Search results

1

A Fox in the Land of Ulro: Miłosz and Beckett

100%

Kopciński J.

Colloquia Litteraria

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2017

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issue 1

EN

In the sketch I present Beckett as a representative of western civilisation and a dialogue between Beckett and Czesław Miłosz. A characteristic outcome of this confrontation are the instruction for the habitués of the Urlo Land (Ziemia Urlo): cultivation of love for order, exercising the memory against the flow of time, choice of goodness despite the unmitigated evil, faith in what is visible, love for facts and search for meaning.

2

Zbuntowane oko

85%

Giżycki M.

Kwartalnik Filmowy

|

2020

|

issue 111 Zmysły i afekty

258-266

PL

Oko fascynuje artystów, pisarzy i filmowców od dawna. Najczęściej jednak i w literaturze, i w kinie pojawia się w szokującym kontekście – jest wyłupiane, oślepiane itp. Autor zastanawia się nad tym fenomenem, ale skupia się na dwóch filmach, które nie epatują okrucieństwem: Filmie Samuela Becketta i Alana Schneidera z 1965 r. i Klatce Sidneya Petersona z 1947 r. Oba filmy trwają dwadzieścia kilka minut i są nieme, ale łączy je też to, że można je interpretować, jako opowieści o rozdwojeniu jaźni.

EN

The eye fascinates artists, writers, and filmmakers for ages. Usually it appears in the violent context, is plucked out, blinded, etc. The author is deliberating on this phenomenon, but he is focusing on two films which are not a celebration of cruelty: Film by Samuel Beckett and Alan Schneider (1965) and The Cage by Sidney Peterson (1947). Both films are of similar length – twenty-something minutes – and are mute. But they have also this in common that they can be interpreted as stories about split personalities.

3

An on Screen Philosophical Debate — Bishop Berkeley’s esse est percipi and Samuel Beckett’s Film

80%

Uchman J.

Anglica Wratislaviensia

|

2018

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issue 56

147 - 161

EN

Being well read in philosophy, Samuel Beckett was familiar with George Berkeley’s works and his concept of esse est percipi which was the foundation for the philosopher’s immaterialism and spiritualism. The great Irish artist used this idea to propagate quite different ideas. In his novels and plays the idea of being seen, and heard, is, in fact, closer to Martin Buber’s notion of the need for the other than to the Bishop’s understanding of the concept. In his only script, Film, Beckett presents a vision diametrically different from that of the bishop-philosopher. Focusing on life which, as he argued in the essay Proust, is an “expiation for the eternal sin of having been born,” the playwright states that even though the main protagonist desperately avoids being seen by people or even animals, he still exists. The idea is clearly specified in the introductory note to the script written by Beckett: “All extraneous perception suppressed, animal, human, divine, self perception remains in being.”

4

Voluntary and involuntary memory in Samuel Beckett’s Krapp’s Last Tape

80%

Uchman J.

Crossroads. A Journal of English Studies

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2016

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vol. 15

EN

Even though Krapp’s Last Tape presents a single character on the stage, it does not seem to adhere to the typical characteristics of a monodrama since, in fact, we become acquainted with three different Krapps. On the one hand, there is the 69-year-old Krapp visible on the stage, celebrating his birthday, and on the other, there are two more Krapps, who are not present physically, but only aurally – the first one existing as a voice on a recording made thirty years ago, and the second mentioned by the voice. These are his alter egos preserved on some tapes from the past. The drama presents the sameness and the change of Krapp over several years. At the same time, it deals with the concepts of voluntary and involuntary memory which are explained by Beckett in his Proust essay. The first kind of memory is dominated by a person’s will to preserve certain things for the future. The remembrances, thus saved, are static and do not change with the passage of time. The tapes indicate what Krapp decided to commemorate in the past. As the play progresses the clash between the past, as he wanted to remember it, and the past as he actually recalls it, becomes evident. The present Krapp does not recall certain things, which were of vital importance to the past Krapp. The dynamic interplay of voluntary and involuntary memory seems to be one of the most intriguing features of the drama.

5

Lis na ziemi Ulro. Miłosz i Beckett

80%

Kopciński J.

Colloquia Litteraria

|

2011

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vol. 11

|

issue 2

31-41

PL

In the sketch I present Beckett as a representative of western civilisation and a dialogue between Beckett and Czesław Miłosz. A characteristic outcome of this confrontation are the instruction for the habitués of the Urlo Land (Ziemia Urlo): cultivation of love for order, exercising the memory against the flow of time, choice of goodness despite the unmitigated evil, faith in what is visible, love for facts and search for meaning.

6

Blindness in the Beckettland of Malfunctioning

80%

Uchman J.

Text Matters: A Journal of Literature, Theory and Culture

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2018

|

issue 8

122-136

EN

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.

7

Le silence de la personne présente dans le théâtre français du XXe siècle

71%

Modrzejewska K.

Quêtes littéraires

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2012

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issue 2

93-100

EN

The consideration of the silence of a present person in some French 20th century drama reveals the power and the cruelty of human silence. The play by Anouilh displays the destiny of a woman who is convicted to be a voiceless witness, whereas the one by Beckett shows the silence of a husband begged by his companion to confirm her presence. In the play by Lagarce, the agony of an ungrateful son unleashes a torrent of complaints pronounced by a women belonging to his family. Finally, both of the analysed plays by Sarraute show the consequences of silence in relations between friends.

8

George Berkeley’s Esse Est Percipi and Martin Buber’s I-Thou Relationship in Samuel Beckett’s Oeuvre

70%

Uchman J.

Anglica Wratislaviensia

|

2014

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issue 52

51 - 62

EN

The article discusses selected dramas of Samuel Beckett in reference to George Berkeley’s notion of esse est percipi and Martin Buber’s idea of I-Thou relationship. The playwright was familiar with the Bishop’s philosophy and many of his characters express a wish to be seen or heard as this would objectify their existence. At the same time it may be argued that the need to have a companion (be it someone or even something) results from the necessity of having a meaningful relationship as described in Buber’s philosophy of the need of the other. There is no evidence that Beckett knew Buber’s works yet, taking into account the fact that both of them were interested in existential issues, it is not surprising that the philosopher’s views may be a useful tool in analyzing the Nobel prize winner’s output. One thing must be stressed here, namely the fact that whereas in the case of the two philosophers the ideas of esse est percipi and I-Thou relationship are used as a proof of God’s existence, in Beckett’s oeuvre God seems to be absent, this being an expression of the playwright’s attitude to religion.

9

UWIĘZIENI W KOLE SAMSARY. TWÓRCZOŚĆ SAMUELA BECKETTA W ŚWIETLE WYBRANYCH POJĘĆ FILOZOFII DALEKIEGO WSCHODU

61%

Gryszkiewicz A.

Porównania

|

2019

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vol. 24

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issue 1

195-212

EN

The author confronts Samuel Beckett’s works with selected concepts of Eastern philosophy. The article expands previous research conducted by Piotr Dariusz Klimczak, contained in his thesis “Theatre of the Absurd. Thanathic Trilogy” and is based on the hypothesis that Beckett’s dramas and novels, as ones which arise on the existential philosophical discourse background, can in an indirect way transmit the basic doctrines of Buddhism and Hinduism, though not without some shifts to the original philosophical system. The author, unlike in Lidan Lin and Pavneet Kaur studies which consider Artur Schopenhauer as the main East West connecting link, locates the basis of his research in a three-person scheme, Beckett – Heidegger – Suzuki, according to which Eastern philosophy,especially the teachings of the Zen school, could reach Beckett as an echo of the influence of Heidegger’s ontology.

PL

W badaniach autorka zestawia twórczość Samuela Becketta z wybranymi koncepcjami filozoficznymi Dalekiego Wschodu. Artykuł nawiązuje do pierwszej tego rodzaju interpretacji w polskich badaniach beckettologicznych, którą zaproponował Piotr Dariusz Klimczak w pracy „Trylogia Tanatyczna Teatru Absurdu”. Autorka stawia tezę, że proza i dramaty Becketta, jako te, które wyrosły na tle dyskursów egzystencjonalnych, są w stanie w niebezpośredni sposób „przewodzić” idee buddyzmu i hinduizmu. Jednak, inaczej niż w pracach innych badaczy takich jak Lidan Lin i Pavneet Kaur, nie opiera związku Becketta ze Wschodem tylko na postaci Artura Schopenhauera. Za istotną podstawę swoich badań uznaje natomiast triadę Beckett – Heidegger – Suzuki, według schematu której pewne koncepcje filozofii Wschodu, a przede wszystkim nauki szkoły Zen, mogłyby dotrzeć do Becketta jako echo wpływu filozofii Martina Heideggera.

10

In-between Wor(l)ds: Spectrality in Banville’s Eclipse and Beckett’s Fiction

61%

Tereszewski M.

Anglica Wratislaviensia

|

2014

|

issue 52

41 - 49

EN

This article examines the role of ghosts in John Banville’s Eclipse and Samuel Beckett’s fiction as it relates to the concept of hauntology coined by Derrida in Specters of Marx. Particular emphasis is placed on how spectrality destabilizes one of the most salient themes in both Banville’s book and Beckett’s fiction; namely, self-definition. In both Beckett’s fiction and Banville’s Eclipse the reader is presented with a protagonist whose solipsistic self-examination stages what is, in effect, the impossibility of self-expression. Among the many similarities between Banville’s and Beckett’s work, one other theme that is of primary interest for this article is related to the various images of ghosts who, as interstitial phenomena, bring to the fore the ontological, or, to use Derrida’s homonym, hauntological ambiguity of literature. Hauntology brings to light the in-between, unfixed ontology of the self as a textual entity and is, therefore, a particularly fruitful theoretical backdrop to both Beckett’s and Banville’s conceptualizations of self-discovery.

11

When the Mind Becomes a Place: The Modernist Psychological Novel

61%

Terentowicz-Fotyga U.

Zagadnienia Rodzajów Literackich

|

2018

|

vol. 61

|

issue 1(125)

9-23

EN

The paper focuses on the modernist psychological novel as a genre that dramatizes the radical transformations of spatial and temporal categories of the time. The genre is often identified with the narrative experiments of stream of consciousness, which represent the mind in and through time. Yet an equally important inheritance of the generic experiments is the spatialization of the mind — understood in the context of the spatial conception of human subjectivity and in terms of the spatial character of inner reality. The paper argues that the most vivid spatialization of the mind is evident in the portrayal of schizophrenic experience and demonstrates the thesis in the analyses of two novels — Virginia Woolf’s The Waves and Samuel Beckett’s Murphy.

12

Spotkania z przeszłością w Ostatniej taśmie Samuela Becketta i Uchu Igielnym Wiesława Myśliwskiego

61%

Strąk M.

Przegląd Humanistyczny

|

2020

|

vol. 64(4 (471))

60-72

PL

The aim of the study is to compare Samuel Beckett’s monodrama Krapp’s Last Tape (1958) and Wiesław Myśliwski’s novel Ucho Igielne (2018) in the context of the construction of time, which, despite the genre and content differences between those literary works, is parallel. The characters are returning to the past by reconstructing the figure of their younger selves and entering into a specific dialogue with them. The relationship between the past and the present is interpreted in the context of Paul Ricoeur’s concept of narrative identity. Each of the works is an unusual study of the old age and the structure of human memory.

13

Диалог с абсурдом. Заметки о драматургии Михаила Волохова

61%

Mięsowska L., Uniwersytet Śląski W. F.

Acta Universitatis Lodziensis. Folia Litteraria Rossica

|

2014

|

vol. 07

EN

The article presents an attempt to describe the oeuvre of the Russian and French playwright and theatre theoretician Mikhail Volokhov in the context of his relation to the Russian theatre of the absurd of the 1920s as well as to the 1950s western model of theatre of the absurd, represented by Samuel Beckett and Eugène Ionesco. The author also discusses Volokhov’s dramatic works in reference to the philosophy of existentialism.

14

Nesrozumitelnost světa a nevymezitelnost viny: kafkovské poznámky

57%

Koťátko P.

Svět literatury – Časopis pro novodobé literatury (World of Literature – Journal for Modern Literatures)

|

2021

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vol. 31

|

issue 1

26-40

EN

The paper focuses on the functions of detailed analyses and pedantic explanations of situations and events provided by Kafka’s characters. Taken together, they create the impression of a solid orientation within the system. Nevertheless, the more elaborate and compact they are, the more they make it clear that the system, by its very nature, resists understanding. The incomprehensibility of the world, amplified by explanations, implies the inextricability of guilt (in analogy to Quine’s inextricability of meaning): it is impossible to identify those elements of the protagonist’s biography which constitute his guilt and separate them from the “innocent” rest.he article overviews the evolution of The Art of Translation by Jiří Levý starting with the genesis of the original Czech version, which can be considered the culmination of the author’s academic career. The first foreign languages the book was translated into were German and Russian. Since the Czech original was strongly imbedded in the Czech culture and literature, the translation required adaptations to the target cultures. The paper aims to trace the translation process of Levý’s publication with the main focus on its German version. Together with the Czech original, this version served as the basis for the second Czech edition. the final part of the article focuses on the international reception of Levý’s masterpiece and introduces its recent translations into foreign languages.

15

Bergson – Beckett – Lotman: A semiotic analysis of Samuel Beckett’s “A Wet Night” from More Pricks Than Kicks

57%

Borkowski R.

Beyond Philology: An International Journal of Linguistics, Literary Studies and English Language Teaching

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2017

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issue 14/2

9-29

EN

The article presents a semiotic analysis of a short story entitled “A Wet Night” from Samuel Beckett’s collection More Pricks Than Kicks. The author attempts to analyse the story using the semiotic tools and the concept of semiosphere proposed by Yuri Lotman. In addition to Lotman’s theory, the discussion refers to traces of Henri Bergson’s philosophy, correlated with Beckett’s interests in this matter and highlighted in “A Wet Night”. The aim is to show that both Lotman’s and Bergson’s theories find their application in the selected story.

PL

Celem niniejszego artykułu jest analiza semiotyczna opowiadania „A Wet Night” autorstwa Samuela Becketta, które można znaleźć w zbiorze More Pricks Than Kicks. Autor artykułu podejmuje próbę analizy semiotycznej wyżej wymienionego opowiadania, opierając się na koncepcji semiotyka Jurija Lotmana, który zaproponował teorię semiosfery oraz systemów modelujących. Ponadto autor zestawia koncepcję Lotmana z filozofią Henri Bergsona, której echa przejawiają się w opowiadaniu „A Wet Night”, w celu sprawdzenia, czy obie teorie znajdują zastosowania w analizowanym tekście.

16

La perception du personnage beckettien

57%

Modrzejewska K.

Academic Journal of Modern Philology

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2023

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issue 20

273-280

EN

The Beckettian theatre describes the agony of the modern world. His character as shown in the phenomenon of his perception, even when limited to four aspects: body, items, time and the Other, let us confirm the validity of Beckett’s reflections about a man who is lost, terrified and resigned to our world.

17

„Dojechałaś do końca, kochanie”. O dojrzewaniu i umieraniu teatru

51%

Żurawski M.

Didaskalia. Gazeta Teatralna

|

2023

|

issue 174

186-202

EN

Duszyczka (A Little Soul) by Tadeusz Różewicz was the penultimate production staged by Jerzy Grzegorzewski and at the same time the director’s last production, included in the repertoire of the National Theatre for seventeen years after his death. The author, a theatre historian and archivist, researcher of Grzegorzewski’s work and a multiple viewer of Duszyczka, attempts to describe the life of the play, which despite being deprived of the director’s care, nevertheless retained the shape given to it by the author to the end. He draws attention to how the aging of the performance, both in the metaphorical and quite literal sense (the physical aging of actresses and actors, the wear and tear of the stage objects) may have affected its reception. To this end, he confronts the surviving archival documentation of the performance with the personal experience of a multiple viewer. Despite the author’s declared reluctance towards this methodology, the article can be categorised as part of the current of the so-called affective archive.

Refine search results

A Fox in the Land of Ulro: Miłosz and Beckett

Zbuntowane oko

An on Screen Philosophical Debate — Bishop Berkeley’s esse est percipi and Samuel Beckett’s Film

Voluntary and involuntary memory in Samuel Beckett’s Krapp’s Last Tape

Lis na ziemi Ulro. Miłosz i Beckett

Blindness in the Beckettland of Malfunctioning

Le silence de la personne présente dans le théâtre français du XXe siècle

George Berkeley’s Esse Est Percipi and Martin Buber’s I-Thou Relationship in Samuel Beckett’s Oeuvre

UWIĘZIENI W KOLE SAMSARY. TWÓRCZOŚĆ SAMUELA BECKETTA W ŚWIETLE WYBRANYCH POJĘĆ FILOZOFII DALEKIEGO WSCHODU

In-between Wor(l)ds: Spectrality in Banville’s Eclipse and Beckett’s Fiction

When the Mind Becomes a Place: The Modernist Psychological Novel

Spotkania z przeszłością w Ostatniej taśmie Samuela Becketta i Uchu Igielnym Wiesława Myśliwskiego

Диалог с абсурдом. Заметки о драматургии Михаила Волохова

Nesrozumitelnost světa a nevymezitelnost viny: kafkovské poznámky

Bergson – Beckett – Lotman: A semiotic analysis of Samuel Beckett’s “A Wet Night” from More Pricks Than Kicks

La perception du personnage beckettien

„Dojechałaś do końca, kochanie”. O dojrzewaniu i umieraniu teatru