A text become provisional: revisiting the capital of the ruins

This essay is a reexamination of Samuel Beckett's The Capital of the Ruins, the untransmitted radio script written for Raidió Éireann (now Raidió Teilifís Éireann) in 1946 following his work with the Irish Red Cross in Saint Lô. The first half of this essay is concerned with the archival and publishing history of the text. This section examines the variants introduced by various editors or publishers and makes a case for a definitive edition of the text based on the edited photocopy of the typescript held in the Beckett International Foundation archive at the University of Reading. The second half of this essay then uses this close attention to the text to reconsider the focus of The Capital of the Ruins and the extent to which the piece is more firmly directed towards socio-political aspects of post-neutrality Ireland than has previously been identified

Humility, Self-Awareness, and Religious Ambivalence: Another Look at Beckett's ‘Humanistic Quietism’

This is the accepted manuscript. The final version is available from Edinburgh University Press at http://www.euppublishing.com/doi/abs/10.3366/jobs.2014.0104. This article provides a commentary on the opaque and often contradictory arguments of ‘Humanistic Quietism’, Samuel Beckett's 1934 review of Thomas MacGreevy's Poems. Using Beckett's complicated relationship to both his own Protestant upbringing and the Catholicism of MacGreevy as a starting point, the article proposes new ways of understanding Beckett's ambivalent comments about MacGreevy's interiority, prayer-like poetry, humility, and quietism. It draws on Beckett's comments on Rilke, André Gide, and Arnold Geulincx, as well as his familiarity with Dante, to unpack the review's dense allusions and make sense of Beckett's aesthetic allegiances. </jats:p

Samuel Beckett’s Krapp’s Last Tape: Remembering Kant, Forgetting Proust

This article draws on Samuel Beckett’s recently published letters and archival scholarship to consider the place of Immanuel Kant’s critical epistemology within Beckett’s early thinking and his subsequent works. Beginning from Beckett’s engagement with Kant’s Critique of Pure Reason, demonstrated by notes taken from Wilhelm Windelband’s A History of Philosophy between 1932 and 1933, excerpts from Jules de Gaultier’s From Kant to Nietzsche in the “Whoroscope” Notebook, and Beckett’s acquisition of Immanuel Kants Werke in 1938, I offer a close analysis of the philosophical underpinnings of Beckett’s parody of Proust’s À la recherche du temps perdu in Krapp’s Last Tape. The larger purpose of this article is to argue that a critique of metaphysical thought can be found in Beckett’s work and to demonstrate that Kant’s influence as a philosophical source of this critique has been largely overlooked in Beckett criticism

Improviso de Ohio

© Samuel Beckett, 1982 (Samuel Beckett’s OHIO IMPROMPTU reproduced by kind permission of the Estate of Samuel Beckett c/o Rosica Colin Limited, London).Samuel Beckett, “Ohio Impromptu”, in the Complete Dramatic Works, London, Faber and Faber, 2006, p. 443-448. Tradução de Ana Paula Pacheco e Edu Teruki Otsuka

Tre dialoger

"Tre dialoger" af Samuel Beckett