Beckett's reception was characterised in its early stages by a
sustained attention to nothing as a philosophical concept. Theodor
Adorno, however, was quick to argue that Beckett's plays resisted -
unlike Sartre's - having their nothing transformed into something.
This Beckettian nothing, moreover, is often invested with the aura
of the genius, either for eulogical or dismissive purposes. This
volume invites its readership to understand the complex ways in
which the Beckett canon both suggests and resists turning nothing
into something by looking at specific, sometimes almost invisible
ways in which 'little nothings' pervade the Beckett canon. The
volume has two main functions: on the one hand, it looks at
'nothing' not only as a content but also a set of rhetorical
strategies to reconsider afresh classic Beckett problems such as
Irishness, silence, value, marginality, politics and the
relationships between modernism and postmodernism and absence and
presence. On the other, it focuses on 'nothing' in order to assess
how the Beckett oeuvre can help us rethink contemporary
preoccupations with materialism, neurology, sculpture, music and
television. Both advanced students and scholars of Beckett will
find the volume of interest. It comprises jargon-free chapters that
analyse Beckett's prose, drama, film, television, manuscripts and
marginalia. It will prove of interest to advanced students and
scholars in English, French, Comparative Literature, Drama, Visual
Studies, Philosophy, Music, Cinema and TV studies. -- .
General
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