The Making Of Samuel Beckett S Company Compagnie

The latest BDMP volume discusses Samuel Beckett's late prose text 'Company/Compagnie'. 'Company' was first composed in English between the years 1977 and 1979, with Beckett breaking a 20-year-long pattern of composing primarily in French to craft this meticulously structured 59-paragraph masterpiece of his late prose. Its French companion, 'Compagnie', was translated in only two weeks, in August 1979, yet the French came into print in early 1980, some months before the English 'original'. Both texts emerged during a period of intense theatre work for Beckett, and the composition of 'Company' in particular appeared to offer Beckett a degree of respite from his theatre commitments,with the text at times appearing to take on the role of a companion, not unlike the relationship between the hearer and voice depicted therein. 'Company' sees Beckett adopt and abide by a rigorous predetermined plan laid out across four schemata, a plan that encompassed the entire text on a paragraph-by-paragraph level. This distinguishes it from Beckett's approach towards the composition of texts such as 'Molloy' or 'Malone meurt'. The genetic critical analysis of the manuscripts of 'Company/Compagnie' takes this schema-dependent compositional method as its core focus. It forwards a new hypothesis regarding the genetic map of both works, and considers the relationship between this uniquely entwined 'original' and 'translation'. 00.

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Begins a series of bilingual variorum editions of Irish writer Beckett's (1906-89) work. He wrote in both English and French, and the two versions, with their textual variants, are presented on facing pages to allow scholars to compare them and trace the evolution of each. Company was published in 1980, and Monologue in 1979-82. No index. Annotation copyright by Book News, Inc., Portland, OR

This volume is part of the Beckett Digital Manuscript Project (BDMP), a collaboration between the Centre for Manuscript Genetics (University of Antwerp), the Beckett International Foundation (University of Reading) and the Harry Ransom Humanities Research Center (University of Texas at Austin), with the support of the Estate of Samuel Beckett. The BDMP (www.beckettarchive.org) digitally reunites the dispersed manuscripts of Samuel Beckett's works and facilitates their examination. The project consists of two parts: a digital archive of Beckett's a manuscripts, with facsimiles and transcriptions, organized in modules; b a series of print volumes, analyzing the genesis of Beckett's works. This first volume of the BDMP studies Beckett's last works: "Stirrings still / Soubresauts and Comment dire/what is the word". It examines the notes, manuscripts, typescripts and other writing traces and reconstructs the dynamics of the composition process on the basis of this material.

Providing a broad, definitive account of how the 'archival turn' in humanities scholarship has shaped modernist studies, this book also functions as an ongoing 'practitioner's toolkit' (including useful bibliographical resources) and a guide to avenues for future work. Archival work in modernist studies has revolutionised the discipline in the past two decades, fuelled by innovative and ambitious scholarly editing projects and a growing interest in fresh types of archival sources and evidence that can re-contextualise modernist writing. Several theoretical trends have prompted this development, including the focus on compositional process within genetic manuscript studies, the emphasis on book history, little magazines, and wider publishing contexts, and the emphasis on new material evidence and global and 'non-canonical' authors and networks within the 'New Modernist Studies'. This book provides a guide to the variety of new archival research that will point to fresh avenues and connect the methodologies and resources being developed across modernist studies. Offering a variety of single-author case studies on recent archival developments and editing projects, including Samuel Beckett, Hart Crane, H.D., James Joyce, Dorothy Richardson, May Sinclair and Virginia Woolf, it also offers a range of thematic essays that examine an array of underused sources as well as the challenges facing archival researchers of modernism

Beckett, Lacan and the Mathematical Writing of the Real proposes writing as a mathematical and logical operation to build a bridge between Lacanian psychoanalysis and Samuel Beckett's prose works. Arka Chattopadhyay studies aspects such as the fundamental operational logic of a text, use of mathematical forms like geometry and arithmetic, the human obsession with counting, the moving body as an act of writing and love, and sexuality as a challenge to the limits of what can be written through logic and mathematics. Chattopadhyay reads Beckett's prose works, including How It Is, Company, Worstward Ho, Malone Dies and Enough to highlight this terminal writing, which halts endless meanings with the material body of the word and gives Beckett a medium to inscribe what cannot be written otherwise.