Search

This essay seeks to elucidate some of the many challenges faced by Beckett and his collaborators in their attempt to realize his exploration of subjective consciousness in cinema. It utilizes Beckett's unpublished production notes, correspondence, and examples from the production's original camera tests to examine the technical and formal ways that he, director Alan Schneider and cinematographer Boris Kaufman sought to make physically manifest the abstract ideas underlying the unconventional script of Film. In the many photochemical experiments they conducted prior to production, discovered amidst the outtakes in the course of Film's restoration, one sees Beckett's unique vision struggling with not just the theoretical constructs of a new medium, but with its practical application. The interaction of these respective struggles in turn serves as a metaphor for Beckett's larger dialogue with Bishop Berkeley, and its questions on the nature of Being which drive Film. [ABSTRACT FROM AUTHOR]

This paper aims to expand our thinking about and understanding of two very primitive anxieties that are prominent in various primitive mental states in general and in disorders found along the autistic spectrum, in particular: the fear of falling and the dread of self‐dissolution. These anxieties are illustrated through two personal dreams of the author, two clinical cases, various art works and Beckett's short story 'The expelled' (1946). Theoretical developments in psychoanalytic theories for understanding these anxieties are presented and discussed, with the aim to clarify the matrix of object relations specific to each of these two anxieties. [ABSTRACT FROM AUTHOR]

Copyright of Samuel Beckett Today / Aujourd'hui is the property of Brill Academic Publishers and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Samuel Beckett Today / Aujourd'hui is the property of Brill Academic Publishers and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Waiting for Godot ushered in an era of Absurd drama that drew on not only modern thought about life but also the modern image of life. Samuel Beckett, unlike Sartre and Camus as playwrights, stripped the façade of the modern existence and laid bare the scene with the minimum in its real image. To project such a stark condition of human experience Beckett chose to present us the maximum with “mere-most minimum.” The message in Godot appears to be existentialist, which Beckett denied, for he asserted that if ever he read philosophy it was Descartes, who gave the dictum ‘cogito ergo sum,’ or “I think therefore I am,” something that reflects a positive undertone of the play. Minimalism of form and content thus becomes the vehicle of the Absurd in Waiting for Godot. Beckett becomes the pioneer of the minimalist art in modern drama and champions ‘linguistic gravity’ without any traditional structure of plot. There are series of incidents but they don’t amount to anything and even incidence maybe too big a word. The characters sort of improvise in order to fill the time. The dialogue is repetitious, illogical and nonsensical; the characterisation is sketchy and inconsistent. Although theatre is the most concrete literary form available, when you see Waiting for Godot you are definitely seeing a set that consists of a tree and a road and you see five actors impersonating five people. That much is concrete. But no fact or relationship about that place or those people is ever certain. All is questioned and all is in flux. Beckett is not presenting an argument toward the conclusion of existential absurdity. He is presenting images of absurdity. [ABSTRACT FROM AUTHOR]

One could consider that over a period of six decades, between 1957 and 2017, Kurtág developed the ever-expanding idea of an opera based on the writings of Samuel Beckett. It started in 1957 when Ligeti, then living in Vienna, strongly suggested to his friend Kurtág, who was based in Paris, to go and see Beckett's latest plays, En attendant Godot and Fin de partie. The experience inspired Kurtág's immediate and enduring admiration for the Irish writer and since then, he has come a long way through the labyrinth of his own work. He made use of Beckett in his piece for the Hungarian singer Ildikó Monyók What is the word, then in ...pas à pas - nulle part..., always proving that sounds and words share equal importance in musical setting. With his rich experience and mastery, the 92-year old Kurtág approached his first opera, plunging into the depths of Beckett's piece Fin de partie; he infused the theatre of the absurd with exquisite lyricism, thus enhancing the metaphorical power of the text with a refined musical discourse. The outcome of seven years of intense work (2010-2017), Kurtág's Fin de partie surprises the listener by the freshness of its musical language, an accurate translation into sound of Beckett's poetic theatrical universe. Rather than resulting in a mere tie, this encounter between two great artists sees music and text as equal winners in terms of expressive content, a true collaboration enriching the contemporary dramatic repertoire with a unique masterpiece. [ABSTRACT FROM AUTHOR]

The exploration undertaken by the Chinese writer Gao Xingjian is among the most representative of the drama experiments made in contemporary China. Inspired by avant-garde Western playwrights, especially Samuel Beckett and Bertolt Brecht, Gao transcended the realistic tradition of modern Chinese drama throughout his forty-year career. Brecht's misinterpretation of Chinese drama enabled Gao to transform the writing and performance of traditional Chinese drama in his own original way, which opened up a uniquely oriental approach to drama explorations worldwide. [ABSTRACT FROM AUTHOR]

Copyright of Revista de la Asociacion Aragonesa de Criticos de Arte is the property of Asociacion Aragonesa de Criticos de Arte and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Written in the context of the late 1970s, Samuel Beckett's mirlitonnades poems evoke the possible return of the old ghosts of the past, which, if one is not careful, will once again affect and infect the present and com - promise the future. Samuel Beckett's quest for the worst has historical sources - to be found in the Second World War - as well as literary sources, namely Shakespeare's King Lear, a play in which the destiny of Edgar both interested and moved him. According to philosopher Herbert Marcuse, to whom one of the poems of mirlitonnades is dedicated, certain outsiders and artists are bearers of "human qualities" that are "contrary to social requirements". Thus they may be able to prevent the worst from happening again. [ABSTRACT FROM AUTHOR]

This essay reads Beckett's relationship to psychoanalysis as a central concern of Molloy, arguing that Molloy's quest for mother traces Beckett's re-evaluation of the British school of object-relations theory of Wilfred Bion and Donald Winnicott. Tracing fine furniture, in Irish literature of the 1920s and 1930s, as an objective correlative of Anglo-Irish distinction, and linking that tradition to a Winnicottian reading of Molloy's impulsive theft of silverware, I argue that Molloy parodies the language of object-relations in order to situate Beckett newly in relation to it. In other words, Beckett intimates that Molloy's unhealthy obsession with mother is mirrored in psychoanalytic theory itself. In this way, writing Molloy allows him to re-evaluate psychoanalysis in its obsession with 'mother' as the founding site of psychic health and wellness. [ABSTRACT FROM AUTHOR]

Copyright of Nasleđe is the property of University of Kragujevac, Faculty of Philology & Arts and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Journal of Al-Frahids Arts is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This paper focuses on states of mind in which a psychic void predominates, characterized by a deep sense of meaninglessness and formlessness, and on the various survival strategies and protective shells employed in the attempt to 'a‐void' this experience/state. At one pole, through a clinical case, I will illustrate the use of excitation envelopes and rebirth phantasies, as main pacifiers of the psychic void; at the other pole, through a discussion of Beckett's short play 'Rockaby', I will elaborate on overly rhythmic, controlled manoeuvres that are devoid of aliveness, but protect against the awareness of such depleted states of mind. In both cases, one can notice the oscillation between the defence employed and the ever‐pulsating need for human contact, however faint it may be. The seemingly paradoxical contradiction between the psychic void and the overly structured literary text that embodies this void is frequently encountered in texts that express and give form to otherwise formless experiences through the structuring and ordering aspects of the text. These structures simultaneously express both something of the defence against the experience of fragmentation and dissolution, and something of the experience that is being defended against by the protagonist. [ABSTRACT FROM AUTHOR]

Archives are a place of custody of the individual and collective memory and a gathering space of that image that the past imposes on the future. Archives become an arena in which certain historical struggles are fought over through the tasks of selections, interpretation, description and censorship of registered memories. Deciphering is a fundamental key to understand archive complex system. These problems are presented in the dramatic play by Samuel Beckett Krapp's Last Tape. It is possible to define Krapp as the perfect archivist model. In order to reach these conclusions, we will analyze the relationship between history and memory and later the traumatic forms of archive will be analyzed. [ABSTRACT FROM AUTHOR]

Against classical poetics such as those of Aristotle and of XVII French Classicism, Giambattista Vico proposes a return to the origins of the human to explore the nature of poetry understood as poeisis, as creation. Poet means creator. The first inhabitants of the earth after the universal flood were giants called i bestioni by Vico, ferocious wild beings and wandering vagabonds that tried to account for their world with the great poverty of their language. This Neapolitan thinker finds in these beings a fertile ground to think about creation without recurring to the canon of prescriptive poetics. Of course, he was uncomprehended in his time, but he wouldn't be two centuries later when Joyce and Beckett assume the project of thinking about creations outside the canon and materializing their thought. In fact the first essay and first poem written by Beckett deal with Vico. Throughout the article, we will show how Vico's proposal foreshadows the routes of creation in the XXth century, which doubtlessly inspired Beckett's the aesthetic project under the motif of artists of the time: creation as work in progress. [ABSTRACT FROM AUTHOR]

What can Beckett offer political theory concerned with subjecthood in the aftermath of the Nazi concentration camps? I suggest in this essay that Molloy provides a literary terrain through which to explore the collapse of the Enlightenment and the emergent vulnerability of the subject in relation to the state. Reading Foucault and Agamben's differing analyses of biopolitics through Molloy, I argue, offers an opportunity to critique both theorists as well an opportunity to read a theory of the post-camp subject into Beckett. I argue as well for a reading of Molloy as an illustration of Adorno and Horkheimer's critique of Enlightenment and the impossibility of political futurity under the logic of the camp. [ABSTRACT FROM AUTHOR]

Samuel Beckett displays an interest in portraying figures normally regarded as insane within their communities, and who are frequently depicted interacting with institutions of mental care. Taking the representation of three asylums in three separate works, this paper aims to explore a developing and complicated meditation on the subjects of mental health and incarceration by the author. Beckett's recurring reference to Jonathan Swift and the constant presence of sexual anxiety in these narratives allows him to produce a nuanced critique of the development of modes of confinement in the emerging Irish state. [ABSTRACT FROM AUTHOR]

Queer readings of Samuel Beckett's antipathy to reproduction have focused on his refusal of futurity. This essay expands on previous studies of anti-futurity in Beckett's work by exploring his fascination with atavism, regression, and decadence. Beckett's anti-vitalist modernism departs from James Joyce's preoccupation with the fruitful potentialities of the degenerate body; from his early story "Echo's Bones" to his final full-length novel How It Is, he links atavism to the queer refusal of generative life. By extension, Beckett's "queer atavism" presents a striking alternative to recent neovitalist affirmations of the inhuman in queer theory and modernist studies. [ABSTRACT FROM AUTHOR]

In a forceful critique of previous scholarship, Lloyd (Meadhbh) Houston discerns evidence of "sectarian eugenicism" in Beckett's writings. It is a startling claim, and there are problems to it. In particular, I suggest, Houston ignores the issue of tone: Beckett's use of parody. Responding to Houston's critique, I offer some thoughts on eugenicism, sectarianism and misogyny in Murphy and First Love. The aim is not to exculpate Beckett from all charges of prejudice, only to complicate issues of complicity in a theocratic hetero-patriarchal society. [ABSTRACT FROM AUTHOR]

Of all the actions of the Irish Censorship of Publications Board, one of the most often cited, but least critically examined, is the suppression of Samuel Beckett's More Pricks Than Kicks (1934). This article aims to recover a fuller picture of how censorship of More Pricks affected Beckett, particularly in his attitudes to the biopolitical policing of ethnonational identity. To do so, it examines Beckett's involvement in Harry Sinclair's 1937 libel action against Oliver St John Gogarty, and the crucial role that the suppression of More Pricks played in discrediting Beckett as a witness. In contrast to previous, "personal" readings of the trial, it explores how the libellous passages of Gogarty's As I Was Going Down Sackville Street (1937) offered an anti-Semitic portrait of Sinclair and his family in which ethnic alterity and sexual deviance are presented as synonymous, and how Gogarty's barrister appropriated this rhetorical strategy to target Beckett. In the process, it offers a deep contextualisation of Beckett's anti-natalism, anti-nationalism, and longstanding aversion to censorship, by emphasising their relationship to his experiences of the operation of biopolitics in the emergent Free State and a wider European context during the trial and its aftermath. [ABSTRACT FROM AUTHOR]

In his depiction of the hero Cuchulain, Samuel Beckett interrogates how disability and compulsory able-bodiedness are foundational myths for the Irish Free State. Taking the interpolation of disability in biopolitics, this essay examines the normalising impulses in revivalist literature and criticism, exemplified by Lady Gregory, Standish O'Grady, WB Yeats and Daniel Corkery. Against this normalising, nationalising literature, I situate Beckett's satirical renderings of Cuchulain in "Censorship and the Saorstat" and Murphy, as evidence of a profound discomfort and frustration with the biopolitical mechanisms of governance in the newly-founded Irish State. [ABSTRACT FROM AUTHOR]

This essay utilizes Beckett's fictional and critical explorations of attention, distraction and drift to reflect on the ways in which, stripped of the conventions of cultural production, walking, thinking and artistic endeavor might be reimagined outside the normative scripts of biopolitics. Centralized and teleological forms give way to rhizomatic instantiations of the same in a process pertaining to all three registers at once (walking, thinking and writing). The result is the formation of a gesture that though suggestive of resistance cannot be viewed as such, in so far as it eschews negation. The paper traces a movement from the dialectical oscillation of attention and distraction in Proust to Beckett's fashioning of an alternative that finds expression not only in the abstractions of thought and language but also in embodied experience. This alternative will be termed "drift," a label denoting neither principle nor concept, but a mode of being that anticipates our attempts to think the human in the sensorydigital present. Beckett's experiments allow us to reconsider forms of knowledge, understanding and conditioning. No less significant is his lesson on how we might do so without becoming embroiled in the dialectics of resistance and compliance. [ABSTRACT FROM AUTHOR]

Copyright of ERAS: European Review of Artistic Studies is the property of European Review of Artistic Studies and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Samuel Beckett Today / Aujourd'hui is the property of Brill Academic Publishers and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Samuel Beckett Today / Aujourd'hui is the property of Brill Academic Publishers and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Many of Beckett characters suffer from different kinds of disabilities and impairments, this being one of the ways of punishing them for "the eternal sin of having been born."] The article discusses blindness in Waiting for Godot, Endgame and All That Fall. In the first of these plays blindness afflicts Pozzo during the interval between the two acts, that is during a single night. Combined with the loss of his watch it is indicative of his entering the subjective realm of timelessness. The blindness of Hamm in Endgame and his inability to walk make him dependant on Clov who is unable to sit, which recalls Pozzo's dependence on Lucky in the second act. Similarly, the blind Mr Rooney also must get help from other people to be able to move around. In the case of all three plays blindness must be perceived on a literal, as well as metaphorical level. [ABSTRACT FROM AUTHOR]

This essay examines the ways in which metaphysical detective stories subvert one of detective fiction’s most emblematic features: the investigation’s resolution and the subsequent narrative closure. In the “The Man of the Crowd” (1840), the father of the genre, Edgar Allan Poe, already introduced mysteries that “[did] not permit [themselves] to be read.” Such texts enact quests for knowledge that cannot reach any kind of intellectual or emotional closure and are, instead, rewarded with more unfathomable questions. The sublime appears as a relevant concept to describe the “gaps” left open in the cognitive process of looking for answers, which will hopelessly remain beyond the detective’s — and the reader’s — reach. Including close readings of Henry James’s “The Figure in the Carpet” (1896) and Samuel Beckett’s Molloy (1951), this essay proceeds to show that the “metaphysical” character of these texts lies predominantly in their lack of faith in language as a reliable tool to convey the multiple and shifting identities of the unsuccessful sleuth confronted with the meaninglessness of his investigation.

The question of who speaks in Beckett’s work is one that has intrigued critics ranging from Maurice Blanchot do Jacques Derrida. This undecidibility stems predominantly from a modernist poetics characterized by authorial neutrality, the effect of which is a floating, anchorless and disseminated subject that resists articulation and has no definite point of origin. The speaking voice, therefore, becomes the proxy for this subject, itself a spectral entity which incessantly presents the subject despite its desire for silence. The aim of this article is to examine subjectivity in Beckett’s fiction, especially the third part of his trilogy, The Unnamable, in reference to the agency of the voice as its defined in Maurice Blanchot’s concept of the neutral voice. Blanchot’s theory of neutrality gives insight into the paradoxical nature of subjectivity in Beckett’s fiction by foregrounding the irresolvable aporetics undermining the objective/subjective dualism at the heart of Western metaphysics.

In the spirit of praxis, I connect Lacanian theory with the practice of making a video. Lucky in Savannah, which is an experimental adaptation of "Lucky's speech" from Samuel Beckett's (1954/1984) masterpiece, Waiting for Godot--"[t]he prototype of a modernist text" according to Slavoj Žižek (1991). For Žižek (2017), Beckett--rather than Shakespeare--is "a kenotic writer, a writer of utter self-emptying of subjectivity, of its reduction to a minimal difference" (p. 300). Will Greenshields (2017) argues that Žižek goes further than Lacan, and even performs an anti-Žižekian move when choosing Beckett over Joyce: "While for Joyce the beginning and end were so close as to be indistinguishable...for Beckett there is such a thing as a beginning, a bare minimum, and if the truly revolutionary act is to be achieved, one must return to it" (p. 13). For these reasons, it is certainly worthwhile to consider Beckettavec Žižek and others (cf. Greenshields, 2017; Moder, 2015). In my video, I employ a Beckettian aesthetic informed by Lacanian psychoanalysis, which leads me to the following question: Is Lucky's speech an example of "full speech" par excellence (Lacan, 1953), or is it a Real manifestation of the sinthome as "the meaningless letter that immediately procures jouissense, 'enjoyment-in-meaning,' 'enjoy-meant'" (Žižek, 1991)? [ABSTRACT FROM AUTHOR]

This essay will argue that the structure and poetics of many Beckett plays follows the technological and informational new, self-generative patterns that have been associated with posthumanism. If we can distinguish three main waves in posthumanism – homeostasis, reflexivity and virtuality –, it appears that these can be clearly discerned in Beckett's work. Drawing on examples from among others Krapp's Last Tape, Endgame, Play and Ohio Impromptu, we will not only trace this posthumanist inclination, but align this way of thinking to the wave of performativity that emerged in the second half of the 20th century. Thus, Beckett also informs us about the underlying ideology of posthumanism itself. [ABSTRACT FROM AUTHOR]

The emergence of theories of disability in the last decades has rendered figurative interpretation suspect; neglect of literal and material truths has been hailed unethical, the exercising of an ableist bias that utilizes physical impairment as a rhetorical device. Any attempt to reconcile such critical concerns with Beckett's writing must take cognizance of an essential incongruity between the socially conscripted theoretical framework and aesthetic experimentation, between a mimetic fidelity to lived experience and an art of non-relation. The essay suggests that Beckett's poetics of exhaustion and its rejection of substitution and analogy in the interpretation of figures allows us to think beyond the interdisciplinary divide. The body is not imagined as a stand-in or receptacle for philosophical ideas but rather as the substrate upon and with which these ideas evolve and change. The text maintains the materiality of mental and physical impairments at the same time that it loads them with a variety of different metonymical connections. Such a stylization of excess and accumulation serves to release disability from existing stereotypes and predetermined moral judgment. It does so while sidestepping an impasse in disability studies, between the need to valorise overcoming, on the one hand, and the need to support the inability to do so, on the other. Neither extolling the supercrip nor championing inability, Beckett allows his readers to productively imagine what it might mean to fail better. [ABSTRACT FROM AUTHOR]

In this paper I analyse and compare the motif of the rocking chair in a selection of Samuel Beckett's and Franz Kline's works. Rocking chairs appear in three of Beckett's main works: the novel Murphy, Film, and the short play Rockaby. Kline, in turn, painted a series of portraits of his wife sitting in a rocking chair at a pivotal moment in his life and career - as well as in the history of modern painting -, namely, in the years immediately preceding his turn to abstract painting. By comparing the uses of this apparently marginal motif, I intend to show how they can mutually shed light onto each other and help addressing some of the major aspects of both bodies of work. In particular, I claim that the rocking chair served both authors as a sort of fetish object through which they could address their views on the relation between the subject and the outer world, a major theme in both their works and lives which played a relevant role in the development of their creative process and the definition of their poetics. [ABSTRACT FROM AUTHOR]

This article investigates how, in the post-war theatrical trilogy Waiting for Godot, End game and Happy Days, Samuel Beckett presents a wait that never ends, in two ways. First, regarding the content: it is a wait that has no external purpose of the works, as a total meaning that can be understood and serve our moral or cognitive instruction. Second, regarding the form: the waiting does not end, it is endless, as a final goal to be desired by the characters within the works that would confer them completeness, closure. [ABSTRACT FROM AUTHOR]

Copyright of Samuel Beckett Today / Aujourd'hui is the property of Brill Academic Publishers and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Samuel Beckett Today / Aujourd'hui is the property of Brill Academic Publishers and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Samuel Beckett Today / Aujourd'hui is the property of Brill Academic Publishers and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article examines the structure of Samuel Beckett’s What Where (1983) from a Lacanian point of view to show how Beckett deploys a logical framework and follows it to its own wreckage with telling political underpinnings. The play’s auto-deconstructive structure locates a point of impossibility for its own operations that I approach through Lacanian discourse theory in which the Real is posited as the impossible qua discursive formalization. As a play on the vicious cycles of torture, What Where inscribes a critique of torture as a master’s discourse. The structural impasse of the Real in What Where leads us to a comment on structural mastery in a discursive context, applicable specifically to Beckett’s text and more generally to Lacan’s discursive machine as advanced in his 17th seminar, The Other Side of Psychoanalysis (1969-1970). As will be seen, the “master’s discourse” in Beckett’s play can only operate by hiding the impossible Real of its inoperativity. Beckett’s unveiling of this occlusive dimension in the master’s discourse highlights a resistant aspect of the Lacanian discursive arrangement. [ABSTRACT FROM AUTHOR]

Copyright of Pessoa Plural is the property of Pessoa Plural and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)