277 research outputs found

    Tracing the Creative Influence of Samuel Beckett’s ‘Psychology Notes’: The ‘Three Novels’ and Krapp’s Last Tape

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    Sammendrag Avhandlingens hovedargument er at notatkorpuset om psykologiske og spesielt psykoanalytiske emner som Samuel Beckett utarbeidet i 1934-1935 mens han var i terapi hos Wilfred Bion representerer en sentral og vedvarende innflytelse på hans litterære verk. Den umiddelbare anvendelsen av disse psykologinotatene i arbeidet med romanen Murphy er velkjent, men avhandlingen gjennomgår denne opprinnelige kreative bruken på nytt for å vise hvordan Beckett etablerer en form for parodisk overdrevet bruk av det lærebokaktige språket i mange av kildene som han hentet sine notater fra. Dette indikerer en kritisk avstandstagen fra psykoanalysen som disiplin, som også førte til en plutselig avslutning av det terapeutiske forholdet til Bion in 1935. De to første kapitlene i avhandlingen diskuterer konteksten for komposisjonen av psykologinotatene og diskuterer en rekke kreativt sentrale tematikker for Beckett. En ledetråd for diskusjonen er at Becketts tilnærming til det psykoanalytiske lærebokspråket fungerte både tiltrekkende og motstandsgivende for ham som forfatter. På den ene siden finner vi både i Becketts tekster og i psykoanalysen en fascinasjon for det avskyvekkende, mens på den annen side kan vi spore hos Beckett en bevisst motstand mot psykoanalysens forpliktelse til å søke mot helbredelse, kontroll og meningsfullhet. Becketts tekster iscenesetter en avvisning av det psykoanalytiske språket som et feilslått medium for å skrive om selvet, gjennom sin ironiske undergraving av psykoanalysens kognitive, autoritetsbaserte og terapeutiske utgangspunkt. Implikasjonene av dette utvikles i avhandlingen gjennom en nærlesing av romanene Molloy, Malone meurt/Malone Dies and L’Innommable/The Unnamable, og det korte teaterstykket Krapp’s Last Tape. I denne lesningen behandles Becketts psykologinotater som genetisk kildemateriale som fortsatt ble anvendt kreativt lenge etter de opprinnelig ble komponert. Avhandlingen tar utgangspunkt i en mest mulig empirisk etterprøvbar og manuskriptgenetisk tilnærming til kildene, med utstrakt bruk av Samuel Beckett Digital Manuscript Project og andre arkivressurser som støtte for sin argumentasjon. Men et pragmatisk forhold til behandlingen av tekstlig innflytelse som går utover det som kan føres sikre bevis for er også nødvendig, for en viss grad av usikkerhet er umulig å unngå. Likevel fastslår avhandlingen at en nylesning av disse verkene av Beckett med utgangspunkt i hans egne psykologinotater kan både utvide og korrigere fokuset i den eksisterende faglitteraturen. Videre har det kritiske fokuset og opptreningen som denne avhandlingen presenterer også et potensiale til å kunne generere en ny litteraturkritisk tilnærming til alle verkene i Becketts karriere som ble skrevet etter psykologinotatene.Abstract This study argues that the corpus of notes on psychological and especially psychoanalytic topics composed by Samuel Beckett in 1934-1935 during his therapy with Wilfred Bion represents a crucial and continuous creative influence on his literary work. While the immediate use of the ‘Psychology Notes’ in the writing of Murphy is well established, it is revisited here to suggest that this initial creative deployment is characterized by a parodic over-indulgence in the ‘textbook’ language of the sources Beckett was drawing on. This indicates a critical distancing from the discipline of psychoanalysis that also manifested itself in a sudden disruption of his therapy with Wilfred Bion in 1935. Drawing on the original context of the composition of the Notes, and developing a taxonomy of creatively important themes for Beckett, the first two chapters of the thesis trace a formative attraction-repulsion ambivalence in Beckett’s approach to the use of psychoanalytic textbook language in his writing. On the one hand, there is a shared obsession with ‘abjection’ between Beckett’s texts and the discipline of psychoanalysis, whereas on the other, the commitment to cure, control and meaning in psychoanalysis is being resisted in Beckett’s texts. Beckett’s later texts stage the rejection and failure of the psychoanalytic language as medium of writing the ‘self’ by ironically subverting its cognitive, authoritative and therapeutic purposes. This argument is developed through detailed close readings of the ‘Three Novels’ (Molloy, Malone meurt/Malone Dies and L’Innommable/The Unnamable) and the short play Krapp’s Last Tape, treating the ‘Psychology Notes’ as genetic source material that continued to be actively deployed long after its initial composition and creative impact. While the thesis is based on an empirical, genetic approach, making extensive use of the Samuel Beckett Digital Manuscript Project and other archival sources, its approach is also pragmatic in its approach to influence, recognizing that conclusive evidence of intertextual relationships is not always possible to establish. Nonetheless, re-reading these Beckett works with the Notes to hand can both expand upon and correct the emphases of previous scholarship on these texts. Ultimately, the critical focus and training provided by this thesis is therefore intended to provide a scholarly tool for re-engaging all of Beckett’s post-Notes work.Doktorgradsavhandlin

    LIPIcs, Volume 261, ICALP 2023, Complete Volume

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    LIPIcs, Volume 261, ICALP 2023, Complete Volum

    LIPIcs, Volume 274, ESA 2023, Complete Volume

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    LIPIcs, Volume 274, ESA 2023, Complete Volum

    LIPIcs, Volume 258, SoCG 2023, Complete Volume

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    LIPIcs, Volume 258, SoCG 2023, Complete Volum

    Sound and control in Welsh poetry (c. 1300-c. 1600)

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    This thesis connects the fields of sound studies and medieval Welsh history and literature. In doing so, it argues two related points. Firstly, by using the poetry of ‘Beirdd yr Uchelwyr’ (the Poets of the Nobility, c. 1300–c. 1600) as a case study, it demonstrates that much new and nuanced meaning can be unveiled by listening carefully to the sounds represented in a body of medieval literature. In this sense, it is the first attempt to apply the theories and methods of sound studies systematically to literature in a Celtic language. Secondly, in assessing some of these new meanings, it shows the relevance of several aspects of medieval scientific thought concerning sound, especially the importance of controlling ‘sound’ lest it become ‘noise’; meaningful sound was controlled sound. It argues that Welsh poets’ concern with control was partly a reaction to social and environmental change. Poets felt threatened by aspects of colonisation, urbanisation, and mechanisation caused by the Edwardian Conquest, and wider European trends. Anxious that patrons were turning elsewhere, poets emphasised the exceptionalism of their controlled and refined Welsh, especially their strict-metre poetry. This anxiety was projected onto the wider auditory world. Acceptable sounds – holy bellringing, the Latin language, beautiful harps – were described in terms of control, while unacceptable noises – minstrels, foreign vernaculars, crwth music – were described in terms of disorder. Overall, this thesis argues for the importance of listening to all aspects of premodern literature, particularly the highly aural poetry of medieval Wales. Before industrialised, mechanised, and electrified sounds, and before sight became the primary means to access truth and knowledge, hearing was just as important as seeing. An aural-sensitive reading reveals several new meanings in this body of poetry produced by anxious and conservative listeners attempting to control a changing world with a changing place for poets

    Images on the Move

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    In contemporary society, digital images have become increasingly mobile. They are networked, shared on social media, and circulated across small and portable screens. Accordingly, the discourses of spreadability and circulation have come to supersede the focus on production, indexicality, and manipulability, which had dominated early conceptions of digital photography and film. However, the mobility of images is neither technologically nor conceptually limited to the realm of the digital. The edited volume re-examines the historical, aesthetical, and theoretical relevance of image mobility. The contributors provide a materialist account of images on the move - ranging from wired photography to postcards to streaming media

    3-я Міжнародна конференція зі сталого майбутнього: екологічні, технологічні, соціальні та економічні аспекти (ICSF 2022) 24-27 травня 2022 року, м. Кривий Ріг, Україна

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    Матеріали 3-ої Міжнародної конференції зі сталого майбутнього: екологічні, технологічні, соціальні та економічні аспекти (ICSF 2022) 24-27 травня 2022 року, м. Кривий Ріг, Україна.Proceedings of the 3rd International Conference on Sustainable Futures: Environmental, Technological, Social and Economic Matters (ICSF 2022) 24-27 May 2022, Kryvyi Rih, Ukraine

    LIPIcs, Volume 244, ESA 2022, Complete Volume

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    LIPIcs, Volume 244, ESA 2022, Complete Volum

    Play Among Books

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    How does coding change the way we think about architecture? Miro Roman and his AI Alice_ch3n81 develop a playful scenario in which they propose coding as the new literacy of information. They convey knowledge in the form of a project model that links the fields of architecture and information through two interwoven narrative strands in an “infinite flow” of real books
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