Bruce Stewart, ed., Beckett and Beyond [Princess Grave Irish Library Series No. 9] (Gerrards Cross: Colin Smythe 1999), 318pp.

Table of Contents
  • Address by H. E. Mr TADHG O’SULLIVAN [v]
  • Address by Mr. ANTHONY CRONIN [ix]
  • Address by EDWARD BECKETT [x]
  • Address by Professor HERSH ZEIFMAN [xi]
  • James ACHESON, ‘Beckett’s Film, Berkeley, and Schopenhauer’ [1]
  • Linda BEN-ZVI, ‘Feminine Focus in Beckett’ [12]
  • Normand BERLIN, ‘Beyond Beckett = Before Beckett’ [20]
  • Enoch BRATER, ‘Acts of Enunciation in All That Fall’ [28]
  • Marius BUNING, ‘The Play of negativity in the Beckettian Text’ [38]
  • Lance St. John BUTLER, ‘Samuel Beckett’s End, or The Future Perfect’ [48]
  • Gottfried BÜTTNER, ‘Samuel Beckett Look ar as a Modern Initiate’ [49]
  • Genèvieve CHEVALIER, ‘Pacing Absence: Beckett’s Characters as Quantity Surveyors in Insignificance’ [62]
  • Ruby COHN, ‘An Abstract’ [72]
  • Thomas COUSINEAU, ‘Beneath Representation: On Staging Beckett’s Plays Anti-Oedipal Tendencies in the Trilogy’ [84]
  • Kevin DETTMAR, ‘The Joyce that Beckett Built’ [94]
  • Colin DUCKWORTH, ‘Beckett’s Theatre: Beyond the Stage Space’ [112]
  • Murphy’s Return’ [120]
  • Martha FEHSENFELD and Lois More Overbeck, ‘The Correspondence of Samuel Beckett: Windows on the Work’ [121]
  • Jack E. FRISCH, ‘Beckett and Havel: A Personification of Silence’ [134]
  • Peter GIDAL, ‘Sexlessness & Meaninglessness in Time in Beckett ‘ [129]
  • Stanley E. GONTARSKI, ‘A Hat Is Not a Shoe: The Theatrical Notebooks of Samuel Beckett and Postmodernist Theories of Texts and Textuality’ [151]
  • Barbara HARDY, ‘Samuel Beckett: Adapting Objects & and Adapting to Objects’ [171]
  • Marek KEDZIERSKI, ‘The Space of Absence: Image and Voice in Beckett’S Later Plays’ [183]
  • Andrew KENNEDY , ‘No Beyond ‘All to End’’ [192]
  • Adele KING, ‘Camus and Beckett: Against Patriarchy, ‘L’Etranger, ‘Molloy & En Attendant Godot’ [199]
  • James KNOWLSON, ‘”My Texts are in a Terrible Mess”’ [207]
  • Charles KRANCE, ‘French for Company’ [220]
  • Carla LOCATELLI, ‘Samuel Beckett’s Obligation to express’: From a Mythology of Demystification to the Utterance of Better Failures ‘ [227]
  • Bary McGOVERN, ‘Well, ‘Well, so There’s an Audience in the Plays of Samuel Beckett’ [241]
  • John PILLING, ‘Form a (W)horoscope to Murphy’ [248]
  • Giuseppina RESTIVO, ‘Caliban/Clov and Leopardi’s Boy: Beckett and Postmodernism’ [250]
  • Antonia RODRIGUEZ-GAGO,. Beckett’s Voices in Spanish: Translation as an Aspect of Adaptation’ [267]
  • Annamaria SPORTELLI, ‘Beyond the Absurd’ [276]
  • Aldo TAGLIAFERRI, ‘Ill Seen Ill Said: A Sacrificial Workshop’ [284]
  • Katharine WORTH, ‘Protean Beckett: Adaptations and Extensions’ [294]
  • Hersh ZEIFMAN, ‘From That Time to No Time: Closure in Beckett’s Drama’ [300]
Appendix One: The Conference Programme’ [310]; Appendix Two: A List of Participants’ [312]; Index’ [314].


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