By Jurgen Siess, Matthijs Engelberts, Angela Moorjani
The thematic a part of this quantity of Samuel Beckett Today/Aujourd'hui is dedicated mostly to Beckett's texts of the 40s and later, and especially to these he composed after his adoption of the French language. The essays offered during this a part of the present factor try and see Beckett as a author between different authors with whom he connects or competes, to envision his relatives with artists, no matter if Beckett stimulates them or is influenced via them, and to outline his 'posture' and his place within the cultural box. How does the budding francophone author place himself within the cultural box in the course of his tough beginnings and after his first successes? How can he be positioned on the subject of the 3 cultures he's facing? What are the parallels among Beckett's personal texts and people of different writers (literary and philosophical), but additionally among his paintings and the paintings of artists of the interval? the 10 essays within the free-space component to this quantity additionally often challenge his texts that have been first written in French, and situate Beckett on the subject of various subject matters, from Dante to the 'War on Terror.'
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Extra resources for Beckett in the Cultural Field: Beckett Dans Le Champ Culturel
A sign of more in not mentioned. A piece of coffee is not a detainer. The resemblance to yellow is dirtier and distincter. [. ] The sight of a reason, the same sight slighter, the sight of a simple negative answer, the same sore sounder, the intention to wishing, the same splendor, the same furniture” (1967f, 163). Bypassing logical conjunctions and well-articulated subordinations, Stein’s sentences are shirred together by chance and ambiguity. In combining nouns with unexpected predicates, Stein creates a new horizon of meaning-making, one not entirely coherent but certainly fertile with possibility and sensuality.
As a result, knowledge must be repeated, tested, so that what is known is not resemblance or relational. Continuity can never be assumed because “most things have not, have not anything to do with anything” (Stein, 1995, 126). The Geographical History of America is perhaps Stein’s strongest refutation of the exigencies of order, unity, logicality, and retroactive causal explanations. “Not solve it but be in it,” she proclaims, denying time the power to order and explain existence, rejecting not only how language works but also how we represent the subject (in and through time).
Be said on. Somehow on. Till nohow on. / Say for be said. Missaid. / Say a body. Where none. No mind. [. ] Same stoop for all. Same vasts apart. Such last state. Latest state. Till somehow less in vain. Worse in vain. All gnawing to be naught. Never to be naught. (1989, 101, 127). Beckett’s speaker tests the implication of verb variations, directing himself to “[s]ay on” and to think in other tenses in order to put into question the way to say or to think with every re-saying. As Deleuze theorizes, stuttering language is not an external application but a mode of doing (1997, 112).
Beckett in the Cultural Field: Beckett Dans Le Champ Culturel by Jurgen Siess, Matthijs Engelberts, Angela Moorjani