Beckett S Dantes

With original and informative intertextual reading of Beckett's work, detecting previously unknown quotations, allusions to and parodies of Dante, Daniela Caselli presents a study of the relationship between Beckett and Dante.

This book is the first study in English on the literary relationship between Beckett and Dante. It is an innovative reading of Samuel Beckett and Dante's works and a critical engagement with contemporary theories of intertextuality. The volume interprets Dante in the original Italian (as it appears in Beckett), translating into English all Italian quotations. It benefits from a multilingual approach based on Beckett's published works in English and French, and on manuscripts (which use English, French, German and Italian). The book is aimed at the scholarly communities interested in literatures in English, literary and critical theory, comparative literature and theory, French literature and theory and Italian studies. Its jargon-free style will also attract third-year or advanced undergraduate students, and postgraduate students, as well as those readers interested in the unusual relationship between one of the greatest writers of the twentieth century and the medieval author who stands for the very idea of the Western canon.

The essays in this volume explore the persistent struggle of language to overcome its own limitations. Given their scope--from Dante's confrontation with the divine All to Samuel Beckett's obsessive need to speak in the face of Nothing--they expand our notion of the extent to which all speech is an assault on silence, an attempt to articulate what lies beyond the grasp of words. The collection offers the reader, in roughly chronological order, diverse conceptions of the ineffable as either superfluity or absence of reality. It also exposes language in the act of extending its own boundaries, drawing attention to those literary tactics by which speech attempts to suggest what cannot be said. While largely a study of poetry, from medieval to modern, the volume also touches upon drama and a variety of prose, combining close textual readings with broader thematic discussions.

Faber Stories, a landmark series of individual volumes, presents masters of the short story form at work in a range of genres and styles. Well, thought Belacqua, it's a quick death, God help us all.It is not.'Dante and the Lobster' is the first of the linked short stories in Samuel Beckett's first book, More Pricks Than Kicks. Published in 1934, its style was recognisably indebted to that of his mentor, James Joyce, and crammed with linguistic texture and allusion that Beckett later shed. The book baffled many critics and sold so few copies that several batches were pulped.Decades later, this story was hailed as the Nobel Prize-winner's earliest important work.

In this fascinating new exploration of Samuel Beckett’s work, Pascale Casanova argues that Beckett’s reputation rests on a pervasive misreading of his oeuvre, which neglects entirely the literary revolution he instigated. Reintroducing the historical into the heart of this body of work, Casanova provides an arresting portrait of Beckett as radically subversive—doing for writing what Kandinsky did for art—and in the process presents the key to some of the most profound enigmas of Beckett’s writing.

Dante's persistent and pervasive presence has been a remarkable feature of modern writing since the late eighteenth century. This collection of essays by an international group of scholars emphasizes that presence in the work of major British and Irish writers (such as Blake, Shelley, Joyce and Heaney). It also focuses on responses in America, the Caribbean and Italy and deals with appropriations of Dante's work by poets (from Gray to Walcott) and novelists (such as Mary Shelley and Giorgio Bassani, and Gloria Naylor).

Beckett’s Late Stage reexamines the Nobel laureate’s post-war prose and drama in the light of contemporary trauma theory. Through a series of sustained close-readings, the study demonstrates how the comings and goings of Beckett’s prose unsettles the Western philosophical tradition; it reveals how Beckett’s live theatrical productions are haunted by the rehearsal of traumatic repetition, and asks what his ghostly radio recordings might signal for twentieth-century modernity. Drawing from psychoanalytic and poststructuralist traditions, Beckett’s Late Stage explores how the traumatic symptom allows us to rethink the relationship between language, meaning, and identity after 1945.

'The danger is in the neatness of identifications', Samuel Beckett famously stated, and, at first glance, no two authors could be further distant from one another than William Shakespeare and Samuel Beckett. This book addresses the vast intertextual network between the works of both writers and explores the resonant correspondences between them. It analyses where and how these resonances manifest themselves in their aesthetics, theatre, language and form. It traces convergences and inversions across both œuvres that resound beyond their conditions of production and possibility. Uncovering hitherto unexplored relations between the texts of an early modern and a late modern author, this study seeks to offer fresh readings of single passages and entire works, but it will also describe productive tensions and creative incongruences between them.