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Writing and the rights of reality: usurpation and potentiality in Derrida, Plato, Nietzsche, and Beckett
Get PDFThe thesis critically evaluates Jacques Derrida's conferral of the rights of reality on writing, focussing on his theory of an arche-text in light of the speculative nature of this theory. The theory is initially considered in the context of Derrida's elucidation of the usurpatory status of writing within the Platonic and Nietzschean texts. This consideration reveals an admission of writing's usurpatory status by both writers while at the same time demonstrating their awareness of the intrinsically speculative nature of this view, the significance of writing lying in its ability to exteriorise the radically indeterminate status of consciousness m relation to reality rather than its ability to displace consciousness or reality The analyses, therefore, not only bring the Derridean hypothesis of a repressive or phonocentric metaphysical episteme into question but also exhibit the historical and philosophical role of potentiality in relation to writing, writing's ultimate significance lying in its capacity to exteriorise our existence as a mode of potentiality. Accordingly, in the second half of the thesis the Derridean theory of writing is countered with a specifically Aristotelian theory of the text as it is exhibited in the prose of Samuel Beckett, an author whose significance lies in his close alignment with Derridean theory within contemporary criticism. It is demonstrated that this identification has obviated an awareness of the significance of potentiality within the Beckettian text, his work consequently being appraised in the previously neglected context of Aristotelian metaphysics
Poética da penúria: a ator beckettiano
Get PDFTese (doutorado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão, Programa de Pós-Graduação em Literatura, Florianópolis, 2013.O objeto deste estudo é refletir sobre os principais dispositivos da poética beckettiana, os testemunhos de atores históricos que trabalharam sob a direção de Samuel Beckett para propor alguns caminhos de composição de um ator particular, que, com experiências de uma preparação dramatúrgica, condensaria um corpo em penúria. Para isso, investigamos algumas das características da obra beckettiana como a influência minimalista sobre suas peças tardias, a musicalidade que permeia o seu texto teatral e a imobilidade imposta à suas personagens. Mergulhamos no íntimo dessas personagens, com a finalidade de, através do levantamento dos principais traços absorvidos pelo ator beckettiano, estabelecer relações com o ator pós-dramático. A fim de confrontar as referências estudadas, propusemo-nos a encenar o espetáculo Inomináveis # coletivo Beckett, uma reunião das peças Play, Not I, Rough for theatre I e Footfalls. Consideramos e aferimos nossas hipóteses através de depoimentos cedidos pelos atores envolvidos em nossa encenação This work aims to study the most important tools of Samuel Beckett#s art, the testimony of historical actors who worked under his direction to propose possible ways of formation a particular actor that would condensate a body in a state of penury using experiences from dramaturgical preparation. We observed some characteristics of Beckett#s work as an influence of the Minimalism in his last plays, the musicality in his theatrical texts and the immobility of his characters. We studied the characters in depth to clear relations with the post-dramatic actors by mean of recognizing the most important features of actors involved with Samuel Beckett. In order to confront our references, we put forward a staging: Inomináveis # coletivo Beckett, a sequence of Play, Not I, Rough for theatre I and Footfalls. We investigated and assessed our hypotheses using testimonies of the actors involved in our staging
Richardson, Barbauld, and the construction of an early modern fan club
No full textMPhilMuch has been written about the life and long works of the eighteenth century epistolary novelist, Samuel Richardson, but the prospect of his position as the first celebrity novelist – responsible for courting his own fame as well as initiating his own fan club – has largely been ignored. The body of manuscripts housed at the National Art Library in the Victoria and Albert Museum in London provides the modern scholar with evidence of the skeletal beginnings of an early fan club. This thesis aims to show how these manuscripts were turned into a saleable commodity by the publisher and entrepreneur Richard Phillips, while under the guiding hand of another, slightly later, literary celebrity, Anna Laetitia Barbauld. In order to restore Richardson’s reputation amongst a new nineteenth century audience, Barbauld was required to construct her own idea of him as an eighteenth century celebrity author, and in doing so the insecurities of a self-professed, apparently diffident man, are revealed. Barbauld’s capacious, but heavily edited selection of letters is analyzed in this thesis, providing ample evidence that Richardson’s correspondents were more than just eager letter writers. By using Barbauld’s biography of Richardson this thesis aims to show how she manipulates the genre of life writing in her construction of him.
This thesis offers an alternative reading of how the Richardson manuscripts are viewed, redefining them as not simply a collection of letters, but as a collective entity, deliberately selected and archived as evidence of an early modern fan club, and its celebrity managing director
Samuel Beckett and the Writers of Port-Royal
Get PDFIt has been observed that ‘the literary influences on Beckett have been far more important than has been acknowledged, and more important indeed, than the philosophical influences’ (Smith 2002: 3). The truth of this statement is evidenced by the description that scholars have given of Samuel Beckett’s relationship to seventeenth century French classicism. To date, critical interest has been limited for the most part to the figure of the philosopher René Descartes on the (fragile) grounds that Beckett was exclusively concerned with the Cartesian imperative of clarity and order, the fundamental dualism between body and mind, and Nominalism.
Together with the assumption that Beckett’s vision was essentially Cartesian, his literary filiation with Pascal was suggested by critics, but only in terms of Beckett’s formal approach to the theatre. In his short article on En attendant Godot in 1953, the playwright Jean Anouilh was among the first reviewers to suggest that Beckett’s drama synthesizes the encounter between ‘classicism’ and a ‘modern’ form of art. It is well known that Beckett retained a lifelong admiration for Pascal – indeed, Pascal was one of his ‘old chestnuts’ (Knowlson 1997: 653). Little attention has been paid, however, to the originality of Pascal’s thought, the specific nature of his prose, and the impact these might have had upon Beckett’s mature work, especially the trilogy and the subsequent short prose. Yet, in the literary and philosophical context of post-war France, Beckett’s filiation with Pascal, their corresponding preoccupations, were evident to his contemporaries, who identified Pascal as an underlying presence in his works
Usability and acceptability of a website that provides tailored advice on falls prevention activities for older people
Get PDFThis article presents the usability and acceptability of a website that provides older people with tailored advice to help motivate them to undertake physical activities that prevent falls. Views on the website from interviews with 16 older people and 26 sheltered housing wardens were analysed thematically. The website was well received with only one usability difficulty with the action plan calendar. The older people selected balance training activities out of interest or enjoyment, and appeared to carefully add them into their current routine. The wardens were motivated to promote the website to their residents, particularly those who owned a computer, had balance problems, or were physically active. However, the participants noted that currently a minority of older people use the Internet. Also, some older people underestimated how much activity was enough to improve balance, and others perceived themselves as too old for the activities
Ohio impromptu, genre and Beckett on film
No full textSamuel Beckett’s choice of the title Ohio Impromptu to name the play first performed to an audience of academics and scholars at Columbus Ohio in 1981 is one manifestation of its author’s interest in the question of literary genre; more generally, in Beckett’s dramatic works one encounters a meticulous attention to the activity of categorisation, even if the energy is often directed toward the creation of phantom genres for spectral exemplars. This essay concerns itself with Ohio Impromptu in particular because by means of elements specific to this play (including the context in which it was first performed) it comments upon its own very failure to occupy its designated genre co-ordinates (these include its identity both as a play and as an ‘impromptu’). This play, which is so apt to incorporate other genres, however, is presided over by a stage direction which locates it firmly in the theatrical context. It is in its deliberate failure to attend to this stage direction that the Beckett on Film version of the play goes beyond the mere treacherous fidelity that is inevitably a feature of any adaptation. In arguing this, the essay analyses the foregrounding in the play of questions that can be said to pertain to genre (in several senses). Its more specific intention is to suggest that, via a combination of casting and special effects, the adaptation succeeds not only in cancelling the critical reflection on the ‘genre gesture’ that is lodged in Ohio Impromptu, but also in eradicating the very disjunction between Reader and Listener upon which the play depends
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Traces of Beckett : gestures of emptiness and impotence in the theater of Koltès, Kane, de la Parra and Durang
Get PDFtextThis dissertation examines Samuel Beckett's powerful legacy and influence on contemporary theater (on plays written and produced since 1980), and it defines this influence in both text and performance as gestures of emptiness and impotence. The plays selected for analysis here have been categorized at times as belonging to a tradition and legacy of the so-called "Theater of the Absurd," but, finding this category to be at once too restrictive and too loose, their relationship to the absurd is defined by their explicit use of and inspiration taken from Beckett's theater. Beckett's intentional and innovative use of emptiness and impotence, both spatially and textually, is decisively paradoxical: while emphasizing blank spaces and powerlessness, his plays find meaning in emptiness and unexpected control in what he called the "exploitation of impotence." In each of the plays analyzed in this dissertation, (Dans la solitude des champs de coton, Koltès; La secreta obscenidad de cada día, de la Parra; Blasted, Kane; and Laughing Wild, Durang), the explicit use of both emptiness and powerlessness are examined, and at the same time, I define what it is about each of these gestures that renders them particularly Beckettian as they relate to these works. In all of the plays examined here, gestures of emptiness and impotence become their opposites: significance and power. Four of Samuel Beckett's plays (Fragment de théâtre I, En attendant Godot, Fin de partie, and Happy Days) are compared and contrasted with the work of Koltès, de la Parra, Kane and Durang respectively. The parallels revealed, made both intentionally and unintentionally by their playwrights, demonstrate not only the certainty of Beckett's continued influence, but also reflect his persistent, widespread impact. What is shown, with broader implications for future study, is that Beckett's use of emptiness and impotence as theatrical, literary and artistic gestures have led to a new kind of hopefulness, and a new kind of artistic inspiration that is unique to our time.Comparative Literatur
Disputatio Theologica De Libris Scripturae Apocryphis
No full textQuam Sub Praesidio ... Dn. Johannis Deutschmann ... subiicit M. Samuel Lange/ Fürsteberg. Lusat. A. R. S. MDCLXXXII. d. Martii ...Anderer Druck als 39:133057T (dort Verfasserangabe ... subiicit Author & Respondens M. Samuel Lange/ ...
The dramatic works of Samuel Foote : to which is prefixed a life of the author.
No full textEditions vary.v.1 Taste -- The Englishman in Paris -- The author -- The Englishman returned from Paris -- The knights -- The mayor of Garrat -- The orators -- The minor -- The lyar -- The patron -- v.2 The commissary -- The lame lover -- The bankrupt -- The cozeners -- The maid of Bath -- The nabob -- The devil upon two sticks -- A trip to Calais -- The Capuchin.Mode of access: Internet
Book of Samuel
Get PDFU radu "Knjiga Samuel" autor dr Gavro Schwarz želi da široj čitalačkoj publici prikaže koncept "biblijske kritike". Njegov rad bazira se na analizi Knjige Samuelove koja zauzima važno mesto među biblijskim knjigama istorijskog sadržaja. Jevrejska istorija kroz Toru prikazuje kako se Izrael razvija kao narod, u knjigama Jošua i Sudije kako taj narod osvaja zemlju, u Samuelu kako se stvara izraelska država i kako nastaje monarhija, dok se u Knjizi Kraljeva opisuje kako se ta država raspada i polako uništava. Samuel dakle predočava središnji deo izraelske istorije, njen najlepši i najslavniji period koji obuhvata vreme od punih stotinu godina. Dr Schwarz podrobno opisuje i prepričava istorijske događaje koji su se odigrali u to vreme, razlaže ih i analizira na pitanja kojima se bavi biblijska kritika. Posebno se osvrće na razmatranja o tome da li knjiga Samuelova potiče od jednog ili više izvora i autora i zaključuje da kompozicija knjige verovatno upućuje na jednu osobu koja ima ustaljenu metodu i poseban način pisanja. Autor knjige Sameuleove novelističkom širinom opisuje male događaje i postupke likova iz kojih se rađaju veliki preokreti koji istoriju izraelskog naroda temeljno preobražavaju. On oslikava istoriju Izraela i namere Svevišnjega koji je izraelski narod uzeo pod svoju zaštitu i organizuje njegovu sudbinu. Istorijski događaji nisu puka slučajnost nego se odigravaju po odlukama Višeg bića. Autor ove Knjige želeo je da detaljno izloži i objasni način na koji se odluka Božja manifestuje, kako se pretvara u stvarnost i proizvodi velike preokrete. U izraelskoj istoriji Samuel, Saul i David označavaju važne epohe, nova stanja i slavna razdoblja. Zbog toga knjiga Samuelova želi prikazati ove velike epohe i preokrete u izraelskoj istoriji kao i način na koji se potlačeni narod vinuo najpre do slobode i nezavisnosti a zatim do vladavine nad susednim narodima i do političke moći i ugleda. U daljoj analizi dr Schwarz razmatra činjenice o "objektivnoj" i istoriji koju su opisivali proroci i ističe da je u istoriji izraelskog naroda religija za proroke imala važno stanovište na osnovu koga su posmatrali i prosuđivali događaje i pojave. Dr Schwarz konstatuje da je autor knjige Samuelove upotrebio svu raspoloživu istorijsku građu, slavne događaje i pojave i sačuvao objektivnost. Proniknuo je u biće i karakter svojih junaka i knjizi pridodao svoje umeće pripovedanja, psihološkog vezivanja i religiozne motivacije. Na kraju svog rada dr Schwarz zaključuje da među istorijskima knjigama Svetog pisma nijedna nema ovakav umetnički i istančan opis istorijskih karaktera kakav nalazimo u knjizi Samuelovoj koja, kako Klostermann kaže predstavlja 'najvišu tačku hebrejske historiografije'".In "The Book of Samuel", the author Dr. Gavro Schwarz wants to present the concept of "biblical criticism" to a wider readership. His work is based on the analysis of the Book of Samuel, which has an important place among the biblical books of historical content. Jewish history through the Torah shows how Israel developed as a nation, in the books of Joshua and Judges how that nation conquered the land, in Samuel how the state of Israel was created and how the monarchy was formed, while the Book of Kings describes how that state disintegrated and slowly destroyed. Samuel thus presents the central part of Israeli history, its most beautiful and glorious period, which covers a time of a full hundred years. Dr. Schwarz describes and convinces in detail the historical events that took place at that time, explains them, and analyzes the issues addressed by biblical criticism. He gives special attention to the considerations of whether Samuel's book originates from one or more sources and authors, and concludes that the composition of the book probably refers to one person who has an established method and a specific way of writing. The author of Samuele's book describes in novelistic wideness the small events and actions of the characters from which great upheavals are born, which fundamentally transform the history of the people of Israel. It portrays the history of Israel and intentions of the God, who took the people of Israel under his protection and organizes their destiny. Historical events are not mere coincidences, but take place according to the decisions of the higher being. The author of this book wanted to explain in detail the way in which God's decision is manifested, how it turns into reality and produces great upheavals. In Israeli history, Samuel, Saul, and David mark important epochs, new states, and glorious periods. That is why Samuel's book wants to show these great epochs and upheavals in Israeli history, as well as the way in which the oppressed people rose first to freedom and independence and then to rule over neighboring nations and to political power and prestige. In further analysis, Dr. Schwarz discusses the facts about the "objective" and the history described by the prophets and points out that in the history of the people of Israel, religion had an important point of view for the prophets on the basis of observing and judging events and phenomena. Dr. Schwarz states that the author of Samuel's book used all available historical material, famous events and phenomena, and preserved objectivity. He comes up with the being and the character of his heroes and added his storytelling skills, psychological attachment, and religious motivation to the book. At the end of his work, Dr. Schwarz concludes that none of the historical books of Holy Writings has such an artistic and sophisticated description of historical characters as we find in Samuel's book, which, as Klostermann says, represents "the highest point of Hebrew historiography.
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