By Edited by Anthony Uhlmann, Sjef Houppermans, Bruno Clément
AFTER BECKETT / D’APR?S BECKETT (edited by means of Anthony Uhlmann / Sydney; Sjef Houppermans / Leiden and Bruno Cl?ment / Paris) constitutes a set of over forty articles chosen from contributions to the Sydney Symposium of January 2003 that – as part of a world Sydney competition – was once one of many significant occasions concerning Samuel Beckett of the decade. the 3 sections of the e-book replicate the main brilliant fields of study in Beckett reports at the present time: "Intertextuality and Theory", "Philosophy and conception" and "Textual Genesis, Contextual Genesis and Language". students from worldwide partaking during this assortment testify to the sturdy and common nature of curiosity in Beckett’s paintings. AFTER BECKETT / D’APR?S BECKETT (?dit? par Anthony Uhlmann / Sydney; Sjef Houppermans / Leiden et Bruno Cl?ment / Paris) constitue une assortment de plus de forty articles pr?sentant une s?lection parmi les contributions au Colloque overseas de Sydney qui a ecu lieu en janvier 2003 dans le cadre du competition overseas de Sydney. Cette r?union a ?t? l’un des ?v?nements majeurs de ce d?but du troisi?me mill?naire pour ce qui concerne les ?tudes beckettiennes. Les trois sections du recueil refl?tent les champs d’int?r?t les plus importants de l. a. critique beckettienne actuelle: "Intertextualit? et confluence", "Philosophie et Th?orie" et "Gen?se textuelle, Gen?se contextuelle et Langage". Des universitaires du monde entier ont particip? ? ce livre et t?moignent ainsi de l’int?r?t universel et sturdy de l’?uvre de Samuel Beckett
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Extra resources for After Beckett - D'apres Beckett
The protagonists of Molloy thus are made to play paradoxical versions of the fort-da game to keep the suffering of reality in check. They use projective identification to expel the cruel perceptions of self that come with the Oedipus conflict, while introjecting the parental power they envy. By means of such mirror inversions, or double blinds, Moran can make his displeasure at his treatment at the hands of Youdi disappear while introjecting Youdi’s envied authority. And he can deny the inner reality of his suffering twin by projecting Molloy into his son.
The unconscious is the gap between the thinking I and the feeling I, the abyss where the present of thought vanishes, the instant where in and out, container and contained, shift and im-ex-plode; this is where the skin in its fragmentation and coagulation is a symptom and a metaphor, like Freud’s Wunderblock, a kaleidoscopic surface where the I lives its / his ever changing encounter with otherness that cannot be grasped or fixed. While the I suffers intensely from the impossibility of deciding upon its frontiers, the skin will be seen, in a phantasm, as ONLY being the all covering blanket of intimacy and protection, that, however, at the same moment appears to be a shroud2 or what can and should be opened, lacerated, scraped off.
In Molloy, the exile from paradisiacal gardens; the lack of a common language between parental figures and offspring; Moran’s Oedipal spying and desire to know versus Molloy’s feelings of guilt and pretensions to unknowingness, all point to Beckett’s concern with Eden, Babel, and Oedipus’s guilty knowing. The ‘modesty topos’, a rhetorical device for hiding one’s knowledge, that Beckett favored for himself after turning forty and that he lent to Molloy, is clearly apropos. “The truth is I don’t know much”, Molloy declares at the beginning of his narrative (1955, 7).