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Trying to understand Beckett
Editor: Daniela Caselli

Nothing' has been at the centre of Samuel Beckett's reception and scholarship from its inception. This book explains how the Beckett oeuvre, through its paradoxical fidelity to nothing, produces critical approaches which aspire to putting an end to interpretation: in this instance, the issues of authority, intertextuality and context, which this book tackles via 'nothing'. By retracing the history of Beckett studies through 'nothing', it theorises a future for the study of Beckett's legacies and is interested in the constant problem of value in the oeuvre. Through the relation between Beckett and nothing, the relation between voice and stone in Jean-Paul Sartre and Beckett, we are reminded precisely of the importance of the history of an idea, even the ideas of context, influence, and history. The book looks at something that has remained a 'nothing' within the Beckett canon so far: his doodles as they appear in the Human Wishes manuscript. It also looks at the material history of televisual production and places the aesthetic concerns of Beckett's television plays. The book then discusses the nexus between nothing and silence in order to analyse the specific relations between music, sound, and hearing. It talks about the history of materiality through that of neurology and brings the two into a dialogue sustained by Beckett texts, letters and notebooks. The book investigates the role of nothing through three works called neither and Neither: Beckett's short text, Morton Feldman's opera, and Doris Salcedo's sculptural installation.

Open Access (free)
Reading James Baldwin’s Existential Hindsight in Go Tell It on the Mountain
Miller Wilbourn

This essay reads James Baldwin’s first novel, Go Tell It on the Mountain, through the lenses of European existentialism and Black existential thought to arrive at a new understanding of the novel itself as well as essential stages of its development. Archival sources and close reading reveal Baldwin’s historically and existentially informed artistic vision, summed up in the terms hindsight and insight. His thoughtful, uncomfortable engagement with the past leads to a recuperated relationship to the community and constitutes existential hindsight, which informs his inward understanding of himself—his insight. This investigation draws on various works from Baldwin’s fiction, essays, interviews, and correspondence to arrive at a better understanding of the writer’s intellectual and artistic development, focusing especially on the professed objectives behind, and major revisions of, the novel. I conclude the essay through a close reading of the conversion scene that constitutes Part Three of Go Tell It on the Mountain.

James Baldwin Review
Marie-Luce Desgrandchamps, Lasse Heerten, Arua Oko Omaka, Kevin O'Sullivan, and Bertrand Taithe

with them, notably Bertrand Russell and Jean-Paul Sartre, put up the International War Crimes Tribunal in 1966. Genocide in a third world conflict had thus already been widely discussed – but mainly within a leftist counter public, and part as a dominant paradigm of anti-imperialism. Imperialism created genocides, and this was hence the main issue from this perspective ( Kalter, 2016 ). What was new about Biafra was that international mainstream media, like The Times or Der Spiegel

Journal of Humanitarian Affairs
Shérazade and other women in the work of Leïla Sebbar
Margaret A. Majumdar

. In many cases, the women have no particular names of their own, but reappear from one text to another as almost archetypal figures – the Mother, the Daughter, the Old Woman. As this intertextuality also applies to the visual references which concern us, I shall refer to texts from the whole corpus. My starting point is the role which the gaze has played in the theorisation of the other, for which much is owed to the analyses of Jean-Paul Sartre, who not only developed this notion generally in respect of relations between the self and the other, but also specifically

in Women’s writing in contemporary France
Robert Fine and Philip Spencer

. 17 Jean-Paul Sartre was to observe how resistant the antisemitic outlook can be to empirical criticism. In Antisemite and Jew (1946) he described antisemitism as a ‘passion’ neither caused nor refutable by experience: ‘The essential thing here is not a “historical fact” but the idea that the agents of history formed for themselves of the Jew’. Sartre observed that there is a sense in which the antisemite can never

in Antisemitism and the left
Open Access (free)
Mary Chamberlain

the Castle of My Skin , and was close to Jean-Paul Sartre. Simone de Beauvoir introduced In the Castle of My Skin to Sartre, who chose to publish it in his series Les Temps Modernes in 1958. Lamming’s networks also included African, Indian and Asian dissidents through whom he became ‘increasingly conscious of the political continuities between the Caribbean and the kind of discussion taking place

in West Indian intellectuals in Britain
Open Access (free)
Francisco E. González and Desmond King

. Individual lynchings received detailed coverage overseas, as in due course did both the Brown decision (1954) and ‘Little Rock crisis’ (1955). 238 AREAS To some extent French interest in African Americans’ conditions was informed by anti-Americanism. Particularly during the period when the Parti Communiste Français (PCF) was a powerful presence in French politics, an eagerness to unearth defects in American politics and society was not uncommon. In 1946 Jean Paul Sartre, the doyen of the French intellectual left, published a critical account of Black Americans in the PCF

in Democratization through the looking-glass
Robert Fine and Philip Spencer

contested influence on Jean-Paul Sartre, who shielded Lévy from Gaullist persecution. Lévy may have helped fortify Sartre's determined refusal to abandon his deep concern with antisemitism and his understanding of Israel as a refuge for Jews after the Holocaust. Many on the left were discomfited by this position of Sartre's and sought to blame Lévy, a charge rebutted convincingly by Sartre's adopted daughter Arlette Elkaïm-Sartre. Some of their

in Antisemitism and the left
Open Access (free)
Mladen Dolar

Authority: The Uses of Cliché (Basingstoke: Palgrave Macmillan, 2006). 11 Gilles Deleuze, ‘The exhausted’, in Essays Critical and Clinical (Minneapolis: University of Minnesota Press, 1997), p. 152. 12 Jean-Paul Sartre, Nausea, trans. Robert Baldick (Harmondsworth: Penguin, [1965] 1972), p. 185; La Nausée (Paris: Livre de Poche, 1968), p. 182. 13 Beckett, Molloy, pp. 64–9. See also the remarkable article by Denise Gigante, ‘The endgame of taste: Keats, Sartre, Beckett’, in Timothy Morton (ed.), Cultures of Taste / Theories of Appetite: Eating Romanticism (Basingstoke

in Beckett and nothing
Sylvie Germain and the generic problems of the Christian novel
Margaret-Anne Hutton

-d’Ambre (Paris: Gallimard, ).  Genesis .: ‘And Jacob called the name of the place Peniel, for, said he, I have seen God face to face, and my life is preserved.’  Sylvie Germain, L’Enfant Méduse (Paris: Gallimard, ). All quotations are taken from the  Folio edition.  Gérard Genette, Figures III (Paris: Seuil, ), p. .  Jean-Paul Sartre, Situations I (Paris: Gallimard, ), p. .  Alastair Smart, The Dawn of Italian Painting – (Oxford: Phaidon, ), p. . For a detailed discussion of the portrayal of light in the Baroncelli Chapel

in Women’s writing in contemporary France