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Special Issue: Transnational Beckett Contents S.E. Gontarski:
Introduction: Viva, Sam Beckett, or Flogging the Avant-Garde Edward Albee: Directing Beckett: An
Open Letter James Knowlson: Samuel Beckett: The
Intricate Web of Life and Work Bruno Clément: From Figure to
Figure Via the Image Richard Begam: Beckett’s Kinetic
Aesthetics Garin Dowd: ‘All out’:
The dismantling of the face in Murphy Shane Weller: ‘All the Dead Voices’:
Beckett and the Ethics of Elegy Dirk Van Hulle: Bilingual decomposition:
the ‘perilous zones’ Mark Nixon: ‘the remains of trace’:
intra- and intertextual transferences Karine Germoni: assez ou l’« art
et la manière » de générer et combler
le(s) manque(s) Etude génétique, linguistique et stylistique Emilie Morin: ‘Gathering Thinglessness’:
Beckett’s Drama, Scarcity, Ulrika Maude: ‘whole body like
gone’: Beckett and Technology Paul Stewart: ‘All known’:
Disjunction and Conjunction Paul Shields: De-oedipalizing Beckett Mireille Bousquet: Beckett, Deleuze
et la langue étrangère Anne-Cécile Guilbard: « Je
ferme les yeux pas les bleus » (pour une esthétique Susan Mooney: Feeling Fear, Narrating
Feelings: The Decomposing Masculine Subject in Molloy, Malone
Dies, and The Unnamable Yann Mével: Lire Beckett avec
Starobinski Pierre Taminiaux: Mots et Choses :
Beckett et l’Art Agnieszka Tworek: Endgame
Incarcerated: Prison Structures in Beckett’s Play Michael D'Arcy: Adorno, Beckett, and
‘the duty of reason’ After Auschwitz Rina Kim: Memories and Melancholia
in Beckett’s four Novellas and Molloy Dustin Anderson: Delete, Invert, Repeat:
Beckett’s Watt a Response to Stein ©
2007 Journal of Beckett Studies |
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