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be an opportunity. Instead of producing a print edition, Beckett's bilingual works present an opportunity to conceptualise a digital CWE. Such a reconceptualisation necessitates a shift from a ‘grail’ paradigm (conditioned by the print medium) to a ‘quest’ paradigm (as enabled by the digital medium), which means seeing Beckett's oeuvre not so much as a grail, but a quest, both from the point of view of (a) the writer and from that of (b) the reader. Regarding (a), for Beckett, like for most authors, writing is a constant search for the right words and the right
office’ 6 due to low staffing levels. Articles comprising memories sent in by readers are ideal in this context for they are less labour-intensive than stories and features requiring active or investigative research. Stacey’s study of female fans in the 1940s and 1950s makes reference to ‘the negotiation of “public” discourses and “private” narratives’. 7 This sense of negotiation between the public
-honoured fashion, one of the Lord Chamberlain’s readers, Charles Heriot, began his report of 16 March with a synopsis of the play’s essential plot and story line. 2 Howard Phillips is a 30-year-old vicar in a village. He is unmarried, lives with his mother, has a flair for interior decoration and rather too obviously repulses the advances of a spinster, Hester Byfield, who is thereafter
Alison Landsberg, ‘Prosthetic Memory: Blade Runner and Total Recall’, Body and Society 1: 3–4 (November 1995). Also collected in Mike Featherstone and Roger Burrows (eds), Cyberspace/Cyberbodies/Cyberpunk: Cultures of Technological Embodiment (London: Sage Publications, 1995), pp. 175–89, and most recently in David Bell and Barbara M. Kennedy (eds), The Cyber-cultures Reader
– and like no other art form – it is in direct competition with God, who is said to have created life and movement. No doubt such a contention is absurd, blasphemous to some. But I hope the reader will accept it as a provocation that Dienstag’s “Letter to M. Cavell” invites; that is, the demonic coupling of film with democracy is the dangerous
respondents, who share similar thoughts about what is best for our democracy and our culture. If I have misheard him, I apologize, but that is ultimately something for the reader to judge. And, in judging, I would ask the reader to consider more the substance of the argument between us; that is, the matter of our conversation and not the words or voices we used or intended in
may be said to belong to Beckett's equally distinguished line of catatonics. The most famous of these can be found in his 1938 novel, Murphy, which features Mr Endon, a catatonic schizophrenic, who inhabits a padded cell, displays a ‘charming suspension of gesture’ and whose Greek name, endon , meaning ‘within’, reinforces the reader's sense of his detachment (Beckett, 2009b , 116). The novel also features the patient Clarke, who is described as having been ‘for three weeks in a katatonic stupor’ (121), and who has been identified by J. C. C. Mays and C. J
Major’s offence. Now the Major was in court for indecent behaviour in a cinema. He ‘persistently nudged’ one woman in the arm and later ‘attempted to take other liberties. She subsequently vacated her seat, and complained to an usherette.’ The censor had no difficulty with this and the reader’s report for ‘Table Number Seven’ termed it ‘a little masterpiece’. Separate Tables duly opened on 22
Beckett to test the boundaries of embodiment in the theatre’ (107). I fully agree with this claim, but whereas McMullan dedicates separate insightful chapters to embodiment in theatre, mime, television, radio and film, the connections between these different genres and media are left for the reader to infer. To fully grasp the intermedial nature of Beckett's work, and understand how his theatre became remediated by radio, a more integrative approach is needed, which this chapter aims to provide. All That Fall
inform readers of the titles of the ‘two short films from Harold Lloyd’ (102) which accompany their revival of an already more-than-famous main attraction. There is, then, a slight instability in the title of the 1995 restoration and revival season – ‘Saved! Restorations From the Archives’. 11 Sure, by being preserved and screened at the London festival, such movies are being