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基本説明
Ranging widely over Beckett's fiction, drama, critical writings and letters from the 1920s and 1930s, Laura Salisbury demonstrates that it is through Beckett's comic timing that we ca understand the double gesture of his art.
Full Description
Reads Beckett's comic timing as part of a post-war ethics of representationSamuel Beckett is a funny writer. He is also an author whose work is taken to respond ethically to the unspeakable seriousness of the post-Holocaust situation. How can these two statements sit together?Ranging widely over Beckett's fiction, drama, and critical writings, and including readings of Murphy, the Trilogy, Waiting for Godot, Endgame, the late prose, and the late plays, the book demonstrates that it is through Beckett's comic timing that we can understand the double gesture of his art: the ethical obligation to represent the world how it is while, at the same time, opening up a space for how it ought to be.Key Features:* Presents innovative readings of the comedy found in Beckett's fiction, drama and critical writings* Spans Beckett's entire oeuvre, using published and unpublished sources* Engages with recent and contemporary philosophical approaches to literature, including work by Derrida, Badiou, Levinas, and Adorno* Makes a unique contribution to theoretical work on comedy and laughter* Provides a rigorous introduction to the theoretical debates surrounding the relationship between modernist literature and a post-war ethics of representation
Contents
Acknowledgements; Abbreviations; Introduction; Human Humour; Fun and Trembling; 'That's not moving. That's moving'; Laughing Matters; Chapter One. Critical Joking: The Early Prose; Superiority, Sarcasm, Scholarship; The Loutishness of Learning; Diminishing Laughing Returns; Art vs. Book-Keeping; S/M: Scholarship and Mimicry; Critical Timing; Chapter Two. Gagging in the Trilogy; Gagging for It; Partial Incorporation; An Obligation to Express; Tiring Desire; Toilet Training, Resistant Material; Nihil in Intellectu; Chapter Three. Power Playing in Endgame; Perhaps; Unhappiness: Nothing Funnier; Playing for Time; The Play of the Audience; Just Play; Dialectics at a Standstill; Chapter Four. Comic Tremors: The Late Prose; Embers and Ashes; Imagination at Wit's End; Ill Saying, Ill Said; Ill Seeing; Chapter Five. Slapstick Echoes: The Late Plays; Limping Gags; Deadpan Demands; 'Kindly Tune Accordingly'; 'Like Something out of Beckett'; Conclusion; Works Cited.
