space retains the compressed time. The poetics of space deals with the space of our loneliness. Here, space is everything, for time does not animate memory. The metaphors presented by Gaston Bachelard can be easily related to the universe of Ohio Impromptu, not only because Listener and Reader are set in a room, around a table, but especially because the text is immersed in the space of reverie which is, according to the author, the house of memories. Ohio Impromptu is a house of attics and basements, corners and corridors full of unrevealed memories, unspoken words, unforgettable feelings and faces – a perfect synthesis of the immemorial with memory. Through a visual poetics, added to a topoanalysis, we reach the veiled presence of the author and his own story permeating the space of the work, and a concept of time as an antithesis of the postmodern time; a time that persists through repetition, a time that resists erasure; the time of myth. Through these procedures of analysis, we reach a concept of time in Beckett as kairos.
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Tracing the Material: Spaces and Objects in British and Irish Modernist NovelsWise, Mary Allison 24 June 2016 (has links)
Tracing the Material considers how James Joyce’s Ulysses, Virginia Woolf’s The Years, and Samuel Beckett’s Murphy represent material spaces and objects as a way of engaging with the fraught histories of England and Ireland. I argue that these three writers use spaces and objects to think through and critique nineteenth and early twentieth-century conflicts and transitions, particularly in the areas of empire, nationalism, gender, and family. Writing in the 1920s and 1930s, in the decline of British ascendency, the rise of the Irish Free State, and between the World Wars, these writers seek to interpret their history through the material world as a way of articulating their political, cultural, and social dissatisfactions, and to imagine the future. Drawing in part from Walter Benjamin’s materialist historiography and Jacques Derrida’s texts on spectrality and mourning, I investigate how the material world becomes the means through which nations and individuals express their guilt and desires, mourn losses, cut their losses, articulate the present, and anticipate the future. A study of the material world in these novels thus yields insights into how literary texts respond to history, both overtly and implicitly, foregrounding the importance of physical spaces and things in the larger narratives of national and personal history. My dissertation offers a new understanding of the way twentieth-century literature navigates its history through materiality, destabilizes subject-object distinctions, and exposes the often-unexpected power of the non-human world.
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Starving for their art : hunger, modernism, and aesthetics in Samuel Beckett, Paul Auster, and J.M. CoetzeeMoody, Alys January 2013 (has links)
As literary modernism was emerging in the late nineteenth and early twentieth centuries, a number of its most important figures and precursors began to talk about their own writing as a kind of starvation. My doctoral thesis considers the reasons for and development of this previously little-explored trope, arguing that hunger becomes a focal point for modernism’s complex relationship to aesthetic autonomy. I identify a specific tradition of writers, beginning in the nineteenth century with proto-modernists such as Melville and Rimbaud, flourishing in the pivotal figures of Knut Hamsun, Franz Kafka and Samuel Beckett, and expiring with modernist-influenced contemporary writers such as Paul Auster and J. M. Coetzee. Although these writers are avid readers and devoted disciples of one another, mine is the first study to read them alongside one another as a coherent literary tradition. Reading them in this way, I am able to trace the development of the ‘art of hunger’ as a locus for a crisis in aesthetic autonomy that spans the twentieth century. I develop this line of argument in two phases. In the first, I trace the emergence of an art of hunger out of modernist engagements with philosophical aesthetics and its notions of aesthetic autonomy. Readings of the “art of hunger” in Herman Melville, Arthur Rimbaud, Knut Hamsun, Franz Kafka and Samuel Beckett’s post-war work reveal that starvation carries autonomy to an extreme and hyper-literal endpoint, revealing both its desirability as an aesthetic ideal and the impossibility of art’s complete autonomy from the body, the market or the social dimensions of language. In the second phase, I consider how this trope has animated later twentieth-century engagements with modernism. For authors writing in the aftermath of modernism, hunger provides a way of considering new complications to aesthetic autonomy in the light of both their debt to modernism and their specific historical circumstances. In this light, I consider three different extensions of the modernist art of hunger: its absorption into high formalism in Beckett’s late prose; its collapse in the face of an emerging concern with the social in Paul Auster; and its transformation into an ethical aesthetics of food taboos, restriction and asceticism in J. M. Coetzee.
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