Search Results: 1 - 10 of 100 matches for " "
All listed articles are free for downloading (OA Articles)
Page 1 /100
Display every page Item
On Music in Samuel Beckett  [cached]
Xuyan Shen
Opticon1826 , 2012, DOI: 10.5334/opt.ah
Abstract: What is the importance of music in Samuel Beckett’s aesthetics? This essay discusses Samuel Beckett’s writings from the perspective of music as a thought-mechanism. The main focus of my essay lies in the subtle meanings contained in the trope “music”, rather than any specific musical composition. I shall start by reading closely the coda of Beckett’s Proust and formulate several key elements in defining the Beckettian “music”. The following Interlude on John Keats’s To Autumn discusses the relationship between language and the imagination of “music”. The poem can help us better understand Beckett’s aesthetics. Then with reference to Gilles Deleuze and Alain Badiou, I offer an analysis of three specific kinds of languages Beckett uses to process the “music” in his writings – the language of cutting, the language of blending, and the language of gap, each of them as a stride closer to the imagination of “music”.
Conor McPherson's view of Endgame by Samuel Beckett
Maria Rita Teixeira Silva K?ster
Ilha do Desterro , 2010,
Abstract: Conor McPherson (1971) is considered to be one of the most innovative Irish playwrights, with an amazing gift for storytelling. However, he is a screen writer and film director as well. So far, he has written the script of I Went Down (1997), Saltwater (2001), The Actors (2003) and The Eclipse (2009); the last three he has also directed. McPherson was responsible for the adaptation of Samuel Beckett's Endgame for Channel Four's "Beckett on Film" series. This article aims at showing how he transposes Beckett's stage directions of the play Endgame to the screen.
A poética televisual de Samuel Beckett  [cached]
Gabriela Borges
Galáxia , 2008,
Abstract: Este artigo analisa a trajetória criativa de Samuel Beckett desde a literatura até os meios audiovisuais, enfatizando a cria o de sua poética televisual. A busca pela desconstru o da linguagem e por formas abstratas que contivessem um mí-nimo expressivo leva Beckett a se interessar pelos meios eletr nicos e a usar as suas ferramentas, como a camera, os recursos de áudio e edi o, para criar uma poética tecnológica que prima pelo desdobramento intertextual na constru o dos personagens e no tratamento de temas como a memória, a percep o, a repeti o e a fragmenta o. Em seus experimentos nos meios eletr nicos, Beckett amplia a capacidade de comunica o da televis o ao explorar o seu potencial estético e artí-stico e for ar os limites da representa o em seus constantes enquadramentos. Palavras-chave Samuel Beckett, poética televisual, intertextualidade Abstract This article analyses Samuel Beckett's creative path from literary to audiovisual works, enhancing the creation of his televisual poetics. His search for deconstructing language and for abstract forms leads him to work with electronic media and make use of its tools, such as camera, audio and editing resources. The intertextuality emerges from the development of characters and the use of themes such as memory, perception, repetition and fragmentation. Through his experiments with television, Beckett amplifies its capacity of communication, exploring its aesthetic and artistic potential and forcing its limits of representation. Key words
A vueltas con Samuel Beckett
José María Fernández Cardo
?édille : Revista de Estudios Franceses , 2010,
Abstract: A propósito de la obra de Lourdes Carriedo, Ma Luisa Guerrero, Carmen Méndez y Fabio Vericat(eds.): A vueltas con Beckett. Aproximaciones críticas en su centenario (Madrid, Ediciones de La Discreta,col. Bártulos , 2009, 362 páginas, ISBN: 978-84-96322-29-5).
Self Estrangement in Samuel Beckett's Existentialism and Theatre
Saeid Rahimipoor
Theory and Practice in Language Studies , 2011, DOI: 10.4304/tpls.1.11.1668-1671
Abstract: Samuel Beckett, an outstanding 20th century literary figure, has contributed a lot to solving the existential problems of man through a large number of oeuvre. Being familiar with all philosophical schools of thought and especially a proponent of existential philosophical movement, he was well aware of this school of thought characteristics and its underlying themes, such as anxiety, horror, liberty, the harbinger of death and finally consciousness of existing, a perspective on life that is a quest for the meaning of life and existence. In this search, however, he advocates Kierkegaard and the idea that human beings can be understood only from the inside that is, based on their lived and experienced reality and dilemmas not from the outside employing different branches of science. On this line, via the Theatre of Absurd, he tries to demonstrate man's attempt in his query for his estranged self.
Le minimalisme saturé d'Imagination morte imaginez de Samuel Beckett
Gesvret, Guillaume;
Alea : Estudos Neolatinos , 2010, DOI: 10.1590/S1517-106X2010000100009
Abstract: the short text imagination dead imagine (1966) by samuel beckett offers a both poetic and plastic experiment. the clear definition of bodies and identities, or even of the status of the work, is questioned and constantly reinvented. between affect and plasticity, an excess appears which leads us to understand beckett's minimalism otherwise, and to achieve, through its reading, a paradoxical saturation.
Per una lettura di “Finale di partita” di Samuel Beckett. Appunti da un seminario  [PDF]
Diana, Rosario
Laboratorio dell'ISPF , 2011,
Abstract: [Reading Samuel Beckett's "Fin de Partie". Notes from a seminar]. The paper sets out the results of a didactic workshop about Fin de Partie (1957) by Samuel Beckett held by the Author at the ISPF. After clarifying the link between the concept of absurdity and the concept of contradiction, and touching the issue in Giuseppe Rensi, Jean-Paul Sartre and Albert Camus, the Author presents his ontological reading of Beckett’s play.
Traces that Emulate Figures: the staging of Samuel Beckett’s Ohio Impromptu  [cached]
Luiz Marfuz
Revista Brasileira de Estudos da Presen?a , 2013,
Abstract: – This text examines, from the point of view of theatrical genetics, principles and procedures which guided the staging of Ohio Impromptu, a play by Samuel Beckett, translated by novelist and playwright Cleise Mendes. The analysis includes textual, audible and visual elements of the staging, directed by the author of this article, with emphasis on the traces of the creative process: drafts, photos, testimonials, critiques and mockups,which constitute the so-called proto-staging, as equivalent to the term prototext.
Cassiana Lima Cardoso
Psicanálise e Barroco em Revista , 2010,
Abstract: The present study propose an analyze of Samuel Beckett’s work, Endgame, according to the observation of Freud, Bachelard, Didi-Huberman and Winnicott, searching to evidence that the characters of the Irish writer on the contrary as it has been said aren’t stagnant for the creative act in e which they all are submitted along the text printing into the fiction a metafiction make them surpass the limited situation en which they are. We will try alone this propose of the play’s reading to understand dynamics of the repetition done in staging of order of the game, associating it, above all to the Winnicott’s theory over the transitional object and space in potential. Our proposal is to point that the rubrics marks an interval between memory and experience over a fund of essential cruelty. A century marked by the war, that makes latent the lack of language, only possible by means of its own staging
The function of derisive humor in Samuel Beckett’s “First Love”  [PDF]
José Ailson Lemos de Souza
Via Litterae , 2011,
Abstract: Samuel Beckett’s works as dramatist and novelist has been the object of relevant critical studies from literary studies as well as translation studies. On the other hand, his short narratives receive little attention. Having in mind such gap, this work aims at making a brief description of the use of derisive humor in the short-story “First Love” (2004). In order to do this, we will use some notions on the comic effect by Bergson (1987) and Propp (1992) to support this study. We think that such resource seems to serve as a strategy of deconstructing usual concepts related to romantic love, as well as a reflection on human condition. This short narrative might also be seen as a precursor example of the use of derision, a characteristic by which the author has become well known.
Page 1 /100
Display every page Item

Copyright © 2008-2017 Open Access Library. All rights reserved.