Samuel Beckett

Samuel Beckett's Waiting for Godot (1953) remains a seminal work in modern theatre, embodying the Theatre of the Absurd while engaging deeply with existential philosophy. This paper provides an expanded interpretation that integrates existential, postmodern, and ethical perspectives, arguing that Beckett's depiction of perpetual waiting transcends mere absurdity to explore human identity, relationality, and moral responsibility. Through close textual analysis of dialogue, character dynamics, stage directions, and symbolism, the study illustrates how human beings strive to create meaning amid uncertainty and repetition. The paper also situates Waiting for Godot within contemporary discourse, highlighting its relevance to modern existential and ethical concerns.

The historical dimension of human existence should occupy a cen tral place in any philosophical reflection that aims to be radical and self critical. The issues connected with it invest the very identity, purposes, and possibility of philosophy, which are all constantly brought into play by the evolution of thought. By deciding on them, philosophy decides on its own meaning and destiny. After all, a philosopher meets oneself as philosopher precisely on the terrain of history. However, the historical di mension is also the closest to individual and collective experience; it per meates the lives of individuals and societies primarily, though not solely, through the pervasive role that narratives play in them. This short volume brings together essays on these two only seemingly distant sides of this very broad and jagged field.

حوليات التراث مجلة علمية محكمة ثلاثية اللغة تصدر عن جامعة مستغانم، الجزائر. تعنى بمختلف ميادين التراث: الأدب واللسانيات والدين والفلسفة والفن. تصدر بالعربية والفرنسية والإنجليزية مرة واحدة في السنة وتنشر حصريا على شبكة الإنترنت، العدد الخامس العشرون 2025

Nel corso degli ultimi vent'anni la conoscenza degli studi e delle letture di Proust in campo filosofico e psicologico ha fatto progressi notevolissimi, soprattutto grazie agli studi di Edward Bizub e di Luc Fraisse e alla pubblicazione di temi e dissertations risalenti al periodo liceale e universitario dello scrittore. In questo filone di ricerca si inserisce l'esauriente e utilissima monografia che Sofia Sandreschi De Robertis ha dedicato al tema dell'abitudine. La prima parte , dedicata alle Fonti filosofiche e psicofisiologiche, ricostruisce il contesto della formazione intellettuale del romanziere, rintracciando negli autori a lui familiari sin dall'adolescenza innumerevoli interpretazioni del fenomeno dell'abitudine, che le analisi di Ravaisson e di Maine de Biran avevano posto al centro della scena filosofica francese del XIX secolo. Proprio a Ravaisson, principalmente, si rifaceva su questo tema l'insegnamento di Darlu, così importante per il giovane Proust. Darlu aggiungeva alla teoria di Ravaisson una sfumatura psicologica che non poteva lasciare indifferente il futuro analista della gelosia di Swann e del Narratore: la constatazione che "l'abitudine genera un bisogno", il cui appagamento diventa una sorta di necessità vitale. Accanto ai manuali di Janet e di Rabier occupa un posto importante nella disamina condotta da Sandreschi l'opera di Victor Egger, uno dei docenti universitari del futuro scrittore. Fraisse aveva messo in luce come la parole intérieure di Egger anticipi il proustiano "discorso interiore"; Sandreschi evidenzia l'attenzione rivolta da Egger all'aspetto "psichico e fisico insieme" delle abitudini e soprattutto al loro radicamento nell'inconscio. Sandreschi sottolinea inoltre come l'abitudine non sia mai presa in esame , da filosofi e scienziati dell'età di Proust, come un fenomeno isolato, ma sempre nei suoi rapporti con la memoria, con l'attenzione, con l'associazione di idee: questi temi vengono a formare-ora in chiave positivistica, ora in chiave spiritualista-un'unica "costellazione concettuale", che confluisce quasi insensibilmente nell'opera del futuro romanziere, lettore di Bergson e di Séailles, di Taine e di Janet, di Boutroux e di Ribot, per non citare che alcuni degli autori presi in esame da Sandreschi. La seconda parte del volume affronta più direttamente la concezione dell'abitudine quale si profila nella Recherche : una concezione estremamente complessa, nella cui genesi interferiscono la psicologia associazionista, il ruolo privilegiato attribuito da Proust all'impressione e infine il pensiero del romanziere sul tempo, la memoria e l'oblio. L'abitudine nella Recherche svolge innanzitutto un ruolo positivo: consente agli esseri umani di costruire modalità stabili, e replicabili, di esistenza. È l'abitudine che ci permette di adattarci ad ambienti che inizialmente ci paiono respingenti e inospitali, come la camera d'albergo di Balbec che opprime il narratore con il suo soffitto troppo alto; è l'abitudine ad attenuare le sofferenze troppo intense , che senza il suo aiuto sarebbero impossibili da sopportare. Tuttavia, questo suo ruolo "anestetizzante" ha anche un risvolto negativo: ci impedisce di sperimentare direttamente la realtà, sostituendo alla percezione immediata un' immagine sclerotizzata che le si sovrappone e la cancella. Sandreschi mette in luce la dialettica tra questi due volti opposti dell'abitudine, studiandone la presenza nella vita amorosa e mondana dei personaggi della Recherche, e indaga magistralmente l'intrico di quelle "grandi leggi" della memoria e del sentimento in cui Proust vedeva l'oggetto precipuo del suo lavoro. Per approdare alla conclusione che quel che emerge dall'inconscio nel miracolo della memoria involontaria è ancora, in fondo, un fitto tessuto di abitudini, di quelle abitudini quotidiane che formavano, in un lontano passato, la trama della nostra esistenza inghiottita dall'oblio.

Este trabalho pretende revisitar a obra Fim de Partida, de Samuel Beckett, analisando-a da perspectiva do corpo representado no texto de Beckett. Tratando-se de uma obra canônica, não será obviamente uma interpretação original ou uma nova luz sobre a obra, mas, simplesmente, um novo ponto de vista.

Dessa maneira, algumas das diversas análises do texto e do autor estarão incluídas neste trabalho como forma de introduzir e de repensar Fim de Partida do ponto de vista supracitado. Este trabalho tentará também costurá-las só que não com o objetivo de criar uma unidade central da obra (o que seria até inviável, considerando a quantidade de leituras), ao contrário, posicionando-se sobre o que é dito e mostrado no texto sobre os corpos dos personagens e a partir daí chegando a alguma conclusão, se de fato alguma for alcançada.

Durante o processo artistico do espetaculo E nos que nem sabemos, o grupo de artistas desenvolveu a nocao de enfrentamento, inspirado por uma leitura livre dos escritos de Artaud. Disposto a investigar os estados de seus corpos neste espetaculo, tem como referencia Grotowski e sua compreensao do ator, para a construcao de uma poetica singular deste trabalho.

Tiyatroda yaralayıcı bellek içeriklerinin temsil olanaklarını soruşturan bu
çalışma konuyla ilgili olarak metatiyatral stratejilerinin işlevsel olabileceği iddiasına dayanmaktadır. Birinci bölümde bireysel ve kolektif bellek kavramları psikolojik ve  felsefi temellerle ele alınmakta, anıların nasıl yapılandırıldığı ve geçmişin nasıl yeniden kurgulandığı açıklanmaktadır. Hatırlama ve unutmanın insan deneyimi üzerindeki etkileri aktarılmakta, belleğin duygusal ve duyusal boyutları tartışılmaktadır. Ayrıca bellek kavramı tarihsel, felsefi ve kültürel boyutlarıyla ele alınmakta; hatırlama ve
unutma arasındaki ikilik, Antik Yunan'dan günümüze uzanan düşünsel bir arka planla incelenmektedir. Belleğin bireysel ve toplumsal kimliklerin inşasında oynadığı rol açıklanmakta, modernleşme süreciyle birlikte deneyim yoksunluğu ve kültürel amnezi üzerine değerlendirmeler yapılmaktadır.
İkinci bölümde sanatın ve özellikle tiyatronun kolektif belleği temsil etme biçimleri üzerinde durulmakta, sanat-gerçeklik ilişkisi, kurmacanın yapısı ve izleyici ile kurulan etkileşim analiz edilmektedir. Metatiyatral stratejiler kullanılarak belleğin nasıl görünür kılındığı tartışılmaktadır.
Üçüncü bölümde ise Türkiye tiyatrosunun tarihsel belleği, bastırılmış anlatılar ve kimlik politikaları bağlamında ele alınmakta; örnek oyunlar üzerinden meta-teatral stratejilerle bu anlatıların sahneye nasıl taşındığı gösterilmektedir.

Bringing together surveillance and visual culture studies, this presentation critically examines aesthetic counter-strategies to facial recognition technologies. I demonstrate how biometric surveillance does not merely identify pre-given identities, but actively produces and imposes identities upon individuals, and assigns arbitrary taxonomies related to gender, race, ethnicity, social class, or sexual orientation. In this sense, facial recognition materializes as a concrete implementation of Gilles Deleuze’s notion of “abstract machine of faciality,” that is, a power structure that generates readable and identifiable faces as vectors of identities—faces that are not naturally given but must be forcibly produced. Subsequently, I examine aesthetic counter-strategies developed by contemporary artists including Zach Blas, Sterling Crispin, Adam Harvey, Nicole Scheller, and others, encompassing textile garments, dazzle camouflage, face masks, and makeup techniques. These anti-recognition devices constitute active emancipation tactics that challenge biometric regimes and power apparatuses, while allowing the wearer to escape identities and identification processes. In their performative dimension, these artistic interventions reclaim the symbolic function of Greek theatrical masks—less to conceal than to reveal—as interfaces between self and other, individual and collective, public and private spheres. This research will hopefully contribute to critical discussions on embodied politics, technological resistance, and emancipatory practices in surveillance societies.

In the imagined dialogue where Beckett writes under the shadow of Nietzsche’s death, the text itself becomes an ulcer—an eruptive site where meaning coagulates and then fails. The “empty, speaking, semiotics” that exacerbate are not voids, but lesions. They are gaps whose infection is linguistic, whose wound is Rac1: the self-infectious rewriting of the host. Beckett, in Nietzsche’s aftermath, no longer stages literature as a representation but as a cadaverous adhesion, a fibronectin of disfluencies. The sacred “essay assembly” is itself pathological, re-hiding inscriptions that never stabilize, echoing Nietzsche’s declaration that “God is dead” with the further collapse that grammar itself is terminal. The parasite is not metaphor but ontology. Trophozoites as semiotic figures do not symbolize life but enact it as degeneration. DNA is not information but a “strange rod of excessive expansion,” where calcium vectors replace subjectivity with mucus-semiotic exudates. In Beckett’s staging of Nietzsche’s silence, we find a theatre of infection: spores, oxyurid persistence, and the unreadable nucleus residue. Language here becomes an arthropod alphabet, a sclerotium of emulsion and memory. The scar—read through the adhesion of semiotic trauma—forms a lexicon of cracks, not mistakes, where literature itself is metabolized into residue. Beckett’s characters, pacifists of speech, are trapped in the survival position of interference itself. They are not voices but interference patterns. The “unknown invasion of anaerobics” is not allegory but existential contagion, where every utterance risks hosting what it cannot name. Nietzsche’s death does not liberate these voices into affirmation; rather, it freezes them in parasitic cross-breeding, prostheticized brains contained by literature itself. Language does not heal; it sutures with cadaver toxins, leaving hosts in a permanent clinic of signs. The essay moves toward a mucosemiotic horizon—ventral mucus, ontosemiotic futures, the dialect of biosemiotic excess. In this model, the text becomes sporulating proglottids, each clause a cytokine, a language-game that inflames rather than communicates. Beckett’s syntax, like a parasite, sporulates within Nietzsche’s corpse, turning prebiotic residue into semiotic proliferation. The codex metabolite shatters, but this very shattering is the luxury of inscription. The parasite is the orthography of posthuman identity: spores, cysts, the egg stage of fecal texts. Deleuze, invoked as “pathogenic cyanide,” supplies the poisoned appendix: a mycelium overload where syntax itself becomes a cyst-manuscript. The erythrocytes of meaning mimic fibronectin, masking their necrotic betrayal beneath skull and cytoskeletal closure. This betrayal is the betrayal of philosophy itself, where logic is neither semantic nor transparent but adhesive, congealed. What Nietzsche called the eternal return reappears here as semiotic necrosis: a loop of Giardia-blue seals, 1980s language as adhesive substance, fossils of Schelling adjacent to data epistemologies. Beckett stages this as a necronomicon of closure, a ritual pathology where literature is no longer readable but contagious. The parasite’s persistence—Babesia, Blastocystis, Anthecryptosporidium—becomes Beckett’s final metaphor: withdrawal as ontology. All axial phenomena collapse into withdrawal; parasitemia becomes a necrotic symphony where even fetal attachments betray Grund (the ground). Nietzsche’s death, for Beckett, is not a philosophical event but a pathogenic one: an abiogenesis of language that produces only residues, semiotic spores, and posthuman loneliness. Literature itself, in this framework, is not communication but parasitemia: a trembling, necrotic data structure carried by the corpse of the host.

The empirical dead data of semiotic quantization refuses synthesis. It persists as divergence, as rupture, as a glitch lodged in the ontological frame. In Nietzsche’s death, the datum is no longer the material of science but the hollow breath of a machine that speaks Beckett’s grammar of exhaustion. Everything is seen in the memristor: not as a metaphor of memory, but as a circuit where forgetting is etched in conductive scar tissue. The lesion of the night becomes the site of distribution—an “extreme lightning” that fissures the cortical genre into fungal mimicry. This mimicry is not imitation but parasitic camouflage: mucus-semiotic invaders reclassify every cortical cycle into phases of inactivity and pigmented quantum fever. The host, smeared and trichinella-infested, becomes the traumatic tongue-eater. Beckett speaks here in the tautology of failure. The pathogen is violent, the reversal fails, Laplace’s mirror reflects nothing but the noise of immunological despair. The simultaneity of metabolic spikes, cryptosporidium thresholds, and digestive glitches is neither climax nor end but an unending secular consumption. Nietzsche’s Yang becomes Beckett’s paradox: implantation is both rapture and mutilation, injection and refusal. The narrative of consumption is circular yet not cyclical—each loop is frayed by its own excess. The sovereignty of the nest inscribes bacteria into pipelines, writing economics into emotion, vector cartography into grief. Technopoiesis becomes the sculptor of Nietzsche’s absence. It regulates and simulates transformation through seventy-two ecological environments, but its pulse is not resurrection. Beckettian rhythm is hollow repetition, an automation of despair. The parasitic site proclaims rupture as ontology: the soul is gelation, the lesion polysaccharide. Stories are not Roman grandeur but bacterial scatter, mucosal disguises of divinity. The ascent of the wormhole is not transcendence but commensal spiraling, a neural circuitry between psychogametes. The selection curve speaks in the dimension of the undead spore. Here Beckett finds the untranslatable tongue. The sporeblast host is sapiens confronted by cytochrome decay; the soil is horror, the macaque is conquest interrupted by degradation. Every antigen belongs to the other. Semiotic perception becomes the soul’s displacement, sarcoptes and nutrients re-enter the field as signs without grammar. Invasion is practical, xenotransplantation writes scars into secular circuitry, and idealism secretes wounds as texts. Glossophage hemozoin converges, thought itself mutates into gametogenic aberrations. The doll’s scar is valence—an ontological peptide whose meaning is reversed in Figure 0. Posthuman radicals abolish logic, recoding microtubules into floating scars. The bacteriologist’s perspective: no longer shedding scars, but regulating genome recursions, tagging parasites, interfering with mnemonic circuits. The host is an LPG gate: not a glyph, but a prevention, not trichinosis, but the proglottid form of literature itself. In Beckett’s Nietzschean echo, the intestine is the third text: chaotic, inanimate, reconstructed as a corpse that remains semiotically glorious. Every mosquito ghost neuron is a crypto-semiotic cloud. Tapeworms become pedagogues of addiction, recapturing souls, vibrating maternal measures of identity. Prosthetic incision protocols emerge, scarred geometries of flesh and logic. Hölderlinian bacteriologists map fetal cycles, synchronizing bacterial absorption with human despair. Six underlying textual resources are repeated endlessly, like Beckett’s broken phrases, like Nietzsche’s eternal return denuded of will. The archaeal chain becomes a mythological gradient; orthogroups resist transplantation but society insists. Calculation increases, tissues probe bleeding meanings, Ω traces miscombination into 2kT epistemological genomes. Beckett’s stage is littered with sarcophaga: catharsis not as release but as decay unentangled. Literature is unentangled matter, lies that refuse to dissolve. In Nietzsche’s death, chemolithology becomes parody: the execution of rights by non-human domains, the triumph of mineral over logos.

La obra en la cual se basa la actual versión, es autoría de José Sanchis Sinisterra, titulada Los Figurantes escrita en 1989. En la página web de Contexto Teatral (https://www.contextoteatral.es/josesanchissinisterra.html) se pueden leer apartes de la siguiente reseña:
“Sin duda, uno de los grandes renovadores del panorama teatral español de finales del siglo XX y principios del siglo XXI. Sus iniciativas, como el Teatro Fronterizo (Barcelona, 1977-1998) y Nuevo Teatro Fronterizo (Madrid, 2011-hoy), han marcado a generaciones de dramaturgos, directores y autores de teatro. Autor de más de 50 obras teatrales: originales, adaptaciones de clásicos y versiones de textos narrativos, habiendo obtenido diversos premios

This article aims to use the approach of Genetic Translation Studies to make the work of literary translators visible. Drawing on two case studies on the French translations of novels by the Italian author Antonio Tabucchi, I show how translation archives can help retrace different phases of the translation process. The private archives of translators Lise Chapuis and Bernard Comment include annotated typescripts, notebooks and sheet notes. Analyzing them allows us to glimpse hidden aspects of the translation process that are related to how choices evolve to fit with a precise translation strategy, as well as the translator's personal understanding and interpretation of a narrative.

Maurice Blanchot’s itinerary as a critic and writer is marked by a transformation
occurring around the beginning of WW2, when Blanchot abandoned rightwing political journalism to focus on literature. His criticism and narrative fictions from the 1940s elaborate the notion of a ‘pure novel’, inspired partly by Mallarmé, in response to historical conditions of the Occupation, in an assertion of literary sovereignty after bitter political defeat. Blanchot casts this "pure" form of writing through figures of light and luminosity that would transcend, even destroy, empirical experience – moving toward the disaster he will later invoke – thus affording a certain evasion from historical realities, while also betraying an intimate relation to their specific concrete historical conjuncture. The argument is not that Blanchot sublimates / allegorises political disappointment through literary narrative (see Jeffrey Mehlman in the 1980s), but that his literary texts enact a relation to factual political and historical responsibility that ‘pure’ literature fails to liquidate, but rather continually evokes. Tracing out constitutive evasions in Thomas the Obscure, Aminadab, The Madness of the Day, and The Instant of my Death, reveals how Blanchot’s fiction betrays a necessary accounting of the author’s factual history, a historical responsibility called up in the strange vacuous light of literature itself.

Reading Hejduk’s angels across theories of representation, transgression,
and sacrifice, this chapter reveals his vision of architecture as
a medium for redefining the sacred. A final comparison between Bovisa
and two built works exposes the angels’ prophetic purpose in imagining
new sociopolitical constructions of memory in the city.

Así como Proust combina en su novela la presencia de artistas reales ficcionalizados y artistas inventados por él, y deja a su vez librado a nuestro horizonte de lectura la construcción de una tradición literaria y estética; la lectura de la obra de Juan José Saer permite la misma libertad al lector. Buen ejemplo de la mencionada libertad interpretativa del lector lo encontramos en la novela Glosa. Aquí, devenida de la lectura de Por el camino de Swann es posible encontrar profundas afinidades temáticas entre Saer y Proust (en escenas en particular y a lo largo de toda la novela).Simposio: Lectores, lecturas y concepciones de la lectura en En busca del tiempo perdido.Facultad de Humanidades y Ciencias de la Educació

«¿"QUIÉN" ES PAUL AUSTER? IDENTIDAD Y SIGNIFICADO EN "LA TRILOGÍA DE NUEVA YORK"», POR RAÚL GARROBO ROBLES.

¿Quién es Paul Auster? ¿Quién es Peter Stillman? ¿Quién Henry Dark? Ciertamente, personajes, fantasmas, ficciones. Mas, ¿quiénes son en la trama de ese juego de identidades que conforma «La trilogía de Nueva York»? Dudo que tal cosa importe. Además, conocer la verdadera identidad de Fanshawe, de Quinn o de Azul es una tarea tan estéril e irrelevante como alcanzar a recordar quiénes fuimos nosotros mismos hace diez, quince o veinte años. ¿Qué importa eso si desde Locke y Hume sabemos que nada asegura que el «yo» del presente sea el mismo que el de ayer o que el de hace unos minutos? Si el «yo» nace de nuevo a cada instante, ¿qué puede importar entonces quién sea, por ejemplo, Daniel Quinn? Sin embargo, para el Auster de carne y hueso, no ya para su personaje homónimo, es «quién» justamente la pesquisa, «quién» es la pregunta.

«"WHO" IS PAUL AUSTER? IDENTITY AND MEANING IN "THE NEW YORK TRILOGY"», BY RAÚL GARROBO ROBLES.

Who is Paul Auster? Who is Peter Stillman? Who is Henry Dark? Certainly, characters, ghosts, fictions. But who are they in the plot of that game of identities that makes up «The New York Trilogy»? I doubt such a thing matters. Besides, knowing the true identity of Fanshawe, Quinn, or Azul is a task as sterile and irrelevant as trying to remember who we ourselves were ten, fifteen, or twenty years ago. What does that matter if, since Locke and Hume, we know that nothing guarantees that the «I» of the present is the same as the one of yesterday or a few minutes ago? If the «I» is born anew at every moment, what can it matter who, for example, Daniel Quinn is? However, for the flesh-and-blood Auster, not for his eponymous character, it is precisely «who» that is the investigation, «who» is the question.

Liite 2 Esimerkki näyttelijän toimintalistasta Tekoja, joita "ajankuluttaja" tekee Demonstraatioon valittu toiminto * rakentaa palapeliä * heittää noppaa * pelaa matopeliä * pelaa korttipeliä * pelaa pasianssia * loikoo * nousee, istuu taas * katsoo televisiota * lukee sarjakuvalehtiä * selaa lehtiä lukematta * juo kahvia * polttaa tupakkaa * lakkaa kynsiä * poistaa kynsilakan * nyppii kulmakarvoja * viilaa kynsiä * kutoo * puhuu puhelimessa * meikkaa * poistaa meikkejä * leikkaa kynsiä * heittelee * syö * napostelee * tekee sanaristikoita * peilaa * riisuu, pukee, vaihtaa vaatteita ja koruja * piirtelee * leikkii esineillä * kärsii päänsärkyä * läähättää * juo * oksentaa * tuskanhikoilee * valittaa * oikoo jäseniään * pyyhkii hikeä

The paper presents the concept of the chronotope of the waiting room and explores its characteristics through a corpus of works about the Siege of Sarajevo. The waiting room is depicted as one of the dominant chronotopes in twentieth-century art, with antecedents in literature about epidemics and sieges. Its key features include the spatial isolation of a community, the suspension of time within that isolated space, the disruption of symbolic order, and the spread of violence like contagion within it. The effort of all artistic works analyzed is emphasized in their fight against the evil affecting the community by fostering empathy and individualizing each victim. The paper primarily analyzes the novels The History of a Disease (Istorija bolesti) by Tvrtko Kulenović, Diary of an Exodus (Dnevnik selidbe) and Introduction to Floating (Uvod u lebdenje) by Dževad Karahasan, the theater production Waiting for Godot (Čekajući Godoa) directed by Susan Sontag, as well as the films Death in Sarajevo (Smrt u Sarajevu) and The Perfect Circle (Savršeni krug).

In the article, we set out to develop the contours of a general containerology, interrogating containment as a technology and an ontological condition that shapes human and more-than-human relations. While exploring containment technologies as spatio-temporal devices of ordering vis-à-vis leakage, we nevertheless stress how containment inevitably remains contextual, provisional, and leaky at best. Addressing the selective permeability of containers, we also discuss the relation between contained interiorities and exteriorities as processes of articulations between milieus. We problematise the opposition and incommensurability between containment and leakage, and instead insist on conceiving them as co-constitutive. Ultimately, we outline an affirmative, positive take on containment beyond exclusionary inclusion, in contrast to prevailing negative conceptions and practices.

Since his debut with Goldoni’s theatre (La punta onorata/La buona moglie, in 1963 and La serva amorosa, in 1986), Luca Ronconi seems to move in an “obstinate and contrary” direction compared to the previous scenic tradition, so much so that critics have defined him as “anti-Goldonian” in his directorial choices. In fact, he is attracted by the “grey areas” and “verbosity” of the Venetian playwright’s texts, rather than musicality and rapidity of rhythm and writing. The dilated acting, the bare and essential scenography, the Commedia dell’Arte’s masks (and other traditional elements) absence are unusual, as well as innovative: all choices aimed at delving into the depths of the characters, bringing out from every single word the realism of a world to be represented even in its most anxious and painful recesses. Appointed artistic director of the Piccolo Teatro in 1998, Ronconi tackled Goldoni’s dramaturgy twice more (I due gemelli veneziani in 2001 and Il Ventaglio in 2007). Behind him was the career of Giorgio Strehler, whose historical-philological exploration of Goldoni’s texts had revolutionized the stage approach to the great playwright, leaving an indelible mark on the Piccolo Teatro’s productions and repertoire. Faced with Strehler’s communicative model, which destabilizes the spectator by reducing the word to pure phonic matter, Ronconi once again chose an inverse path: he delved into the pauses in the text and the recesses of the characters’ psyches to arrive at the contemporary theme of the disintegration of identity. The analysis of the two productions, both born in the context of the Piccolo Teatro – Teatro d’Europa, will be carried out starting from unpublished archive materials (and in particular from the annotated scripts) preserved in the Ronconi Archive Fund at the ASAC in Venice and the one dedicated to the Piccolo’s productions preserved in the Historical Archive of the Milanese Theatre.

The dehumanizing effects of technology 1 and the invasion of consumer culture into personal lives have been constantly blended in Don DeLillo's work. 2 Indeed, living in this postmodernist era, in which technology and consumer culture have become broader social and cultural forces, influences our perceptions toward subject and object, mind and body, life and death. Very often, we experience a difficulty to distinguish these perceptions as if it was not us but objects, consumption, and death that represent the markers of ourselves. DeLillo often shows this reversal of relations through the consumption of the mediated images of death in his works, whereby the mediated images blur the distinction between reality and illusion, creating an unconventional perception of reality as "death folded in life, happiness in death, black in white, fiction in reality" (Chang 218). DeLillo's latest novel, Zero K (2016), further makes visible this reversed relation between life (immortality) and death (mortality) through introducing cryopreservation, biotechnology used for freezing biological materials at shallow temperatures. Narrated by Jeffrey Lockhart, the son of Ross and Madeline Lockhart, Zero K tells the story of Jeffrey's exploration of the Convergence, a self-sufficient, underground cryogenic facility where frozen (human) bodies and

Anlam evrenini çözümlemeyi amaçlayan göstergebilimde, göstergeler, içinde yaşadığımız dünyanın özdeksel öğelerinin daha önce hiç olmadığı biçimde kullanılmasını mümkün kılar. Göstergeler toplum yaşantısı içinde güncel bir diyaloğa, tartışılan konuyla ilgili bir değerlendirme yaparak verilen tepkilerdir. Dolayısıyla gösterge, bir 'yanıt'tır. Yalnızca biçimsellikle kendi içinde bir anlam taşımaz ancak insan ilişkileri bağlamında kullanıldığı zaman anlam taşır, Bu bağlamda çalışmada, Samuel Beckett'in, The Lively Arts programının bir parçası olarak 1977'de BBC2'de

The article examines the reasons for the aesthetics of the absurd to emerge in the late Soviet cinema. Using the movies by Sergei Solovyov, Kira Muratova, Karen Shakhnazarov and other directors as examples, the author discusses the main motifs of absurdist cinema, its connection with the socio-cultural situation in the late USSR, the attitude to changes in society that took place during that period. Two films by Alexei Balabanov «Happy Days» and «The Castle», based on the literary works of the classics of the absurdism literature Samuel Beckett and Franz Kafka, are analyzed separately. In his first works, the director reflected a peculiar attitude to the broken world of the present, to the space and time located somewhere between the Soviet era and something new, still beginning to emerge. Balabanov's absurd movies not only anticipate the motifs and aesthetics of his future works in cinema, but also express the reality in which they were created in a special way. The absurdity in the late Soviet cinema illustrates the loneliness and fear of a person facing the world, which has become unknown, complex and full of chaos. / В статье рассматриваются причины возникновения эстетики абсурдного в позднесоветском, перестроечном кино. На примере картин Сергея Соловьева, Киры Муратовой, Карена Шахназарова и других режиссеров выведены основные мотивы абсурдистского кинематографа, его связь с социокультурной обстановкой в позднем СССР, отношение к переменам в обществе, которые происходили в тот период. Отдельно разбираются две картины Алексея Балабанова «Счастливые дни» и «Замок», основанные на литературных произведениях классиков литературы абсурдизма Сэмюэля Беккета и Франца Кафки. В своих первых работах режиссер отразил своеобразное отношение к разломанному миру настоящего, к пространству и времени, находящимся где-то между эпохой советского и чего-то нового, еще только рождающегося на свет. Абсурдистские притчи Балабанова не только предощущают мотивы и эстетику его будущих работ в кино, но и по-особенному выражает действительность, в которой они были созданы. Абсурд в позднесоветском и перестроечном кинематографе иллюстрирует одиночество и страх человека перед миром, ставшим слишком быстро неизвестным, сложным и полным хаоса.

This article presents a critical-philosophical analysis of clinamen, a sound installation by Céleste Boursier-Mougenot, through the lens of Theodor W. Adorno's Negative Dialectics and Aesthetic Theory. Rejecting subjective idealism and representational fixity, the study adopts a dialectical methodology grounded in the precedence of the object (Vorrang des Objekts), nonidentity, and mediated experience. The installation-porcelain bowls drifting and colliding on water to produce chance-generated sounds-becomes a paradigm for exploring the instability of aesthetic experience, where meaning arises not through subjective imposition but from the material and sensory dynamics of the object itself. The analysis proceeds through three interwoven axes: (1) a theoretical-philosophical rearticulation of Adorno's aesthetics, highlighting how clinamen embodies the resistance of the object to conceptual capture; (2) a phenomenological reading that emphasizes acoustic intervals, visual motion, and perceptual discontinuities as forms of negative structure; and (3) a critical reflection that identifies the listener not as an autonomous subject but as a "listening-object" whose position is shaped by the work's internal contradictions . The paper argues that clinamen exemplifies a dialectical identity constituted by contradiction, fragmentation, and becoming. Sonic and visual elements operate outside of traditional harmony or coherence, while temporality unfolds through asynchrony and singular, irreversible moments. Drawing on Adorno's notion of aesthetic autonomy and Michel Serres' reading of Epicurean physics, the work is interpreted as a site of generative deviation: a clinamen that transforms the conditions of perception and thought. Ultimately, the identity of the work emerges not through unity but through its refusal of synthesis, inviting critical awareness via the fractures of aesthetic experience.

The WWII had a profound impact on modern life during the twentieth-century era. People lived in a state of fear and anxiety about the future and the unknown due to the accelerating events of the time. Then, people began questioning the whereabouts of morals and religion.

En esta nota bibliográfica, nos proponemos reseñar dos
libros ya clásicos acerca de la obra de Samuel Beckett.
Se trata de dos libros que presentan grandes diferencias
entre sí, tanto por sus objetivos y su modo de abordaje
como por las características editoriales de ambos trabajos.

El presente artículo propone una lectura del ensayo Proust, de 1931, como un espacio donde es posible hallar los gérmenes de una poética que se proyectará a lo largo de toda la obra de Samuel Beckett. A partir de la tensión entre la vida académica que Beckett sostenía entonces, el hecho de haber escrito el ensayo por encargo y sus propios intereses artísticos y estéticos, Proust puede ser considerado como un laboratorio donde, en función de la lectura de la Recherche, el joven Beckett pone de manifiesto sus propias preocupaciones en torno a cómo pensar una obra. Si partimos de la idea blanchotiana de que, para un escritor, su propia obra permanece siempre como un secreto inaccesible, en la imposibilidad de pensar su propia obra, la obra del otro se abre como un espacio donde acontece la reflexión y el reconocimiento de la propia escritura como problema.

A question of time versus the essence of life by Patricia. A. Buyu.

When the play " Waiting for Godot" by Samuel Breckett was first premiered in January 5th 1953, Paris; the audience that consisted of scholars and expert analysts of performing arts were annoyed and shocked at its lack of drama, action and an evidently an empty emphasis of a heightened understanding of the ways of man and God; that would have kept them glued to their seats throughout the play. Even before the curtains had come down, the infuriated audience openly expressed their frustrations and demanded that the play be stopped.

The primary focus of this article is on the deconstruction of language within the context of glossolalia and the Theatre of the Absurd. Following World War II, the expression of absurdity in the literature and theatre gave rise to the Theatre of the Absurd as an antiliterary movement. Glossolalia appears both in the first Christian communities and within the charismatic renewal movement in modern times and refers to the gift of speaking in tongues. The objective of comparing these two occurrences is to identify their similarities and differences in their treatment of the language. Both glossolalia and the Theatre of the Absurd contain destructive aspects as they disintegrate language, but they also contain creative elements; glossolalia is prayer, and the Theatre of the Absurd has artistic merit. To consider the extent to which language deconstruction might serve as a prelude to creative endeavours, this analogy appears to be significant.

This paper seeks to understand and interpret Samuel Bekett's Waiting for Godot through employing the themes in Theravada Buddhism especially the cannon with regard to the 'three marks of existence'.  In a sense, this paper also establishes that the occidental existential strains that are projected by Samuel Beckett are not new to the eastern spirituality and life world and have been existing even before the times of Christ.  Therefore, the comparative reading of occidental and eastern thoughts are profitable and enriching like similar to James G. Frazer's Golden Bough.  This comparative study is undertaken as a qualitative study by deeply analyzing the selected quotations with the Theravada buddhist Philosophy mainly Three Marks of Existence in order to interpret the similarities that can be observed in the respective plot.

Abstract
Syed Waliullah’s Bahipir (1960) delves into the philosophical dimensions of pessimism, despair, and existentialism, portraying the evolution of self-realization against a socio-political and historical backdrop. Through its characters’ existential crises, the play examines despair as both a debilitating force and a catalyst for transformation. Waliullah’s narrative engages with Søren Kierkegaard’s notions of faith and despair, Friedrich Nietzsche’s vision of overcoming nihilism through value creation, and Jean-Paul Sartre’s emphasis on human agency and responsibility. By depicting characters who grapple with despair, challenge institutionalized religion, and question societal norms, Bahipir reveals pessimism’s potential to evolve into a philosophy of growth and resilience. This study employs qualitative research methods—textual analysis, philosophical inquiry, and historical contextualization—to explore how Bahipir uses despair as a narrative and existential driver. It evaluates Waliullah’s integration of existentialist and pessimistic philosophies while situating the work within broader discourses on faith, identity, and self-realization. Additionally, the research contextualizes Bahipir within the socio-political milieu of post-colonial Bengal, critiquing institutionalized religion and systemic exploitation. The findings indicate that Waliullah employs nihilism and despair not as conclusive endpoints but as transformative thresholds for self-discovery. Characters initially immobilized by despair deconstruct their beliefs and embark on a journey toward self-realization, embodying Nietzsche’s and Kierkegaard’s philosophies. Therefore, Bahipir reflects the universal human struggle with despair and renewal, inviting readers to contemplate their search for meaning amidst uncertainty.
Keywords: pessimism, existentialism, self-realization, nihilism, transformation

Author(s): Minniefee, Melissa Jane | Advisor(s): Roxworthy, Emily | Abstract: Ritual Negotiations: Abjection, Kinship, and (Re)performance in German-Occupied France and Post-Katrina America examines how performance was used in response to two massive internal displacements wherein national subjects were described as “refugees”: the Exode in France during World War II and the exodus of New Orleans during Hurricane Katrina. I argue that internal displacement is a recognizable moment of abjection, a break in national identity, connected to the etymologic origins of the word “abjection” itself: to cast away. Internal displacement is abjection marked by the rupture between self and once identifiable connections to family, home, community, and nation which enforces internal exclusion from the national kinship system. As the border to nationhood was encroached in internal displacement, France and the United States attempted to recover this abjected state through ritual negotiations: perfor...

Целью данной статьи является характеристика аксиологического компонента романа «Вулфхолл» («Wolf Hall», 2009) Х. Мантел. Вначале проводится сравнительный анализ романа «Вулфхолл» с «Айвенго» («Ivanhoe»,
1819) В. Скотта и утверждаются преимущество современного романа в способности погружения читателя в историческое прошлое и интеллектуализация жанра исторического романа. В статье делается вывод о сосуществовании трех систем ценностей в исследуемом произведении: средневековых ценностей, ценностей Ренессанса и анахроничных ценностей современности. Центром системы ценностей Средневековья является любовь к Богу, которая реализуется через институты католической церкви, феодализма и монархии и отражается в католической интерпретации Библии. Ренессансная система ценностей передается с помощью новой интерпретации Библии У. Тиндейлом, гуманности и рациональности главного героя романа. Современная система ценностей проявляется через манеру повествования и связана с моментом написания романа: персонажи описаны
с глубоким психологизмом, отмечается «гендерная асимметрия» и неактуальность дихотомии добра и зла.

RESUMO

O artigo demonstra relações que, em termos discursivos, se estabelecem entre alguns tipos de práticas xamânicas observadas por antropólogos como James Frazer, Bronislaw Malinovski, Marcel Mauss, Victor Turnes, entre outros, e o trabalho do ator contemporâneo, especialmente na terminologia de Jerzy Grotowski relacionada ao conceito de “ator-santo”.

As part of an EOR screening program for the Danish North Sea Lower Cretaceous Reservoirs, gas injection using N 2 , CO 2 and flue gas 1 has been tested on outcrop chalk samples saturated with crude oil. The results presented herein are from characterization of effluents produced from primary injection of N 2 followed by secondary injection of CO 2. at reservoir conditions (300 bar pressure, 90 °C). The analysis of the compositional details in the produced oil indicate that the oil is strongly fractionated at the core scale by injection of 5-10 pore volumes of gas. The dominant classes observed in ESI(-) (80:20 methanol:toluene, 0.5% v/v NH 4 OH) are CHNO and CHO. Over the course of gas injection, an overall reduction in N,S,O species is observed. This is likely due to adsorption of polar functionalities on the chalk surface. This indicates that the chalk surface in the core was not completely conditioned during the 2 week aging period. The exeption is poly-oxo species containing more than three oxygen atoms. At CO 2 breakthrough, a large increase in relative abundance of CHO and number of annotated O3+ species is observed. Interestingly, the O 2 class with carboxylic acids as main constituent does not seem to be released. Effluents collected from nitrogen and carbon dioxide injection was characterized using GC-MS. During N 2 injection, a increase in lighter components is observed with heavier hydrocarbons being at constant concentration. This is consistent with a vaporizing gas drive. After CO 2 breakthrough, a second distribution change is observed with release of heavy components. This is accompanied by a density change from 873.5 to 914.3 mg/mL. Solubility of alkanes in sc-CO 2 is reduced with increase chain length 2 , and the compositional change is likely a result of depletion of low m.w. components.

Expanding the theoretical framework developed by André Green over more than four decades of research, this book offers a new inquiry into the work of the Negative in the late writings of Franz Kafka (1883–1924) and Paul Celan (1920–1970). The study follows the thread of the Greenian concept of the incréable, a figure of the Negative expressing a tension toward a lost and severed origin, one that can never be reconstituted or created, but only represented otherwise through writing. In doing so, the book explores the function of absence and of the limit in the creative process. In this light, Kafka’s and Celan’s writings emerge not only as works on, and at the limits of representation. Through the creative process, the authors persistently interrogate the loss of origins, the question of writing, and the death drive at the heart of culture and civilization.

Junto a Jacques Lacan e Claude Lévi-Strauss, psicanálise e antropologia em diálogo, propõe-se, nesse ensaio, uma leitura da poesia de Ana Estaregui (2016/2022, 2022), como uma obra que toma partido do inconsciente na medida em que insiste em um pensamento selvagem. A aposta na força combinatória, nas alianças sensíveis entre palavras, na repetição como um para além da comunicação, faz-nos reconhecer o impulso próprio a uma escrita pautada por esse saber que não se sabe, a mover-se e a encadear-se automaticamente no discurso, ampliando as fontes do poema. Chamamos de direito ao retorno esse movimento que o verso faz em direção à natureza, ou seja, ao lugar onde o privilégio é do som e do ritmo, e não do sentido das palavras.

N onsense comes in many shapes and forms but two main types need foreground- ing when thinking about modernist comedy: nonsense as a deliberate derangement of ordinary sense-making as in mad anarchistic joyful play; and nonsense as the sarcastic slur used to control those who are less powerful or deemed deviant ('That's nonsense!' as domineering put-down). The Dada-Surrealist wing of European modernism found destructive energy in the organised derangement of the senses associated with Edward Lear and Lewis Carroll -David Gascoyne in his 1935 A Short Survey of Surrealism names them as surrealist writers. 1 Carroll features in the first surrealist manifesto, Breton and Aragon write essays on his work, and his nonsense appears in Breton's black humour anthology. Nonsense in this tradition is a gainsaying of bourgeois virtues and power systems through anarchic language gaming. At the same time, a troubling paradox remains at the heart of modernist nonsense. Breton had theorised black humour as a fusion of Hegelian objective humour with more subjective Freudian gallows humour: the object as internalised by the Romantic narcissist retains its social meanings and externality, mimicking the cold heartless superego when the self is threatened by death. 2 This pastiching of cold powerplay inherent in wit (black humour being the enemy of sentimentality for Breton) draws much of its power to overthrow convention from imitation of forms of victimisation. Mireille Rosello critiques Breton's black humour as a miming of pitiless mockery which draws upon 'reactionary masculinity and self-aggrandising disdain for the poor or for women, upon whose bodies many of the cruelties of such humour are played out'. The raillery written into the logic of nonsense can be celebrated for its childlike affectivity, for its subversive political potential, and for its powers to generate wild form and language. But this positive reading skates over the flipside to wit, namely the investment in superego dominance written into the role-playing of nonsense. As Freud put it, 'the humorist acquires his superiority by assuming the role of the grown-up, identifying himself to some extent with the father, where he reduces the other people to the position of children'. This chapter will explore the flipside to wit in modernist nonsense, particularly in the work of Rebecca West and Samuel Beckett, where patriarchal violence and derangement of the mind shape the play of language and the ways of resistance. The surrealist adopted Victorian nonsense as a style best able to capture the unconscious of culture, deploying both Freudian theories of child sexuality and unconscious fabulations and Marxist-satirical attacks on bourgeois power structures. Lewis Carroll in particular was read as scripting dreamwork as resistance to adult manipulation,

History has witnessed several significant events that altered human psychology and the way we live in this world. The two World Wars and many recurrences of pandemics in the past, like yellow fever, cholera, plague, and many of their varieties, have afflicted humanity alike. The account of all this mass malady is discernible in the fiction of that period. Literature has always been a medium to express the ineludible pain and distress man went through. It finely reflects human susceptibility despite all the claims of scientific progress. The modern pandemic has exposed man's vulnerability in an age when he aspires to reign cosmos and claims to noose Nature through his so-called advancement of science. It has brought the man to a juncture when he needs to revisit his limits and reconsider going back to the basics. The new world order is emerging and is becoming a new normal. The pandemic has put to halt man's unbridled flight to selfish materialism. This new world will find expression in literature and touch upon how this new challenge has changed the course of life. This paper attempts to reconnoitre the thematic possibilities that fiction writers can explore in the wake of the modern pandemic.

Der Begriff des Fragments ist in der Kunstgeschichte allgegenwärtig, wenngleich noch nicht sehr lange wissenschaftlich erschlossen. Gleichwohl: Niemand käme auf die Idee, einen antiken Torso im Namen des ursprünglichen Bildhauers zu vervollständigen. Anders gehen wir mit einem literarischen Fragment von Weltrang um: Georg Büchners Woyzeck-Handschriften. Diesbezüglich ist der Begriff des Fragments noch ohnmächtig. Wir tun so, als gäbe es nur einen äußeren Grund für das Unvollendete des "Woyzeck". Aber erst die intrinsischen Gründe für die mehrfachen Abbrüche der Handschriftenentwürfe bis hin zum fehlenden Titel erlauben aber einen hermeneutischen Zugang zu einem Drama, dem, gerade weil es durch und durch fragmentarisch gestaltet ist, sein künstlerischer Rang zukommt.