Open Access (free)
Mladen Dolar

du Perron’ and ‘Fallor ergo sum’. Samuel Beckett, Collected Poems in English and French (New York: Grove Press, 1977). 2 It reduces it also in the opposite direction of the horoscope, since the last two lines of the poem point to the moment of death: ‘and grant me my second / starless inscrutable hour’. 3 James Knowlson, Damned to Fame: The Life of Samuel Beckett (London: Bloomsbury, 1996), p. 352. 4 Lawrence Graver and Raymond Federman, Samuel Beckett: The Critical Heritage (London: Routledge and Kegan Paul, 1979), p. 148. 5 Samuel Beckett, Disjecta: Miscellaneous

in Beckett and nothing
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Beckett’s television plays and the idea of broadcasting
Jonathan Bignell

action’ Screen, 18:2 (1977), 7–59. 3 Graley Herren, Samuel Beckett’s Plays on Film and Television (New York and Basingstoke: Palgrave Macmillan, 2007). 4 Henri Bergson, Matter and Memory, trans. N. Paul and W. Palmer (New York: Macmillan, 1912). 5 Herren, Samuel Beckett’s Plays, p. 13. 6 Jeffrey Sconce, Haunted Media: Electronic Presence from Telegraphy to Television (Durham, NC: Duke University Press, 2000). 7 Ibid., p. 126. 8 Ibid. 9 See Graley Herren, ‘Splitting images: Samuel Beckett’s Nacht und Träume’, Modern Drama, 43 (2000), 182–91; and Graley Herren, ‘Nacht

in Beckett and nothing
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Bill Prosser

booby-traps that every attempt at detailed psychological analysis contains, nothing is more appropriate than Beckett’s cautionary advice to Billie Whitelaw: ‘If in doubt – do nothing’.43 104 Beckett and nothing Notes 1 See Vivien Mercier’s famous definition of Godot as ‘a play in which nothing happens, twice’, Vivien Mercier, ‘The uneventful event’, Irish Times (18 February 1956). 2 Samuel Beckett to George Duthuit, 9–10 March 1949, trans. Walter Redfern, in S. E. Gontarski and Anthony Uhlmann, (eds), Beckett After Beckett (Gainesville: University Press of Florida

in Beckett and nothing
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Ethics in uncomfortable research situations
Hannah Jones, Yasmin Gunaratnam, Gargi Bhattacharyya, William Davies, Sukhwant Dhaliwal, Emma Jackson, and Roiyah Saltus

individuals; but it does this while also keeping in mind the larger structural forces that shape those everyday struggles and give them meaning. Social life is nuanced and complicated, and capturing and representing this complexity in research is difficult. When producing our analysis we at least have time and space for reflection, for multiple attempts to get it right (or to fail again, but fail better – following Samuel Beckett

in Go home?
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Between Adorno and Heidegger
Joanna Hodge

prefaces Jargon of Authenticity with the following epigraph from Samuel Beckett: ‘It is easier to raise a temple than to compel the object of the cult to descend into it.’ This, with its resonance of Voltaire, and its obvious edge against exactly Heidegger’s invocation of the temple in the artwork essay, has the effect diagnosed by Benjamin: ‘Quotations are the muggers of literary work, leaping out armed to relieve the unwary of their convictions.’31 For Adorno the exemplary artworks are Berg’s Wozzeck; the writings of Samuel Beckett, abstract minimalism, and he has no

in The new aestheticism
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The Admirable Crichton and Look Back in Anger
Stephen Lacey

and in the current high status of the work of Powell and Pressburger. 3 In theatre history, this has been paralleled by a reconsideration of the once despised Terence Rattigan (of interest because of the gay sub-text to his plays) and a re-evaluation of the crucial ‘moment’ of 1956; here, there is a sense that the real ‘turning point’ in post-war theatre was the first production of Samuel Beckett’s Waiting for Godot in

in British cinema of the 1950s
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Kinneret Lahad

are constituted and reified. Moreover, engaging with waiting as a contingent temporal construct also opens up a space to critique the hierarchal relations it creates, and how in turn it creates and maintains power relations. Hopeful, restless, waiting Samuel Beckett’s (1954) play Waiting for Godot famously emphasizes how fundamentally intrinsic waiting is to the human condition. Waiting, adds Giovanni Gasparini (1995), has a wide range of meanings and attributes, and is commonly considered a basic aspect of the human experience. Waiting moves, he observes, from

in A table for one
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West Indian intellectual
Helen Carr

Samuel Beckett, it is said, when asked in Paris on one occasion if he were English, replied unequivocally, ‘ au contraire ’. Jean Rhys might have said much the same. If she was sure about her identity in any way, it was in her certainty that she was not English – ‘pseudo-English’ at the most, as she puts in her memoir, Smile Please . 1 But what was she? In what sense

in West Indian intellectuals in Britain
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Nicholas Atkin

on British soil where he believed he could be of most use in the fight against Germany. Ordered back to France, he later became part of the same Parisian resistance network as Samuel Beckett, and was deported to Mauthausen, where he lived out the war, perfecting his command of the German language.29 The soldiers remaining in Britain were soon to be joined by sailors and merchant seamen. At the time of the Armistice, several French ships had taken refuge in British harbours. As with the Dunkirk evacuees, the mood among these men was not good. In a telephone call

in The forgotten French
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Gill Rye and Michael Worton

caused some second-wave feminists to accuse her of behaving socio-culturally and of writing like a man.4 The most radical experiments in novel-writing were undertaken in the s and s by the writers, grouped together under the label of le nouveau roman. The group comprised, essentially, Michel Butor, Jean Ricardou, Alain Robbe-Grillet, Nathalie Sarraute, Claude Simon, with Marguerite Duras and Samuel Beckett as novelists often included in the list of key figures. What characterised all of their work was a rebellion against the traditional ‘Balzacian’ novel, with

in Women’s writing in contemporary France