The tragic comedy of Samuel Beckett

A cura di: Daniela Guardamagna, Rossana M. Sebellin

Editore: Università di Roma Tor Vergata / Laterza, 2009

Indice del volume: Introduction by Daniela Guardamagna, Rossana M. Sebellin – PART I: BECKETT AND ITALY – John Pilling, “Beckett and Italian Literature (after Dante)”; Daniela Caselli, “The Politics of Reading Dante in Beckett’s Mercier and / et Camier and The Calmative / Le calmant Self-Translation and the Genesis of Beckett’s Writing; Rossana M. Sebellin, “Bilingualism and Bi-textuality: Samuel Beckett’s Double Texts”; Dirk Van Hulle and Mark Nixon, “Beckett’s Library – From Marginalia to Notebooks” – PART II: THE ANXIETY OF INFLUENCE: BECKETT AND THE CULTURAL CONTEXT – Mary Bryden, “Hommage furtif: Cixous’s Difficult Love of Beckett”; Heather Gardner, “Company”; Roberta Cauchi Santoro, “Marinetti and Beckett: A Theatrical Continuum”; Davide Crosara, “Breathing the Void”; Mariacristina Cavecchi, “Samuel Beckett, Visual Artist”; Iain Bailey, “Beckett, Drama, and the Writing on the Wall”; Mario Faraone, “Pity we haven’t a piece of rope: Beckett, Zen and the Lack of a Piece of Rope” – PART III: BECKETT AND PHILOSOPHERS – Carla Locatelli, “Ways of Beckett’s Poems: il se passe devant / allant sans but”; David Tucker, “Murphy, Geulincx and an Occasional(ist) Game of Chess”; David Addyman, “Beckett and Place: The Lie of the Land”; Shane Weller, “The Art of Indifference: Adorno’s Manuscript Notes on The Unnamable”; Lorenzo Orlandini, “A Limbo purged of desire: Body and Sexuality in Beckett’s Dream of Fair to Middling Women” – PART IV: BECKETT’S THEATRE: TEXT AND PERFORMANCES – Enoch Brater, “The Seated Figure on Beckett’s Stage”; Chris Ackerley, “The Past in Monochrome: (In)voluntary Memory in Samuel Beckett’s Krapp’s Last Tape”; Hugo Bowles, “The ‘Untellability’ of Stories in Endgame”; Patrizia Fusella, “Chamber Music and Camera Trio: Samuel Beckett’s Second Television Play”; Stanley E. Gontarski, “Redirecting Beckett”; Daniela Guardamagna, “Cecchi’s Endgame, and the Question of Fidelity”; Rosemary Pountney, “Stringent Demands: Aspects of Beckett in Performance”; Laura Caretti, “Winnie’s Italian Stage”; Anastasia Deligianni, “Friendgame” – PART V: BECKETT AND CINEMA – Lino Belleggia, “The Indiscreet Charm of the Cinematic Eye in Samuel Beckett’s Film”; Seb Franklin, “as from an evil core… the evil spread: Beckett and Horror Cinema” – APPENDIX: PERFORMANCE AND IMAGES – Giulia Lazzarini, “Remembering Happy Days”; Ninny Aiuto, “Aspittannu a Godot”; Antonio Borriello, “Beckett the Euclidean (as is he who interprets him)”; Bill Prosser, “Beckett’s Doodles”