Titlebook: Beckett and Modernism; Olga Beloborodova,Dirk Van Hulle,Pim Verhulst Book 2018 The Editor(s) (if applicable) and The Author(s) 2018 Postmo

伤心

H. Tosine,D. Smillie,G. A. V. Reesthis essay considers how the conflicts between Beckett’s rejection of Eliot as a critic and his more ambivalent treatment of Eliot as a poet allow for an exploration of the tensions that are central to modernism, and how this impacts the configuration of both Eliot and Beckett within what has come to be thought of as ‘Late Modernism’.

Cabg318

Himangana Gupta,Raj Kumar Guptaary on 1920s and 1930s Ireland that should be read as the author’s response of resistance to what he observed. The comic method which Beckett employs as political commentary will be demonstrated as a singularly modernist literary response, and one which he shares with a number of his Irish contemporaries.

CARE

COLON

Encumber

Marko Robnik-Šikonja,Marko Bohanectheories of extended cognition, we seek to nuance this position by proposing that Beckett does not exclude external reality but instead collapses the distinction between ‘external’ and ‘internal’, so that ‘what are called outside and inside are one and the same’, as Beckett wrote about the painter Bram van Velde to Georges Duthuit in 1949.

Sinus-Node

赏钱

flex336

失败主义者

使虚弱

,‘Omniscience and omnipotence’: , and the End of ‘Joyceology’,d powerlessness that he drew from the work of André Gide, Fyodor Dostoevsky, and Arthur Schopenhauer. The chapter concludes by arguing that Beckett came to see Joyce’s work as rooted in a Catholic mindset, whereas . is built upon low-church, heretical, or anti-Catholic sensibilities found in Gide, Dostoevsky, and also Arnold Geulincx.