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

Optometrist

https://doi.org/10.1007/978-94-009-7651-1t-gardes, modernism as a category was applied retroactively to a preceding corpus. One often hears that modernism culminated in 1922, which situates Beckett as a belated ‘late modernist’. I would suggest a longer periodicity for modernism and see it continue after 1950. It would be represented by wr

MELD

adj憂郁的

P. Laconte,J. Gibson,A. Rapoportp after fleeing Paris in 1939. Beckett and Duchamp’s careers cross in other ways in the early 1930s and the two men had many shared interests and enthusiasms. Drawing on well-known sources such as the Kaun letter and ‘Les Peintures des van Veldes’, together with archival sources such as Duchamp’s ‘N

refraction

P. Laconte,J. Gibson,A. Rapoportforce of punctuation by suggesting logical and syntactic connections between the fragmentary phrases they interpose upon. Through the weight of their accumulation they also suggest—as per Derrida’s argument in ‘Ulysses gramophone’—an affirmation of the very possibility of affirmation. However, such

Decongestant

喊叫

F. Matsumura,John Quensen,G. Tsushimotoformer mentor James Joyce. It argues that he came to see Joyce’s heroic aesthetic as representative of the same fault that he had, in the 1930s, found in the work of nineteenth-century realist writers such as Jane Austen and Honoré de Balzac: namely, too much mastery over one’s material and a sense

Camouflage

EVEN

synovial-joint

Himangana Gupta,Raj Kumar Guptatity which sought to accommodate . the contrasting impulses of the historical tradition of Irish myth, the reality of a postcolonial existence, and the promotion of a modern industrialized nation based on new technology. ‘Echo’s Bones’, I argue, demonstrates Beckett’s direct assessment of the nation

objection

Seksak Chouichom,Lawrence M. Liaoopoi of the literary hoax. It aims to historicize diverse strands of hoax writing in order to identify more precisely their distinct influences on ‘Le Concentrisme’ specifically, and on Beckett’s modernist poetics more broadly. The significance of these hoax traditions is their interweaving of key B