As a genetic study, this book uncovers the creative DNA of James Joyce’s oeuvre by looking at the cultural forces that shaped him and that he in turn shaped in the creation of his books, developing a two-way relationship with history, memory and national identity. Following his development as an author, it revisits and redirects Joyce’s attitudes towards the Irish Revival. From Chamber Music, through Ulysses to Finnegans Wake Joyce sought to define a cultural identity that went, in many respects, against the mainstream, but that nonetheless belonged to the wider Revivalist project with which it shared certain characteristics and aspirations. Joyce’s historical and genealogical imagination is read through a careful investigation of the cultural materials that went into his work. Based on evidence from his personal library and the extensive archive of reading notes, ideas, sketches and drafts, this book investigates how Joyce used, absorbed and repurposed these materials creatively in his writing; it does so by bringing for the first time the methods of genetic criticism into the domain of cultural memory and the sociology of the text. Thus this books defines “cultural genetics� as an exploration of the textual material that are Joyce’s sources interacts with the culture that produced and received them.

Over the last decade, Samuel Beckett's popularity has rocketed around the world and he is increasingly recognised as one of the most important and influential writers of the twentieth century but there has been very little scholarly work on Beckett's reception outside Europe. This comprehensive volume brings together essays from leading critics on Beckett's international critical reception. Due to Beckett's linguistic and artistic abilities, he was intimately involved in the translation and production of his writings in German, French, English and Spanish; and consequently countries using these languages have sophisticated critical traditions. However, many other countries have adopted Beckett as their own, from places where he lived for lengthy periods of his life (England, France, Ireland and Germany), to those finding directly applicable political messages in his work (such as ex-Soviet states including the Czech Republic and Romania), and those countries whose national literary traditions bear heavily upon his work (e.g. Norway and Italy). This fascinating volume reveals Beckett's evolving critical reception from contemporary reviews to the present.

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

This is a collection of research by leading international scholars on Beckett, as well as younger academics, analyses a number of Beckett's poems, plays and short stories through consideration of mortality and death. Death is indisputably central to Beckett's writing and reception. This collection of research considers a number of Beckett's poems, novels, plays and short stories through considerations of mortality and death. Chapters explore the theme of deathliness in relation to Beckett's work as a whole, through three main approaches. The first of these situates Beckett's thinking about death in his own writing and reading processes, particularly with respect to manuscript drafts and letters. The second on the death of the subject in Beckett links dominant 'poststructural' readings of Beckett's writing to the textual challenge exemplified by the "The Unnamable". A final approach explores psychology and death, with emphasis on deathly states like catatonia and Cotard's Syndrome that recur in Beckett's work. "Beckett and Death" offers a range of cutting-edge approaches to the trope of mortality, and a unique insight into the relationship of this theme to all aspects of Beckett's literature.

Focussing upon both canonical figures such as Woolf, Eliot, Pound, and Stein and emergent themes such as Christian modernism, intermedial modernism, queer Harlem Renaissance, this volume brings together previously unseen materials, from various archives, to bear upon cutting-edge interpretation of modernism. It provides an overview of approaches to modernism via the employment of various types of primary source material: correspondence, manuscripts and drafts, memoirs and production notes, reading notes and marginalia, and all manner of useful contextualising sources like news reports or judicial records. While having much to say to literary criticism more broadly, this volume is closely focused upon key modernist figures and emergent themes in light of the discipline's 'archival turn' - termed in a unifying introduction 'achivalism'. An essential ingredient separating the above, recent tendency from a much older and better-established new historicism, in modernist studies at least, is that 'the literary canon' remains an important starting point. Whereas new historicism 'is interested in history as represented and recorded in written documents' and tends toward a 'parallel study of literature and non-literary texts', archival criticism tends toward recognised, oftentimes canonical or critically-lauded, writers, presented in Part 1. Sidestepping the vicissitudes of canon formation, manuscript scholars tend to gravitate toward leading modernist authors: James Joyce, Ezra Pound, Virginia Woolf, Gertrude Stein, T.S. Eliot and Samuel Beckett. Part of the reason is obvious: known authors frequently leave behind sizeable literary estates, which are then acquired by research centres. A second section then applies the same empirical methodology to key or emergent themes in the study of modernism, including queer modernism; spatial modernism; little magazines (and online finding aids structuring them); and the role of faith and/or emotions in the construction of 'modernism' as we know it.

A Fascist Century is actually two books in one. First, it is a collection of 10 essays (nearly all printed here for the first time in English) by one of the world's foremost experts in the nature and evolution of fascism. These illuminate some of its most significant aspects, notably its attempted temporal and anthropological revolution, the dynamics of Nazism as the most virulent manifestation of 'palingenesis', and its postwar development away from interwar paradigms. Second, the preface, extensive introduction and concluding discussion between author and editor provide penetrating insights into the evolution of Griffin's thinking between his two seminal monographs, The Nature of Fascism (1991) and Modernism and Fascism (2007). Thanks also to the varying academic register and length of the pieces, this functions both as a multifaceted contribution to fascist studies and as a primer in the nature of contemporary historiographical debates.

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.

The era of literary modernism coincided with a dramatic expansion of broadcast media throughout Europe, which challenged avant-garde writers with new modes of writing and provided them with a global audience for their work. Historicizing these developments and drawing on new sources for research - including the BBC archives and other important collections - "Broadcasting in the Modernist Era" explores the ways in which canonical writers engaged with the new media of radio and television. Considering the interlinked areas of broadcasting 'culture' and politics' in this period, the book engages the radio writing and broadcasts of such writers as Virginia Woolf, W. B. Yeats, Ezra Pound, T. S. Eliot, James Joyce, George Orwell, E. M. Forster, J. B. Priestley, Dorothy L. Sayers, David Jones and Jean-Paul Sartre. With chapters by leading international scholars, the volume's empirical-based approach aims to open up new avenues for understandings of radiogenic writing in the mass-media age.

This edited volume arose from an international workshop convened in 2006 by Feldman and Turda with Tudor Georgescu, supported by Routledge, and the universities of Oxford, Brookes, Northampton and CEU (Budapest). As the field of fascist studies continues to integrate more fully into pan-European studies of the twentieth century, and given the increasing importance of secular political religion as a taxonomic tool for understanding such revolutionary movements, this collection of essays considers the intersection between institutional Christian faiths, theology and congregations on the one hand, and fascist ideology on the other.

In light of recent debates concerning the intersecting secularisation of religion and (usually Christian-based) the sacralisation of politics, "Clerical Fascism" in Interwar Europe approaches such conundrums from an alternative perspective: How, in Europe between the wars, did Christian clergy, laity and institutions respond to the rise of national fascist movements? In doing so, this volume provides case studies from the vast majority of European countries with analyses that are both original in intent and comprehensive in scope. In dealing with the relationship of various interwar fascist movements and their respective national religious institutions, this edited collection promises to significantly contribute to relevant academic historiographies; and as such, will appeal to a wide readership.

This book was previously published as a special issue of Totalitarian Movements and Political Religions."

By assessing notebooks and transcriptions taken by Samuel Beckett and recently released by the Beckett International Foundation archive, this book subjects Samuel Beckett's unpublished notes and sources to an analysis of their utility to his life and writings, during the interwar period - particularly the 1930's - and thereafter. Insofar as Beckett meticulously compiled his erudite sources on philosophy and psychology just prior to the postwar acclaim the The Trilogy, and especially, Waiting for Godot, the significance of these documents in anticipating Beckett's literary fortunes, if not approach, is clear. Guided by a methodological adherence to the principal of theorizing from a position of empirical strength, correspondence of this materialwith Beckett's experiences during the interwar years are also considered in terms of the insight these 'Interwar Notes' offer in charting Beckett's literary development, as well as out critical understanding of Beckett and his writing.

This edited volume arose from an international workshop convened in 2006 by Feldman and Turda with Tudor Georgescu, supported by Routledge, and the universities of Oxford, Brookes, Northampton and CEU (Budapest). As the field of fascist studies continues to integrate more fully into pan-European studies of the twentieth century, and given the increasing importance of secular 'political religion' as a taxonomic tool for understanding such revolutionary movements, this collection of essays considers the intersection between institutional Christian faiths, theology and congregations on the one hand, and fascist ideology on the other. In light of recent debates concerning the intersecting secularisation of religion and (usually Christian-based) the sacralisation of politics, "Clerical Fascism" in Interwar Europe approaches such conundrums from an alternative perspective: How, in Europe between the wars, did Christian clergy, laity and institutions respond to the rise of national fascist movements? In doing so, this volume provides case studies from the vast majority of European countries with analyses that are both original in intent and comprehensive in scope. In dealing with the relationship of various interwar fascist movements and their respective national religious institutions, this edited collection promises to significantly contribute to relevant academic historiographies; and as such, will appeal to a wide readership. This book was previously published as a special issue of Totalitarian Movements and Political Religions.

Bringing together an expert group of established and emerging scholars, this book analyses the pervasive myth of the 'new man' in various fascist movements and far-right regimes between 1919 and 1945. Through a series of ground-breaking case studies focusing on countries in Europe, but with additional chapters on Argentina, Brazil and Japan, The "New Man" in Radical Right Ideology and Practice, 1919-45 argues that what many national forms of far-right politics understood at the time as a so-called 'anthropological revolution' is essential to understanding this ideology's bio-political, often revolutionary dynamics. It explores how these movements promoted the creation of a new, ideal human, what this ideal looked like and what this things tell us about fascism's emergence in the 20th century. The years after World War One saw the rise of regimes and movements professing totalitarian aims. In the case of revolutionary, radical-right movements, these totalising goals extended to changing the very nature of humanity through modern science, propaganda and conquest. At its most extreme, one of the key aims of fascism - the most extreme manifestation of radical right politics between the wars - was to create a 'new man'. Naturally, this manifested itself in different ways in varying national contexts and this volume explores these manifestations in order to better comprehend early 20th-century fascism both within national boundaries and in a broader, transnational context.

Existentialism and poststructuralism have provided the two main theoretical approaches to Samuel Beckett's work. These influential philosophical movements, however, owe a great debt to the phenomenological tradition. This volume, with contributions by major international scholars, examines the phenomenal in Beckett's literary worlds, comparing and contrasting his writing with key figures including Edmund Husserl, Martin Heidegger, Jean-Paul Sartre and Maurice Merleau-Ponty. It advances an analysis of hitherto unexplored phenomenological themes, such as nausea, immaturity and sleep, in Beckett's work. Through an exploration of specific thinkers and Beckett's own artistic method, it offers the first sustained and comprehensive account of Beckettian phenomenology.>

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.

Ten essays on the nature of fascism by a leading scholar in the field, focusing on how to understand and apply fascist ideology to various movements since the twentieth century, Mussolini's prophesied 'fascist century.' Includes studies of fascism's attempted temporal revolution; Nazism as extended case-study; and fascism's postwar evolution.

The exhibition 'ART IN BATTLE' deals with battles over art initiated by Nazi policies and European conquests on several arenas. Expounding the problems of the overfamiliar dichotomy of Degenerate versus Great German art, it examines propaganda exhibitions in occupied Norway as well as hitherto unseen art by soldiers stationed in Norway. This exceptional catalogue both documents this ground-breaking show and assembles leading experts on the history and ideology of Nazi cultural campaigns in both Germany and Norway to initiate a fresh discussion of the relationships between centre and periphery within the artworlds of the Third Reich. Beyond historical re-assessment, this project also asks more pressingly: How do we encounter these battles over art today?

This timely intervention exposes the euphemized language of the extreme right as a Trojan Horse of deception to re-gain greater influence on public policy. Since the end of the Second World War, the extreme right has been tactically using doublespeak', aping the language of liberal democracy. Attentive observation and accurate recognition of the extreme right pedigree means taking seriously their deliberately crafted slogans, symbols and themes. The essays in this book inquire into the extreme right's attempts at repackaging' contemporary ultranationalism to make it palatable to more mainstream European and American tastes.

"This collection of essays, most of which return to or renew something of an empirical or archival approach to the issues, represents the most comprehensive analysis of Beckett's relationship to philosophy in print, how philosophical issues, conundrums, and themes play out amid narrative intricacies. The volume is thus both an astonishingly comprehensive overview and a series of detailed readings of the intersection between philosophical texts and Samuel Beckett's oeuvre, offered by a plurality of voices and bookended by an historical introduction and a thematic conclusion." - S.E.Gontarski, Journal of Beckett Studies. "This is an important contribution to ongoing attempts to understand the relationship of Beckett's work to philosophy. It breaks some new ground, and helps us to consider not only how Beckett made use of philosophy but how his own thought might be understood philosophical." - Anthony Uhlmann, University of Western Sydney.

This wide-ranging collection of academic essays examines the various undertakings by modern intellectuals and ideologues in the process of propaganda and political debate. Matthew Feldman calls attention to the substantial role played in post-Great War Europe and the US by religionsboth familiar monotheisms like Christianity and secular political faiths -- over the last century of upheaval and revolutionary change. While the first part considers Ezra Pound as a case study in fascist 'conversion in Mussolinis Italy, leading to extensive propaganda, the second half examines other fascist ideologues like Martin Heidegger to fascist murderer Anders Behring Breivik, before turning to other leading ideologies in modern Europe and the US, communism and liberalism, covering key figures from Thomas Merton and Albert Camus to the Russian Constructionists and Samuel Beckett, with especial focus on the subjects of modern warfare, political terrorism, and genocide, ranging from Stalinist gulags to the war in Iraq. With thought-provoking discussion of the interplay between belief and modern politics as understood by familiar intellectual voices, this volume will be of interest to scholars and general readers alike.

The era of literary modernism coincided with a dramatic expansion of broadcast media throughout Europe, which challenged avant-garde writers with new modes of writing and provided them with a global audience for their work. Historicizing these developments and drawing on new sources for research - including the BBC archives and other important collections - Broadcasting in the Modernist Era explores the ways in which canonical writers engaged with the new media of radio and television. Considering the interlinked areas of broadcasting 'culture' and politics' in this period, the book engages the radio writing and broadcasts of such writers as Virginia Woolf, W. B. Yeats, Ezra Pound, T. S. Eliot, James Joyce, George Orwell, E. M. Forster, J. B. Priestley, Dorothy L. Sayers, David Jones and Jean-Paul Sartre. With chapters by leading international scholars, the volume's empirical-based approach aims to open up new avenues for understandings of radiogenic writing in the mass-media age.

Over the last decade, Samuel Beckett's popularity has rocketed around the world and he is increasingly recognised as one of the most important and influential writers of the twentieth century but there has been very little scholarly work on Beckett's reception outside Europe. This comprehensive volume brings together essays from leading critics on Beckett's international critical reception. Due to Beckett's linguistic and artistic abilities, he was intimately involved in the translation and production of his writings in German, French, English and Spanish; and consequently countries using these languages have sophisticated critical traditions. However, many other countries have adopted Beckett as their own, from places where he lived for lengthy periods of his life (England, France, Ireland and Germany), to those finding directly applicable political messages in his work (such as ex-Soviet states including the Czech Republic and Romania), and those countries whose national literary traditions bear heavily upon his work (e.g. Norway and Italy). This fascinating volume reveals Beckett's evolving critical reception from contemporary reviews to the present.

Death is indisputably central to Beckett's writing and reception. This collection of research considers a number of Beckett's poems, novels, plays and short stories through considerations of mortality and death. Chapters explore the theme of deathliness in relation to Beckett's work as a whole, through three main approaches. The first of these situates Beckett's thinking about death in his own writing and reading processes, particularly with respect to manuscript drafts and letters. The second on the death of the subject in Beckett links dominant 'poststructural' readings of Beckett's writing to the textual challenge exemplified by the The Unnamable. A final approach explores psychology and death, with emphasis on deathly states like catatonia and Cotard's Syndrome that recur in Beckett's work. Beckett and Death offers a range of cutting-edge approaches to the trope of mortality, and a unique insight into the relationship of this theme to all aspects of Beckett's literature.

Bringing together an expert group of established and emerging scholars, this book analyses the pervasive myth of the 'new man' in various fascist movements and far-right regimes between 1919 and 1945. Through a series of ground-breaking case studies focusing on countries in Europe, but with additional chapters on Argentina, Brazil and Japan, The "New Man" in Radical Right Ideology and Practice, 1919-45 argues that what many national forms of far-right politics understood at the time as a so-called 'anthropological revolution' is essential to understanding this ideology's bio-political, often revolutionary dynamics. It explores how these movements promoted the creation of a new, ideal human, what this ideal looked like and what this things tell us about fascism's emergence in the 20th century. The years after World War One saw the rise of regimes and movements professing totalitarian aims. In the case of revolutionary, radical-right movements, these totalising goals extended to changing the very nature of humanity through modern science, propaganda and conquest. At its most extreme, one of the key aims of fascism - the most extreme manifestation of radical right politics between the wars - was to create a 'new man'. Naturally, this manifested itself in different ways in varying national contexts and this volume explores these manifestations in order to better comprehend early 20th-century fascism both within national boundaries and in a broader, transnational context.

The Irish writer and Nobel Prize winner, Samuel Beckett, assembled for himself a history of western philosophy during the 1930s, just at the point at which his first novel, Murphy, was coming together. The 'Philosophy Notes', together with related notes taken at that time about St. Augustine, thereafter provided Beckett with a store of knowledge, but also with phrases and images, which he took up in the major work that won him international and enduring fame, from the dramas Waiting for Godot and Endgame, through to the late prose works Worstward Ho and Stirrings Still. This edition presents, for the first time, Beckett's full 'Philosophy Notes', which constitute his most extensive unpublished text. The Notes display Beckett's own interests and emphases within the history of western philosophy, from the pre-Socratic Greeks onwards, together with more familiar figures in the study of his work, such as Descartes, Leibnitz, and Geulincx. Here we see Beckett's original thoughts on all of these figures for the first time. The Notes also, tellingly and often comically, display Beckett's impatience with many aspects of philosophy, such as its anthropological or anthropomorphic bias, or the idealism of the Enlightenment and Kant. The Edition contains an extensive Introduction, outlining the origin of Beckett's Notes, his major sources and approach to them, the historical context for his view of philosophy, and the significance of Beckett's 'Philosophy Notes' within his mature writings. The many footnotes then suggest ways in which particular aspects of the philosophy narrated here by Beckett suggest fresh insights into those later writings—the images, but also the creative impulses, behind some of his most famous texts. This Edition, further, raises larger questions about, and perspectives upon, the relation between philosophy and literature in the twentieth century and beyond.

Anthony Barron explores the relationship between the philosophy of Schopenhauer and the forms and themes of Becketts critical and creative writings. He shows that Becketts aesthetic preoccupations are consonant with some of Schopenhauers seminal arguments regarding the arational basis of artistic composition and appreciation and the impotence of reason in human affairs. While Becketts critical writings are, in places, formidably opaque, this work examines the ways in which such texts can be elucidated when their intertextual affinities with Schopenhauers arguments are revealed. Using Schopenhauers thought as a presiding interpretative framework, Barron demonstrates how the widespread presence of philosophical and theological ideas in Becketts creative texts signifies less about his personal convictions than it does about his authorial aims. He thereby highlights the ways in which discursive ideas were appropriated and manipulated by Beckett for purely literary ends. A central contention of this book is that to judge the place of ideas within Becketts art, we should ignore questions of their theoretical persuasiveness and consider their role as purely aesthetic devices, the value of which is revealed in terms of the existential impact they have upon his characters. In each of the chapters that deal with Becketts fiction, Barron underscores the artistically energizing tensions that exist between the concepts that Becketts characters invoke in their attempts to comprehend the import of their experiences and their conative and affective tribulations which invariably prove resistant to such analysis. Here the means by which such conceptual aporias engender semantic potentialities underpin an exploration of Becketts creative assimilation of rational discourse. While the focus of this publication is upon Becketts early and middle fiction, which was composed at a time when the relationship between the chaos of quotidian ordeals and the value of rational thought became most acutely relevant for him, numerous cross-references to his dramatic and poetical works are provided in order to highlight the overall significance of these issues within his oeuvre.