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On Beckett: Essays and Criticism is the first collection of writings about the Nobel Prizewinning author that covers the entire spectrum of his work, and also affords a rare glimpse of the private Beckett.
On Beckett: Essays and Criticism is the first collection of writings about the Nobel Prizewinning author that covers the entire spectrum of his work, and also affords a rare glimpse of the private Beckett.
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Autorenporträt
Edited with an Introduction by S. E. Gontarski
Inhaltsangabe
The Essential Beckett: A Preface to the Second Edition – S. E. Gontarski A Beckett Chronology Acknowledgments Crritics and Crriticism: “Getting Known”– introduction by S. E. Gontarski PRELIMINARIES: Beckett and “Merlin” – Richard W. Seaver Samuel Beckett and the Visual Arts: The Embarrassment of Allegory – Dougald McMillan When is the End Not the End? The Idea of Fiction in Beckett – Wolfgang Iser THE PAGE: “Murphy” and the Uses of Repetition – Rubin Rabinovitz “Watt” – Lawrence E. Harvey “Mercier and Camier”: Narration, Dante, and the Couple – Eric P. Levy Molloy’s Silence – Georges Bataille Where Now? Who Now? – Maurice Blanchot The Voice and Its Words: “How It Is”– J. E. Dearlove The Unnamable’s First Voice? – Chris Ackerley Between Verse and Prose: Beckett and the New Poetry – Marjorie Perloff “Worstward Ho” – Dougald McMillan THE STAGE: MacGowran on Beckett – interview by Richard Toscan Blin on Beckett – interview by Tom Bishop Working with Beckett – Alan Schneider Notes from the Underground: “Waiting for Godot” and “Endgame” – Herbert Blau Beckett Directs “Godot” – Walter D. Asmus Beckett Directs: “Endgame” and “Krapp’s Last Tape” – Ruby Cohn Literary Allusions in “Happy Days” – S. E. Gontarski Counterpoint, Absence, and the Medium in Beckett’s “Not I” – Paul Lawley Rehearsal Notes for the German Premiere of Beckett’s “That Time” and “Footfalls” – Walter D. Asmus “Footfalls” – James Knowlson Samuel Beckett and the Art of Radio – Martin Esslin Light, Sound, Movement, and Action in Beckett’s “Rockaby” – Enoch Brater Beckett’s “Ohio Impromptu”: A View from the Isle of Swans – Pierre Astier “Quad” and “Catastrophe” – S. E. Gontarski CODA: Burroughs with Beckett in Berlin – edited by Victor Bockris Notes on Contributors
The Essential Beckett: A Preface to the Second Edition – S. E. Gontarski A Beckett Chronology Acknowledgments Crritics and Crriticism: “Getting Known”– introduction by S. E. Gontarski PRELIMINARIES: Beckett and “Merlin” – Richard W. Seaver Samuel Beckett and the Visual Arts: The Embarrassment of Allegory – Dougald McMillan When is the End Not the End? The Idea of Fiction in Beckett – Wolfgang Iser THE PAGE: “Murphy” and the Uses of Repetition – Rubin Rabinovitz “Watt” – Lawrence E. Harvey “Mercier and Camier”: Narration, Dante, and the Couple – Eric P. Levy Molloy’s Silence – Georges Bataille Where Now? Who Now? – Maurice Blanchot The Voice and Its Words: “How It Is”– J. E. Dearlove The Unnamable’s First Voice? – Chris Ackerley Between Verse and Prose: Beckett and the New Poetry – Marjorie Perloff “Worstward Ho” – Dougald McMillan THE STAGE: MacGowran on Beckett – interview by Richard Toscan Blin on Beckett – interview by Tom Bishop Working with Beckett – Alan Schneider Notes from the Underground: “Waiting for Godot” and “Endgame” – Herbert Blau Beckett Directs “Godot” – Walter D. Asmus Beckett Directs: “Endgame” and “Krapp’s Last Tape” – Ruby Cohn Literary Allusions in “Happy Days” – S. E. Gontarski Counterpoint, Absence, and the Medium in Beckett’s “Not I” – Paul Lawley Rehearsal Notes for the German Premiere of Beckett’s “That Time” and “Footfalls” – Walter D. Asmus “Footfalls” – James Knowlson Samuel Beckett and the Art of Radio – Martin Esslin Light, Sound, Movement, and Action in Beckett’s “Rockaby” – Enoch Brater Beckett’s “Ohio Impromptu”: A View from the Isle of Swans – Pierre Astier “Quad” and “Catastrophe” – S. E. Gontarski CODA: Burroughs with Beckett in Berlin – edited by Victor Bockris Notes on Contributors
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