Surreal Beckett: Samuel Beckett, James Joyce, and Surrealism

A genetics of translation may suggest a unidirectional link between two fields of research (genetic criticism applied to translations), but there are many ways in which translation and genetic criticism interact. This article’s research hypothesis is that an exchange of ideas between translation studies and genetic criticism can be mutually beneficial in more than one way. Their main function is to enhance a form of textual awareness, and to this end they inform each other in at least five different ways: genesis as part of translation; translation of the genesis; genesis of the translation; translation as part of the genesis; and finally the genesis of the untranslatable. To study this nexus translation/genetic criticism the works of James Joyce and Samuel Beckett will serve as case studies.

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O’Brien, Flann (1911–1966)

Routledge Encyclopedia of Modernism ◽

10.4324/9781135000356-rem116-1 ◽

2018 ◽

Author(s):

Julian Hanna

Keyword(s):

James Joyce ◽

Samuel Beckett ◽

Flann O'brien ◽

The Third ◽

Irish Modernism ◽

Cultural Forms

Born Brian O’Nolan (or Ó Nualláin) in Strabane, County Tyrone, the novelist and satirist known as Flann O’Brien is now recognized as a leading figure of Irish modernism alongside James Joyce and Samuel Beckett. Like Joyce and Beckett, he is also considered to be an important transitional figure to postmodernism. His experimental novels, particularly At Swim-Two-Birds (1939) and The Third Policeman (1967), employ many of the techniques later identified as postmodern, including use of parody and pastiche, recycling of genres and characters, and combining of ‘high’ and ‘low’ cultural forms. Though his acclaim as a novelist was hard won and late in coming, O’Brien enjoyed significant local fame as a journalist for his Cruiskeen Lawn column, which ran in the Irish Times from 1940 to 1960 under the pseudonym Myles na gCopaleen (also na Gopaleen, ‘Myles of the Ponies’).

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James Joyce and Samuel Beckett: Blind bards in the age of silent cinema

10.5040/9781350177390.ch-011 ◽

2022 ◽

Author(s):

Cleo Hanaway-Oakley

Keyword(s):

James Joyce ◽

Samuel Beckett ◽

Silent Cinema

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Beskrivelse uden sted:

Slagmark - Tidsskrift for idéhistorie ◽

10.7146/sl.v2015i72.107206 ◽

2015 ◽

pp. 127-140

Author(s):

Jørn Erslev Andersen

Keyword(s):

James Joyce ◽

Samuel Beckett ◽

Wallace Stevens ◽

Philosophical Thinking ◽

Definition Of ◽

Friedrich Hölderlin

The essay presents Giorgio Agamben’s theory of the paradigm in the first chapter of The Signature of All Things. On Method (2009) in order to better understand the well-known use of references to and qoutations from literature (poems and novels) in philosophical reasoning and theory. Agamben’s uncommented reference to two short stanzas from Wallace Stevens’ poem “Description without Place”, which he consider the best definition of a paradigmatic ontology, is briefly commented. A gathering of three ‘literary singularities’ from Friedrich Hölderlin/Sophocles, James Joyce, and Samuel Beckett in a suggested paradigm on time is presented as an example of a solely literary way of philosophical thinking.

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‘It is suicide to be abroad. But what it is to be at home …’: Beckett as national performance

Scene ◽

10.1386/scene_00024_1 ◽

2020 ◽

Vol 8 (1-2) ◽

pp. 73-90

Author(s):

Patrick Lonergan

Keyword(s):

Twentieth Century ◽

James Joyce ◽

Samuel Beckett ◽

Nation Branding ◽

Methodological Challenges ◽

National Performance ◽

History Of ◽

Positive Images ◽

At Home

This article explores how nations such as Ireland interact with each other – and seek to understand themselves – by appropriating theatre-makers and other artists, using them to perform versions of that nation to the outside world. This topic is considered through an exploration of the Irish state’s appropriation of Samuel Beckett as an icon that represents positive images of Irishness both within and beyond Ireland. This process is explored from shortly after Beckett’s death in 1989 to the launch in 2012 of an Irish navy vessel named the LÉ Samuel Beckett. The treatment of Beckett during that period is considered in the context of a broader discussion of nation-branding in Ireland. This is presented in an outline history of the Irish state’s performance of itself through its artists, which are discussed in relation to the appearance of Irish writers on banknotes during the twentieth century, among other brief examples related to the work of W. B. Yeats and James Joyce. The article concludes by considering some of the methodological challenges that arise in an investigation of national performance.

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