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Using Jacques Derrida's 1995 study, Archive Fever, Weiss examines how Samuel Beckett's Come and Go and Footfalls stage the failed acts of archiving. In both plays, memories are either unknown or not named. Either way, without being named they cannot be collected, catalogued or made public. Despite this, the women haunting his plays seem struck by archive fever. Ultimately, Beckett stages the tension between the desire to remain silent with the desire to archive.

Stage plays, “Come and Go” and “Footfalls” by Samuel Beckett, will be presented by ETSU’s Division of Theatre & Dance and ETSU Department of Literature and Language Oct. 7-9 at 7:30 p.m. and Oct. 10 at 2 p.m. in ETSU’s Bud Frank Theatre.

This groundbreaking collection from scholars and artists on the legacy of Beckett in contemporary art provides readers with a unique view of this important writer for page, stage, and screen. The volume argues that Beckett is more than an influence on contemporary art―he is, in fact, a contemporary artist, working alongside artists across disciplines in the 1960s, 1970s, and beyond.The volume explores Beckett's formal experiments in drama, prose, and other media as contemporary, parallel revisions of modernism's theoretical presuppositions congruent with trends like minimalism and conceptual art. Containing interviews with and pieces by working artists, alongside contributions of scholars of literature and the visual arts, this collection offers an essential reassessment of Beckett's work. Perceiving Beckett's ongoing importance from the perspective of contemporary art practices, dominated by installation and conceptual strategies, it offers a completely new frame through which to read perennial Beckettian themes of impotence, failure, and penury. From Beckett's remains, as it were, contemporary artists find endless inspiration. / https://dc.etsu.edu/etsu_books/1182/thumbnail.jpg

This thesis reaffirms the Celtic influence on Beowulf. The first chapter reevaluates past attempts to demonstrate a Celtic connection with particular emphasis on the work of Martin Puhvel and R. Mark Scowcroft. The second chapter compares Grendel’s Mother to the Lady of the Lake, from the Prose Lancelot, using the Celtic water hag motif. The third chapter analyzes how Grendel exemplifies the Celtic motifs of the violent child and the wild man by comparing him with Cu Chulainn, from the Táin Bó Cúailnge, Lancelot, from the Prose Lancelot, and the Celtic wild man tales surrounding Suibhne, Myrddin, and Lailoken. The final chapter uses Michael D. C. Drout’s Lexomic analysis and a network analysis by Pádraig Mac Carron and Ralph Kenna to problematize the assumed unity of the text. Therefore, this thesis provides both narrative and textual evidence to validate the Celtic influence on Beowulf.

This thesis utilizes Foucault’s concept of “technologies of the self” to examine three texts from 1980s British literature for the ways that postmodern writers compose the self. The first chapter “Liminality and the Art of Self-Composition” explores the ways in which liminal space and time contributes to the self-composition in J.L. Carr’s hybrid Victorian/postmodern novel A Month in the Country (1980). The chapter on Jeanette Winterson’s novel Oranges Are Not the Only Fruit (1985) titled “Intertextuality and the Art of Self-Composition” argues that Winterson’s intertextual play enables her protagonist Jeanette to resist the dominance of religious discipline and discourse and compose a more autonomous, artistically oriented self. The third chapter, titled “Spatial Experimentation and the Art of Self-Composition,” examines R.S. Thomas’s collection The Echoes Return Slow (1988), a hybrid text of prose and poetry, arguing that Thomas explores spatial gaps in the text as generative spaces for self-composition.

Review of Flaubert, Joyce and Beckett: The Stoic Comedians. by Hugh Kenner

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Cette étude a pour ambition d’expliquer les mécanismes qui informent la représentation du corps du "non-civilisé" dans les Îles Britanniques entre 1776 et 1815. Elle s’appuie sur un corpus de périodiques et de romans cités dans le titre et, de manière adventice, sur quelques documents iconographiques. Elle démontre, dans un premier temps, l’existence d’un lien, sinon paradoxal, du moins inattendu entre le degré de "civilisation" que l’observateur britannique prête à un individu ou à un groupe et la manière dont il représente son corps. Elle explique ensuite comment cette représentation est largement conditionnée par la théorie des climats, défendue, sous sa forme la plus aboutie, par Buffon, mais prolongée par d’autres observateurs sous des formes révélatrices d’une transition alors en cours. Cette transition voit l’essor de théories raciales fondées sur l’idée que le corps est un matériau à la fois mesurable et signifiant, dont on cherchera à prouver qu’elles s’opposent moins à la logique "climatique" que la doxa universitaire ne le laisse croire. C’est que le corps du "non civilisé" contribue lui-même à la formation d’un "corps impérial" en pleine formation, dont il devient un organe tantôt malade, tantôt vital. Ce n’est ainsi, précisément, qu’en tant que représentation que cette figure protéiforme acquiert un certain degré d’existence. / Abstract This study aims at explaining the mechanisms that inform the way ‘uncivilized’ peoples’ bodies are represented in the British Isles between 1776 and 1815. It is based on a corpus of periodicals and novels cited in its title and, to a lesser extent, on some illustrations. It first demonstrates that there exists an unexpected if paradoxical link between the degree of ‘civilization’ that the British observer attributes to a given individual or group and the way this observer represents their bodies. It then explains how such a representation is largely conditioned by the theory of climates (aka ‘environmentalism’), the most sophisticated version of which was put forward by Buffon, but was then elaborated upon by other observers, in ways that turn out to disclose a transition that was then taking place. The transition in question is that by which racial theories, based on the idea that the body constitutes both a measurable and meaningful material, came to prevail. As this study seeks to prove, such theories are much less opposed to the previous ‘climatic’ ones than what academic doxa on the subject might lead us to believe. The reason is that ‘uncivilized’ peoples’ bodies contribute to shaping an ‘imperial body’ that is itself in progress and of which they become organs that are either perceived as unhealthy or vital. So it is precisely as a representation–and as nothing else–that the protean figure of the ‘uncivilized’ comes to life.

George Meredith's Modern Love deals with a formula for achieving happiness in life by a man whose marriage has failed. His marital breakup serves as a catalyst for the husband's internal journey which, through intense self questionings, leads him to a fuller understanding of himself and his purpose within the harmony of nature. Definite overt action and external events are secondary in the sonnet sequence. Indeed, the major portion of the work is conveyed by images which reveal the husband's developing psychological states. As Lionel Stevenson says of Modern Love in the standard biography of Meredith, . . . the action is not easy to decipher; and, once deciphered, it sounds like the plot of a conventional "problem" drama. This was merely the framework, however, on which Meredith displayed his interpretation of . . . ethical and psychological issues.1 Modern Love, then, which expresses a vision of reality based upon the interaction of the protagonist's inner consciousness with his external environment, is the vehicle for Meredith's philosophy concerning right--proper--action in life. The husband in the sonnet sequence learns through suffering that man must observe nature, accommodate himself to and accept change, and apply reason to his instinct. 1. Lionel Stevenson, The Ordeal of George Meredith (New York: Charles Scribner's Sons, 1953), p. 104.