Published in association with the seminar series of the same name held by the University of Oxford, "Samuel Beckett: Debts and Legacies" presents the best new scholarship addressing the sources, development and ongoing influence of Samuel Beckett's work. Edited by convenors Dr Peter Fifield and Dr David Addyman, the volume presents ten research essays by leading international scholars ranging across Beckett's work, opening up new avenues of enquiry and association for scholars, students and readers of Beckett's work.Among the subjects covered the volume includes studies of: -Beckett and the influence of new media 1956-1960-the influence of silent film on Beckett's work-death, loss and Ireland in Beckett's drama - tracing Irish references in Beckett's plays from the 1950s and 1960s, including" Endgame," "All That Fall," " Krapp's Last Tape" and "Eh Joe"-a consideration of Beckett's theatrical notebooks and annotated copies of his plays which provide a unique insight into his attitude toward the staging of his plays, the ways he himself interpreted his texts and approached theatrical practice.-the French text of the novel "Mercier et Camier," which both biographically and aesthetically appeared at a very significant moment in Beckett's career and indicates a crucial development in his writing-the matter of tone in Beckett's drama, offering a new reading of the ways in which this elusive property emerges and can be read in the relationship between published text, canon and performance

Modernism, Christianity and Apocalypse stages an encounter between the fields of 'Modernism and Christianity' and 'Apocalypse Studies'. The modernist impulse to 'make it new', to transform and reform culture, is an incipiently apocalyptic one, poised between imaginative representations of an Old Era or civilization and the experimental promise of the New. Christianity figures in formative tension with the 'new', but its apocalyptic paradigms continued to impact modernist visions of cultural revitalization. In three sections tracing a rough chronology from the late nineteenth century fin de siecle, via interwar conflicts and the rise of 'political religions', to post-1945 anxieties such as the Bomb, this thematic is explored in nineteen far-ranging scholarly contributions, outlining a distinctive and fresh interdisciplinary field of study.

This book is the first sustained examination of Samuel Beckett's pivotal engagements with post-war BBC radio. The BBC acted as a key interpreter and promoter of Beckett's work during this crucial period of his "getting known" in the Anglophone world in the 1950s and 1960s, especially through the culturally ambitious Third Programme, but also by the intermediary of the house magazine, The Listener. The BBC ensured a sizeable but also informed reception for Beckett's radio plays and various "adaptations" (including his stage plays, prose, and even poetry); the audience that Beckett's works reached by radio almost certainly exceeded in size his readership or theatre audiences at the time. In rethinking several key aspects of his relationship with the BBC, a mix of new and familiar Beckett critics take as their starting point the previously neglected BBC radio archives held at the Written Archive Centre in Caversham, Berkshire. The results of this extended reassessment are timely and, in many cases, quite surprising for readers of Beckett and for scholars of radio, "late modernism," and post-war British culture more broadly.

This book is the first sustained examination of Samuel Beckett's pivotal engagements with post-war BBC radio. The BBC acted as a key interpreter and promoter of Beckett's work during this crucial period of his "getting known" in the Anglophone world in the 1950s and 1960s, especially through the culturally ambitious Third Programme, but also by the intermediary of the house magazine, The Listener. The BBC ensured a sizeable but also informed reception for Beckett's radio plays and various "adaptations" (including his stage plays, prose, and even poetry); the audience that Beckett's works reached by radio almost certainly exceeded in size his readership or theatre audiences at the time. In rethinking several key aspects of his relationship with the BBC, a mix of new and familiar Beckett critics take as their starting point the previously neglected BBC radio archives held at the Written Archive Centre in Caversham, Berkshire. The results of this extended reassessment are timely and, in many cases, quite surprising for readers of Beckett and for scholars of radio, "late modernism," and post-war British culture more broadly.