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Writing in scale Huidobro’s Altazor and Beckett’s Imagination Dead ImagineMcTague, Margaret Lees January 1985 (has links)
In this thesis Vicente Huidobro's French "Fragment d'Altazor" (1930) and Spanish Altazor (1931) are compared with Samuel Beckett's English Imagination Dead Imagine (19B5) and French "Imagination morte imaginez" (1967) in terms of the concepts of musical and architectural scale which are common to all of these texts. While the Huidobro works maintain a primarily musical notion of scale, the Beckett texts employ a chiefly architectural one. In Huidobro, the vestigial presence of the diatonic scale in the seven Canto divisions of Altazor together with the chromatic structuring of Canto IV with its dodecaphonic repetition of "No hay tiempo que perder," foreshadow the fully realized tonic scale of the nightingale passage's (IV 193-9) emblematic acrosticism. In Beckett, scale involves measurement with respect to a radix or basic, conventional unit and is used in the precise description of the rotunda, the two figures within, and the flux of light and heat. The Beckettian scale is undercut, however, by the replacement of radices with retrograde and inverted variants.
A semiotic approach has been used in the discussion of these texts since it not only foregrounds the importance of pattern as meaningful in itself, but also allows for comparison of two works according to the functioning of their meaning-systems, while permitting analysis at the local, medial, and global levels of the texts. However, in contrast to the theory of a semiotician like Michael Riffaterre, the view taken in this- thesis is that form is an extension of content. Thus the figure/ ground relationship is discussed both in terms of the scales studied and of its value as a theoretical device.
Imagination Dead Imaoine/"Imaoination morte imaginez" subverts rational cross-reference by injecting multiple instabilities into the figure/ground relation. By creating a figure, the rotunda, against the backdrop of "anywhere" ("ailleurs") and then removing the figure, the Beckett text effects a realization of "Nulle part." Huidobro's texts, in contrast, employ alternation (e.g., in the tonic-chromatic-tonic scales) to arrive at a non-referential purity of language ("La pura palabra y nada mcis" --III 145).
As different as these two texts are in terms of, for instance, genre, length, and diegetical features, they are similar in their refusal, commonly articulated in their use of the multidimensional patterns of scale, to delimit any one particular meaning. / Arts, Faculty of / English, Department of / Graduate
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Dualité narrative et statut de la fiction dans Molloy de Samuel BeckettSchryburt, Sylvain January 2001 (has links)
Mémoire numérisé par la Direction des bibliothèques de l'Université de Montréal.
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"Reading self-resistance in the works of Samuel Beckett"Boa, Stephen January 1997 (has links)
Thèse numérisée par la Direction des bibliothèques de l'Université de Montréal.
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La dramaturgie du silence de Samuel Beckett et son héritage dans l’écriture dramaturgique de Nathalie Sarraute, Marguerite Duras et Franz Xaver KroetzDurivage, Isabelle 25 February 2021 (has links)
Ce mémoire s’intéresse au silence dans le théâtre postdramatique, et ce, à partir de la dramaturgie de Samuel Beckett, que nous nommerons « dramaturgie du silence ». Notre recherche vise à analyser les manières avec lesquelles Beckett a donné naissance à une nouvelle forme dramaturgique en mettant à profit les formes d’un héritage dans le théâtre postdramatique, au travers des œuvres de certains auteurs tels que Nathalie Sarraute, Marguerite Duras et Franz Xaver Kroetz. Pour ce faire, nous analyserons deux pièces de théâtre beckettiennes, soit En attendant Godot et Fin de partie. Nous relèverons alors les stratégies et les effets du silence qui est privilégié pour ensuite chercher des pistes de réponses à nos questions de recherche au travers de certaines œuvres de nos trois autres auteurs précédemment identifiés. Les hypothèses issues de cette phase de travail ont alors été analysées et comparées, afin que l’héritage beckettien en ressorte. Le présent mémoire retrace donc ce processus et met en évidence les stratégies de cette dramaturgie du silence, dans l’intention de démontrer que Samuel Beckett est le précurseur d’un renouvellement dramaturgique basé sur le silence.
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Hiver : (texte dramatique) ; suivi de La figure du sans-abri dans Fragment de théâtre I de Samuel Beckett, L'opéra de quat'sous de Bertolt Brecht et Hiver d'Éloïse Duguay-Langlois (essai)Duguay-Langlois, Eloïse 20 April 2018 (has links)
La première partie de ce document est constitué de la pièce de théâtre Hiver. Cette pièce relate l’histoire de Felipe, Musina et Gilles, trois sans-abri qui vivent ensemble l’espace de quelques jours. Felipe a été recueilli par Musina après que sa mère biologique l’ait abandonné au cours d’une tempête de neige, alors qu’il était allé se réchauffer dans les toilettes d’un restaurant. Depuis ce temps, Felipe et Musina sont devenus très proches. Musina aime Felipe à la fois comme un frère, comme un ami et comme un fils. Quant au petit, il est amoureux de Musina. Gilles se greffe à eux pendant trois jours. C’est alors qu’il sera confronté à son lourd passé. La pièce se termine tragiquement par le suicide de Felipe et de Musina et l’arrestation de Gilles. La seconde partie du document comprend l’essai. Il porte sur la figure du sans-abri dans Fragment de théâtre I de Samuel Beckett, L’opéra de quat’sous de Bertolt Brecht et Hiver, notre pièce de théâtre. On y dissèque ce type de personnage pour en comprendre les fonctions, les particularités et la symbolique. Cette seconde partie est elle-même divisée en deux chapitres. Le premier retrace les caractéristiques des personnages de Fragment de théâtre I et de L’opéra de quat’sous et tente de préciser si l’on peut les qualifier de sans-abri. Quant au deuxième chapitre, il identifie les points de convergences et de divergences entre Fragment de théâtre I de Samuel Beckett, L’opéra de quat’sous de Bertolt Brecht et Hiver.
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Yesterday's deformities : a discussion of the role of memory and discourse in the plays of Samuel BeckettBrown, Verna 30 November 2005 (has links)
Although Samuel Beckett's plays indicate his abiding interest in the complex functioning of memory, little has been written on the topic. The aim of this study, therefore, is to examine the wide-ranging, specific approaches towards recall and forgetting that he reflects in his drama. Because conversational strategies are grounded in cognitive processes, the interplay between memory and discourse will also be probed.
The thesis foregrounds Beckett's profound distrust of memory functioning, as well as his conviction that `yesterday' has dangerous power to `deform'. Through his own perception and his psychological study of dysfunctional, decaying and trauma-charged memories, he is able to apply a comprehensive knowledge-base to the creation of his time-damaged characters. In the scrutiny of their autobiographical memories, the reconstructive and imaginative components become apparent. These are mainly shown to alienate characters from one another, so that Beckett's claim that memory can remedy suffering becomes questionable.
The investigation is informed by a variety of critical disciplines, as well as insights derived from the Proust Monograph. Beckett's investigation of the psychology of the 1930s is evaluated, in addition to current medical and psychological research into gerontology, amnesia, dementia, and the repressed or obsessive memories of the neurotic. Conway's work on the characteristic features of autobiographical memory illuminates relevant Beckett plays. An appraisal of discourse studies focuses on language and power, phatic communication and the multiple speech acts that reflect the functioning of normal and dysfunctional memory. Reference to the work of Lacan and Derrida enhances discussion of the inadequacy of language. To give due attention to the theatrical component of Beckett's drama, enactment, performance criticism and audience reception of his plays are discussed. / English Studies / D.Litt. et Phil.
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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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Beckett-we : em busca de uma poética do vazioBrito, Luciana January 2016 (has links)
Em Busca de uma Poética do Vazio é uma pesquisa teórico-prática fomentada no Núcleo de Pesquisa Beckett-we – espaço de criação, desconstrução e de transbordamentos criativos a partir do universo de Samuel Beckett. Criado no ano de 2012 em Canoas/RS, o Núcleo dá voz aos aqui chamados esgotados, sujeitos contemporâneos que encontram em Beckett uma possibilidade de diálogo e caos. Os participantes não são atores, nem bailarinos, nem pesquisadores, são PIM: massa de corpos que não aguentam mais, unidos por uma pequena vida – extrato de existência em comum, que transcende as referências culturais, geográficas, étnicas ou históricas – PIM é plural. Este escrito é composto pelas vozes de esgotados, de Beckett, por minha voz, por fluxos de pensamento que me atravessaram durante a pesquisa e pela voz de referências significativas neste estudo: Gilles Deleuze, Suely Rolnik, Peter Pál Pelbart, dentre outros tantos. São analisadas performances criadas durante três anos do Núcleo, a partir dos textos: Todos os que Caem (Beckett - 1957) que se transformou em Eu, Ser Pulsante e Semivivo (2013) e Eleutheria (Beckett - 1947) metamorfoseado em sobre.vida (2015), Ensaio sobre a Liberdade (2014) e inspiração (2014). Buscando fazer um paralelo estrutural com a obra Como É (Beckett, 1961), que se passa em um buraco enlameado, no qual um personagem procura seu parceiro – PIM -, esta pesquisa se propõe a investigar os caminhos que foram inventados durante as práticas, visando se aproximar de uma possível metodologia que se encontra no vazio, buscando constantemente a instabilidade – seja através da tentativa de esvaziamento de referências, no diálogo com os esgotados que são desconhecedores de Beckett ou na renovação constante de PIM. No ato de esvaziar-se e se deixar atravessar pelas vozes e impulsos dos envolvidos, alimentados pelo universo beckettiano, esta dissertação sugere a figura do cartógrafo, desenvolvida por Rolnik, como um possível caminho para a prática criativa no vazio. / In Search of a Poetic of Emptiness is a theoretical-practical research fomented in the Núcleo de Pesquisa Beckett-we (Research Group Beckett-we) - space of creation, deconstruction and creative overflows based on the universe of Samuel Beckett. Created in the year of 2012 in Canoas/RS, the group gives voice to the ones here called the exhausted , contemporary subjects that find in Beckett a possibility of dialogue and chaos. The participants are not actors, nor dancers, nor researchers, they are PIM: a mass of bodies that cannot bear anymore, united by a little life - extract of a common existence, that transcends the cultural, geographical, ethnic or historical references - PIM is plural. This writing is composed by the voices of the exhausted, Beckett’s voice, my own voice, by flows of thoughts that crossed me while researching and by the voice of significative references in this study: Gilles Deleuze, Suely Rolnik, Peter Pál Pelbart, among so many others. Here we analyse performances created during the three years of the group, based on the texts: All that fall (Beckett - 1957) that became Eu, ser pulsante e semivivo [Me, pulsing being and halfalive (2013) and Eleutheria (Beckett - 1947) metamorphosed in sobre.vida [about.life] (2015), Ensaio sobre a Liberdade [Essay about Freedom] (2014) and inspiração [inspiration] (2014). Aiming to create a structural parallel with the work How it is (Beckett - 1961), that passes in a muddy hole, in which one character looks for his partner - PIM -, this research proposes itself to investigate the paths that were invented during the practices, aiming to approach a possible methodology found in the emptiness, searching constantly the instability - be it through the attempt of emptying references, in the dialogue with the exhausted who are unfamiliar with Beckett or in the constant renovation of PIM. In the act of emptying itself and letting it be crossed by the voices and impulses of the involved, fed by the beckettian universe, this dissertation suggests the figure of the cartographer, developed by Rolnik, as a possible path for the creative practice in the emptiness.
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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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The risus purus: laughter today in Beckett's Endgame and Pinter's The birthday party.January 2010 (has links)
Lee, Tin Yan Grace. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2010. / Includes bibliographical references (leaves [106-111]). / Abstracts in English and Chinese. / Introduction --- p.1 / Chapter Chapter 1: --- Laughter and Man --- p.15 / Chapter Chapter 2: --- Laughter and Man's Obligation to Persist in Beckett's Endgame --- p.37 / Chapter Chapter 3: --- Laughter and Self-Knowledge in Pinter's The Birthday Party --- p.68 / Conclusion --- p.100
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