Thesis (M.A.) -- Memorial University of Newfoundland. 1975. / Typescript. Bibliography : leaves 215-223. Also available online.

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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