7. Evening, Night and Other Shades of Dark: Beckett’s Short Prose

Chapters in this book

1. Frontmatter i
2. CONTENTS v
3. Introduction: Towards a Minoritarian Criticism – The Questions We Ask 1
4. Part 1: Art and Aesthetics
5. 1. ‘Deux Besoins’: Samuel Beckett and the Aesthetic Dilemma 17
6. 2. ‘Siege Laid Again’: Arikha’s Gaze, Beckett’s Painted Stage 25
7. 3. Convulsive Aesthetics: Beckett, Chaplin and Charcot 44
8. 4. Pain Degree Zero 54
9. Part 2: Fictions
10. 5. Sexual Indifference in the Three Novels 67
11. 6. A Neuropolitics of Subjectivity in Samuel Beckett’s Three Novels 78
12. 7. Evening, Night and Other Shades of Dark: Beckett’s Short Prose 89
13. Part 3: A European Context
14. 8. French Beckett and French Literary Politics 1945–52 103
15. 9. Beckett/Sade: texts for nothing 117
16. 10. Beckett’s Masson: From Abstraction to Non-Relation 131
17. 11. Beckett, Duthuit and Ongoing Dialo 146
18. 12. Gloria SMH and Beckett’s Linguistic Encryptions 153
19. 13. ‘I am writing a manifesto because I have nothing to say’ (Soupault): Samuel Beckett and the Interwar Avant-Garde 170
20. 14. Beckett and Contemporary French Literature 185
21. Part 4: An Irish Context
22. 15. The ‘Irish’ Translation of Samuel Beckett’s En Attendant Godot 199
23. 16. Odds, Ends, Beginnings: Samuel Beckett and Theatre Cultures in 209
24. 17. ‘Bid Us Sigh On from Day to Day’: Beckett and the Irish Big House 222
25. Part 5: Film, Radio and Television
26. 18. A Womb with a View: Film as Regression Fantasy 237
27. 19. ‘The Sound Is Enough’: Beckett’s Radio Plays 251
28. Part 6: Language/Writing
29. 20. ‘Was That a Point?’: Beckett’s Punctuation 269
30. 21. Beckett’s Unpublished Canon 282
31. 22. Textual Scars: Beckett, Genetic Criticism and Textual Scholarship 306
32. 23. Beckett’s Ill Seen Ill Said: Reading the Subject, Subject to Reading 320
33. Part 7: Philosophies
34. 24. Beckett and Philosophy 333
35. 25. ‘Ruse a by’: Watt, the Rupture of the Everyday and Transcendental 345
36. 26. Beckett, Modernism and Christianity 353
37. Part 8: Theatre and Performance
38. 27. ‘Oh Lovely Art’: Beckett and Music 373
39. 28. Victimised Actors and Despotic Directors: Clichés of Theatre at Stake 386
40. 29. Staging the Modernist Monologue as Capable Negativity: Beckett’s ‘A Piece of Monologue’ Between and Beyond Eliot and Joyce 397
41. 30. Designing Beckett: Jocelyn Herbert’s Contribution to Samuel Beckett’s Theatrical Aesthetics 409
42. 31. Dianoetic Laughter in Tragedy: Accepting Finitude – Beckett’s Endgame 423
43. 32. Performing the Formless 433
44. Part 9: Global Beckett
45. 33. ‘Facing Other Windows’: Beckett in Brazil 445
46. 34. Beckett in Belgrade 453
47. 35. ‘Struggling With a Dead Language’: Language of Others in All That Fall and the Japanese Avant-Garde Theatre in the 1960s 465
48. Contributors 477
49. Index 485