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1980, JOURNAL OF BECKETT STUDIES (First Series)
'Paul Lawley takes up another of the neglected works in the Beckett canon, and his analysis of EMBERS is a concentrated, Freudian explication of Beckett's transitional radio play, written between ALL THAT FALL and WORDS AND MUSIC' (S. E. Gontarski). 'The long and important essay on EMBERS, which aims to re-assess a play that has been largely neglected, is essentially an exercise in close reading' (John Pilling).
Romanica Silesiana
"White World, Not a Sound." Paternal Spaces in Samuel Beckett's "Embers"2017 •
This paper aims at the interpretation of the father as an empty figure of authority in Samuel Beckett’s radio play entitled Embers. Through the close-reading of this play and the analysis of the relations between the protagonist and the two feminine characters, Ada and Addie, it demonstrates how the father figure coincides with the classical impasse of Beckett’s oeuvre: the subject unable to manifest itself. Due to that fact, the father is presented in the constant proces of wearing his authorial space out. It is eventually demonstrated that in Embers the subject is coerced to balance between its self-deconstruction and the paternal violence: its focus on its own materiality results in the collapse of language, whereas overt attention on the linguistic cognition puts forward the logic of remnants resisting father’s orders, be it in the form of sound collage, or material element immune to symbolisation.
2017 •
This paper argues that the work of James Joyce continued to be both a creative source of inspiration and a stumbling block for Beckett in the 1950s, especially when writing in English. After discussing Beckett's re-immersion in Joyce's work during this decade, it moves on to show how his radio play 'Embers', written between 1957 and 1959, builds on the Proteus chapter from 'Ulysses' and 'A Portrait of the Artist as A Young Man'.
Journal of Beckett Studies
Beckett's Embers and the Modernist Ovid: a Tiresian Poetic?2013 •
Whereas the second Beckett radio play, Embers, has been interpreted as reworking Ovid’s myth of Echo (Doll, 1988, 31–6), the play has also been seen both to dramatise a theme of ‘petrification’ and to illustrate how ‘the quintessential object for Beckett is the stone’ (Zilliacus, 1976, 93). In recent decades, moreover, the scope for studying myth in Beckett has been enriched through the publication of diverse primary documents, including the posthumously published early novel Dream of Fair to Middling Women (1992); shorter prose (1995); the Dream notebook (1999); and The Collected Poems (2012). Additionally, holograph and typescript drafts now facilitate manuscript genetic exploration of Embers, from which I would propose here to read selected excerpts as indeed revisiting Ovidian myth – albeit in a manner that ranges unexpectedly widely, so as to embrace not just Echo (and Narcissus) in isolation, but also Pentheus mocking Tiresias; Dis (Hades) and Proserpina (Persephone); and even Deucalion and Pyrrha, the stranded couple who find themselves creating new life out of stone. In the closing discussion, after surveying Beckett’s treatment of sight and hearing in Embers, I suggest that he has integrated his choice of excerpts from the Metamorphoses into a weirdly petrifying miniature epic.
Focusing on drama, and recent Irish drama in particular, this essay recognizes the problematic, even paradoxical, nature of the influence of Samuel Beckett and asks how later playwrights might be seen to react to, and work with, this influence. Beckett’s own response to the artistic presence of his own literary 'father', James Joyce, is described, and suggestive instances of infanticide in his own work examined. The essay goes on to identify those structural and thematic features in Beckett’s drama which are recognizable in the work of more recent Irish playwrights, and concludes with accounts of plays by Brian Friel, Tom Murphy and Martin McDonagh which indicate how these writers revise, shape or contest elements derived from Beckett.
Miranda-ejournal
" From Inner to Outer Shadow": Reading the Obscure Object of Anxiety in the" Dramaticules" of Samuel Beckett1993 •
The preference for narrative rather than life is a distinctly common evasive hobby of most, if not all, Beckett's stage characters. Their narratives are likewise propelled by a short list of common semiconscious life concerns, such as inexorable ageing, impending death, loneliness, and sexual frustrations of various types - including sterility and aborted maternity. The discursive characteristics of their narratives, as well as their idiosyncratic narrative performances, together with the implied thick bond between story and narrator will be the analytical crux of this paper, which proposes a close examination of the narrative event within the following early Beckettian theatrical repertoire: Waiting for Godot (English version 1 , 1955), All That Fall: A Play for Radio (1957), Endgame
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