bluuebunny/crossref_metadata_2025 huggingface dataset:
Entre a abstração e a imagem realista: pintura no limite
Authors: Junqueira Fátima
Published: January 2016

Este texto pretende fazer uma reflexão sobre a pintura contemporânea, que se destaca por ficar no limite entre dois conceitos clássicos da arte moderna: “figurativo” e “abstrato”. O artigo baseia-se em autores da teoria da arte moderna (como Clement Greenberg e Leo Steinberg) da filosofia (como Jacques Rancière), da teoria da arte contemporânea (como Anne Cauquelin) e nos escritos do pintor alemão Gerhard Richter.
Infection patterns of the chytrid fungus, Batrachochytrium dendrobatidis, on anuran assemblages in agro-ecosystems from Buenos Aires Province, Argentina
Authors: Agostini M. Gabriela , Burrowes Patricia A.
Published: January 2016

Padrões de infecção do fungo quitrídeo, Batrachochytrium dendrobatidis, em assembleias de anuros de agro-ecossistemas da Província de Buenos Aires, Argentina. A quitridiomicose, causada pelo fungo quitrídeo patogênico Batrachochytrium dendrobatidis (Bd), está ligada a extinções e declínios de anfíbios. Adicionalmente, no contexto dos declínios de anfíbios, a perda de habitat relacionada às paisagens agrícolas é provavelmente a atividade humana isolada mais importante que afeta populações de anfíbios de planícies. Para avaliar o impacto do uso antropogênico da terra sobre a resposta dos anuros ao Bd, foram estudados os padrões de infecção em diversas lagoas de áreas cultivadas (CA) e incultas (UCA). Quatro espécies de anuros (Rhinella fernandezae [Bufonidae]; juvenis e adultos de Leptodactylus latrans [Leptodactylidae]; e os hilídeos Hypsiboas pulchellus e Pseudis minuta) foram monitoradas e amostras de tecido foram coletadas para diagnose e quantificação do Bd. Todas as espécies mostraram-se infectadas pelo Bd, mas os anuros de UCA tiveram probabilidade duas vezes maior de estar infectadas do que aquelas de CA. A prevalência e o nível de infecção foram significativamente maiores nas UCA, sugerindo que a vulnerabilidade ao Bd está associada ao uso da terra em agro-ecossistemas. No nível de assembleias, os padrões de infecção também diferiram entre as espécies, e aquelas de habitats aquáticos (L. latrans and P. minuta) tiveram alta prevalência e altos níveis de infecção de Bd. Os estágios juvenis de L. latrans tiveram maior prevalência e maior nível de infecção do que os adultos em ambas as áreas de estudo. Este trabalho contribui para o conhecimento dos efeitos antropogênicos sobre as relações hospedeiro-patógeno, particularmente sobre o efeito do Bd em assembleias de anuros sujeitas a diferentes níveis de impacto agrícola.
Alternative Strategies to Achieve Cardiovascular Mortality Goals in China and India
Authors: Basu Sanjay , Yudkin John S. , Sussman Jeremy B. , Millett Christopher , Hayward Rodney A.
Published: January 2016

Background—

The World Health Organization aims to reduce mortality from chronic diseases including cardiovascular disease (CVD) by 25% by 2025. High blood pressure is a leading CVD risk factor. We sought to compare 3 strategies for treating blood pressure in China and India: a treat-to-target (TTT) strategy emphasizing lowering blood pressure to a target, a benefit-based tailored treatment (BTT) strategy emphasizing lowering CVD risk, or a hybrid strategy currently recommended by the World Health Organization.

Methods and Results—

We developed a microsimulation model of adults aged 30 to 70 years in China and in India to compare the 2 treatment approaches across a 10-year policy-planning horizon. In the model, a BTT strategy treating adults with a 10-year CVD event risk of ≥10% used similar financial resources but averted ≈5 million more disability-adjusted life-years in both China and India than a TTT approach based on current US guidelines. The hybrid strategy in the current World Health Organization guidelines produced no substantial benefits over TTT. BTT was more cost-effective at $205 to $272/disability-adjusted life-year averted, which was $142 to $182 less per disability-adjusted life-year than TTT or hybrid strategies. The comparative effectiveness of BTT was robust to uncertainties in CVD risk estimation and to variations in the age range analyzed, the BTT treatment threshold, or rates of treatment access, adherence, or concurrent statin therapy.

Conclusions—

In model-based analyses, a simple BTT strategy was more effective and cost-effective than TTT or hybrid strategies in reducing mortality.
Association of Digoxin With Interstage Mortality: Results From the Pediatric Heart Network Single Ventricle Reconstruction Trial Public Use Dataset
Authors: Oster Matthew E. , Kelleman Michael , McCracken Courtney , Ohye Richard G. , Mahle William T.
Published: January 2016

Background

Mortality for infants with single ventricle congenital heart disease remains as high as 8% to 12% during the interstage period, the time between discharge after the Norwood procedure and before the stage II palliation. The objective of our study was to determine the association between digoxin use and interstage mortality in these infants.

Methods and Results

We conducted a retrospective cohort study using the Pediatric Heart Network Single Ventricle Reconstruction Trial public use dataset, which includes data on infants with single right ventricle congenital heart disease randomized to receive either a Blalock‐Taussig shunt or right ventricle‐to‐pulmonary artery shunt during the Norwood procedure at 15 institutions in North America from 2005 to 2008. Parametric survival models were used to compare the risk of interstage mortality between those discharged to home on digoxin versus those discharged to home not on digoxin, adjusting for center volume, ascending aorta diameter, shunt type, and socioeconomic status. Of the 330 infants eligible for this study, 102 (31%) were discharged home on digoxin. Interstage mortality for those not on digoxin was 12.3%, compared to 2.9% among those on digoxin, with an adjusted hazard ratio of 3.5 (95% CI, 1.1–11.7;
P
=0.04). The number needed to treat to prevent 1 death was 11 patients. There were no differences in complications between the 2 groups during the interstage period.

Conclusions

Digoxin use in infants with single ventricle congenital heart disease is associated with significantly reduced interstage mortality.
Disruption of Broca's Area Alters Higher-order Chunking Processing during Perceptual Sequence Learning
Authors: Alamia Andrea , Solopchuk Oleg , D'Ausilio Alessandro , Van Bever Violette , Fadiga Luciano , Olivier Etienne , Zénon Alexandre
Published: January 2016

Because Broca's area is known to be involved in many cognitive functions, including language, music, and action processing, several attempts have been made to propose a unifying theory of its role that emphasizes a possible contribution to syntactic processing. Recently, we have postulated that Broca's area might be involved in higher-order chunk processing during implicit learning of a motor sequence. Chunking is an information-processing mechanism that consists of grouping consecutive items in a sequence and is likely to be involved in all of the aforementioned cognitive processes. Demonstrating a contribution of Broca's area to chunking during the learning of a nonmotor sequence that does not involve language could shed new light on its function. To address this issue, we used offline MRI-guided TMS in healthy volunteers to disrupt the activity of either the posterior part of Broca's area (left Brodmann's area [BA] 44) or a control site just before participants learned a perceptual sequence structured in distinct hierarchical levels. We found that disruption of the left BA 44 increased the processing time of stimuli representing the boundaries of higher-order chunks and modified the chunking strategy. The current results highlight the possible role of the left BA 44 in building up effector-independent representations of higher-order events in structured sequences. This might clarify the contribution of Broca's area in processing hierarchical structures, a key mechanism in many cognitive functions, such as language and composite actions.
Training of Attentional Filtering, but Not of Memory Storage, Enhances Working Memory Efficiency by Strengthening the Neuronal Gatekeeper Network
Authors: Schmicker Marlen , Schwefel Melanie , Vellage Anne-Katrin , Müller Notger G.
Published: January 2016

Memory training (MT) in older adults with memory deficits often leads to frustration and, therefore, is usually not recommended. Here, we pursued an alternative approach and looked for transfer effects of 1-week attentional filter training (FT) on working memory performance and its neuronal correlates in young healthy humans. The FT effects were compared with pure MT, which lacked the necessity to filter out irrelevant information. Before and after training, all participants performed an fMRI experiment that included a combined task in which stimuli had to be both filtered based on color and stored in memory. We found that training induced processing changes by biasing either filtering or storage. FT induced larger transfer effects on the untrained cognitive function than MT. FT increased neuronal activity in frontal parts of the neuronal gatekeeper network, which is proposed to hinder irrelevant information from being unnecessarily stored in memory. MT decreased neuronal activity in the BG part of the gatekeeper network but enhanced activity in the parietal storage node. We take these findings as evidence that FT renders working memory more efficient by strengthening the BG–prefrontal gatekeeper network. MT, on the other hand, simply stimulates storage of any kind of information. These findings illustrate a tight connection between working memory and attention, and they may open up new avenues for ameliorating memory deficits in patients with cognitive impairments.
On Known Unknowns: Fluency and the Neural Mechanisms of Illusory Truth
Authors: Wang Wei-Chun , Brashier Nadia M. , Wing Erik A. , Marsh Elizabeth J. , Cabeza Roberto
Published: January 2016

The “illusory truth” effect refers to the phenomenon whereby repetition of a statement increases its likelihood of being judged true. This phenomenon has important implications for how we come to believe oft-repeated information that may be misleading or unknown. Behavioral evidence indicates that fluency, the subjective ease experienced while processing information, underlies this effect. This suggests that illusory truth should be mediated by brain regions previously linked to fluency, such as the perirhinal cortex (PRC). To investigate this possibility, we scanned participants with fMRI while they rated the truth of unknown statements, half of which were presented earlier (i.e., repeated). The only brain region that showed an interaction between repetition and ratings of perceived truth was PRC, where activity increased with truth ratings for repeated, but not for new, statements. This finding supports the hypothesis that illusory truth is mediated by a fluency mechanism and further strengthens the link between PRC and fluency.
Disentangling Representations of Object Shape and Object Category in Human Visual Cortex: The Animate–Inanimate Distinction
Authors: Proklova Daria , Kaiser Daniel , Peelen Marius V.
Published: January 2016

Objects belonging to different categories evoke reliably different fMRI activity patterns in human occipitotemporal cortex, with the most prominent distinction being that between animate and inanimate objects. An unresolved question is whether these categorical distinctions reflect category-associated visual properties of objects or whether they genuinely reflect object category. Here, we addressed this question by measuring fMRI responses to animate and inanimate objects that were closely matched for shape and low-level visual features. Univariate contrasts revealed animate- and inanimate-preferring regions in ventral and lateral temporal cortex even for individually matched object pairs (e.g., snake–rope). Using representational similarity analysis, we mapped out brain regions in which the pairwise dissimilarity of multivoxel activity patterns (neural dissimilarity) was predicted by the objects' pairwise visual dissimilarity and/or their categorical dissimilarity. Visual dissimilarity was measured as the time it took participants to find a unique target among identical distractors in three visual search experiments, where we separately quantified overall dissimilarity, outline dissimilarity, and texture dissimilarity. All three visual dissimilarity structures predicted neural dissimilarity in regions of visual cortex. Interestingly, these analyses revealed several clusters in which categorical dissimilarity predicted neural dissimilarity after regressing out visual dissimilarity. Together, these results suggest that the animate–inanimate organization of human visual cortex is not fully explained by differences in the characteristic shape or texture properties of animals and inanimate objects. Instead, representations of visual object properties and object category may coexist in more anterior parts of the visual system.
A Colonized People
Authors: Janzen David
Published: January 2016

The article draws on Achaemenid royal inscriptions in a postcolonial investigation of Ezra-Nehemiah’s portrayal of the community of immigrants from Babylon. The book presents the community’s identity as a hybrid of the way imperial hegemony portrays the colonized who live in the Persian Empire and of aspects of the community’s own Judean heritage that is strongly influenced by Yahwism. In Ezra 1–6, the community is portrayed as a group of colonists sent from the imperial center by the king, but, in these chapters, loyalty to the king amounts to loyalty to Yhwh, since it is the community’s God who commands the Persian king to act. In Ezra 7-Nehemiah 13, however, this loyal group of colonizers becomes a colonized people disloyal to their God and king. These chapters present the community as a group who has ceased to be the loyal imperial subjects of Ezra 1–6 and who have declined to the state of their ancestors, congenitally unable to keep Yahwistic and Persian law, and thereby justifying the colonized state of the community and imperial exploitation of its resources. In this section of the narrative, the community is just what Persian hegemony defines its colonized peoples to be: They are a group of “slaves” to the Persians, and rely utterly on individuals commissioned by the Persian king and sent from the center of the empire – that is, Ezra and Nehemiah – to lead them and to keep them loyal to their God and, therefore, a loyal colonized people to Persia.
Gothic Relative Clauses Introduced by and Revisited
Authors: Afros Elena
Published: January 2016

The Gothic invariant relativizers and have been analyzed in different ways. Von der Gabelentz and Loebe (1836/1846), Harbert (1992), Klinghardt (1877), and Streitberg (1910) treated and as indeclinable relative particles. Musić (1929) and Wright (1954), on the other hand, regarded them as relative pronouns. The present study shows that in the attested Gothic, and do not form a symmetric system with the opposition of gender. In addition, and appear to lack the grammatical categories of number and case applicable to the pronominal relativizers in Gothic and therefore cannot be classified as pronouns. Significantly, the elements and are reserved for certain types of antecedents and constructions, which might indicate that diachronically, they might have been in complementary distribution with relative pronouns, as suggested by Delbrück (1909). Synchronically, however, it is impossible to account for overlapping distribution of the relativizers and , the relative pronoun based on the demonstrative, and the complementizers and .
Vestjysk stød again
Authors: Kortlandt Frederik
Published: January 2016

While I claim that preglottalization is ancient and that non-initial aspiration is recent, Perridon maintains the contrary. Both the alleged reinforcement of unaspirated stops and the following suppression of aspiration in recent centuries are quite unmotivated and unnatural. In my view, the whole development of obstruents from Proto-Germanic times up to the modern dialects can be viewed as a continuous process of lenition.
Heinrich von Veldeke's and the Tradition of the Alliterating Word-Pair
Authors: Jeep John M.
Published: January 2016

Building on recent findings from Early Middle High German literature, this study compiles and analyses for the first time completely the circa eighty alliterating word-pairs from Heinrich's , a work dated just after the evasive temporal boundary between Early Middle High and Middle High German (circa 1170). Comparisons are established to pairs from Heinrich's somewhat earlier texts and comprehensive data available on Old High and Early Middle High German. Methodology considers speculation on the figurative nature of some of the expressions and formal issues related to idiomatic usage.
UNNAMING THE SUBJECT: Samuel Beckett and Colonial Alterity
Authors: Quigley Mark
Published: January 2016

Since David Lloyd's pioneering studies some fifteen years ago, the postcolonial dimension of Beckett's work has received little sustained attention in critical scholarship. This essay contributes to a further evaluation of Beckett's engagement with postcoloniality by examining the ways in which Beckett's critique of the object emerges from a broader critique of postcolonial nationalism. Its discussion focuses particularly on "Recent Irish Poetry" and the "German Letter" as a means of illustrating the ways in which Beckett's impatience with the Irish Literary Revival and its insistence on nationalist representation coincides with the more far-reaching assault on language sketched for Kaun. Proceeding then to , the essay considers how the novel's relentless critique of subject and anti-subject draws much of its energy from Beckett's searching analysis of postcolonial representation.
BECKETT, GERMAN FASCISM, AND HISTORY: The Futility of Protest
Authors: McNaughton James
Published: January 2016

Accessing his letters and German diaries, this article argues that Beckett changes his aesthetic response to the rise of fascism during and after his trip to Nazi Germany in 1936-37. Before the trip Beckett satirises a stereotypical modernism's inability to counter the rise of totalitarianism; when confronted with Nazi totalising narratives of art and history, however, Beckett reevaluates the capacity of modernism to frustrate increasingly irrational fascist narratives. He even posits his German diaries as a documentary alternative to fascist histories. Not until he returns, however, does Beckett manage to formulate in his creative work a satisfying aesthetic response.
DIRECTING OR IN-DIRECTING BECKETT: Or What Is Wrong with 's Director?
Authors: Moorjani Angela
Published: January 2016

In this article I defend directorial in-direction that keeps faith with a skeptical epistemology and antirepresentational theatrics. Along with Artaud's theories, I bring into play psychopragmatic and spectator-centered principles to critique strong directorial interpretations that deny audience agency and destroy the pact between playwright and spectator. In the last part of the article I focus on the implications of my arguments for
"PIDGIN BULLSKRIT": The Performance of French in Beckett's Trilogy
Authors: Taylor Juliette
Published: January 2016

The theatre, by including non-linguistic forms of expression, plays an extremely significant part in Beckett's aim to bring disrepute upon language and to turn away from representational aesthetic aims. Before he began to explore dramatic forms of expression, however, Beckett's use of language was already 'dramatic' in a linguistic sense: it manifested high levels of . This article will examine the increasingly performative language of the Trilogy in relation to Beckett's use of a foreign language and demonstrate that the textually dramatic function of Beckett's language is directly related to his deliberate estrangement from language.
Tiny Little Things in Beckett's
Authors: Caselli Daniela
Published: January 2016

This article analyses childhood in Beckett's . is the only Beckett text that has regularly elicited biographical interpretations: critics have often read it as the expression of spontaneous childhood memories. However, this text is also usually characterised as strangely "nostalgic" or "sentimental," almost un-Beckettian. My contribution argues that questions the workings of authenticity and spontaneity implicit in the very concept of childhood.
"IT IS NOT ME": From a refusal to speak of oneself to X, "paradigm of human kind"
Authors: Lüscher-Morata Diane
Published: January 2016

This article reflects on the question of the disappearance of the individual subject of experience in Beckett's writing, and its gradual replacement by an anonymous subject. After , the voice becomes increasingly ambiguous or plural. It can no longer be ascribed to any distinct individual. In the light of Paul Ricœur's analysis of narrative identity, I intend to show how Beckett's work gradually goes, through the notion of alterity, beyond the problematic of subjectivity. By suspending the question , the Beckettian text appears to be more and more organized by a missing presence, and moves toward a gradual reinforcement of the notion of past.
"I COULD NOT CLING TO IT": Potentiality in and – A Dual-Language Study
Authors: Vechinski Matthew James
Published: January 2016

Using the theories of Walter Benjamin, this article investigates the "mode of signification" in and and in so doing examines how translations and originals may be constructively compared without privileging simple reproduction across languages. It explores certain conditions in the novels - namely sustained uncertainty, continual deduction, and non-acceptance – by means of created concepts borne from an impartial, literal analysis of their language. Unrestrained potentiality is deemed to be the underlying "intention" of the two novels, yet this discovery reveals the limitations of both Benjamin's theories and our ability to conceptually understand these novels.
Corps Errants Chez Beckett: Un sujet héroïque
Authors: Jejcic Marie
Published: January 2016

In Samuel Beckett's novels and plays, the characters readily part from their bodies. The bodies break loose, split up or, more often, wander. Is such a vagrancy the result of decay, as it has been said, or does it enable the writer to transform a subjective allotment ? The same question rises about language. Is the author hampered, or does an internal method allow him to better understand what his uniqueness can single out ? We shall study the way the author proceeds and the grounds of his approach.
Œil Goulu Et Œell Révolté: Réflexions sur la double conscience dans
Authors: Moorjani Angela
Published: January 2016

In this essay, I investigate double consciousness by setting up a dialogue among texts by Beckett and philosophical and psychoanalytic thinkers. In examining the obsessional recurrence of the topic in Beckett, I call on Berkeley, Merleau-Ponty and Fanon to probe visibility-being and the social and psychic gap between the self and its reflection ; and I turn to Freud, Klein, Bion, Winnicott, Anzieu, and Lacan to interrogate perceptual doubleness and the voracious and disgusted eye in Murphy and Film.
L'image De La Pensée :
Authors: Uhlmann Anthony
Published: January 2016

Once we understand the Geulincx and his interpretation of the of Descartes, it is evident that, although Beckett plays also with the system of Descartes, the Geulincx system is much nearer the image of thinking as presents it and that so the chiaro oscuro of playing with knowledge and ignorance in Beckett's art becomes much more clear.
Une Mélancolie Des Temps Modernes? Beckett Entre Monstrueux Et Obscéne
Authors: Mével Yann
Published: January 2016

In order to better delineate what in Beckett's aesthetics and imaginings could be considered as being part and parcel of a type of modem idiom, this article proposes to examine their relationships with the classical era, and more precisely with what classicism aimed to suppress, its i.e. melancholy, monstrosity and obscenity. If what is monstrous, in which can be perceived a melancholic projection, proceeds essentially from the imaginary, the obscene, even though not strictly speaking a concept, constitutes a category likely to gather together a number of themes, stylistic features and values which were rejected by the classical era and which Beckett's work appropriates again for its own ends in a melancholic vein with the aim of "killing beauty" (Murielle Gagnebin), as defmed by the criteria of that period.
Le Roman Du Théâtre : La dernière Bande et le 'reste' didascalique
Authors: Manako Ôno
Published: January 2016

Most of Beckett's texts are difficult to strictly classify into one 'genre'. In order to put light on the mechanisms that establish a connection between drama and novel in Beckett's work, I would like to explore the problem of stage directions, of which the first and essential aim is to ensure the scenic performance of a play, but to which the author may give a complexity that cannot be reduced to this function alone. After a short presentation of the general problematics of the matter, I try to analyse the stage directions of a play that Beckett himself directed several times and about which he left numerous instructions in his production notebooks.
Beckett and the German Language: Text and Image
Authors: Fries-Dieckmann Marion
Published: January 2016

The significance of German, which is Beckett's third language, is an as yet unconsidered issue in Beckett research. This article aims at illustrating Beckett's affinities to German and his strong influence on the German translations of his works. I would like to argue that this is above all due to the transparency of the German lexicon. This becomes evident from Beckett's own productions in Germany. Serving two levels of images – the images evoked by language and the images presented on stage – he deliberately plays text and image off against each other. Thus German holds a key position in his work.
"What a male!": Triangularity, Desire and Precedence in "Before Play" and
Authors: McDonald Rónán
Published: January 2016

This essay examines the erotic triangle and Girardian ideas of 'mimetic desire' in and in a short, seemingly abandoned, draft held in the Beckett Archive at the University of Reading, dubbed in Beckett's hand, "Before Play" (clearly a precursor to the later version). It examines the various, often conflicting modes of triangularity and considers discourses of class and gender in both plays. It specifically considers why Beckett decided to abandon the one-woman/two-men triangle of "Before Play" for the one-man/two-women triangle of all the later drafts.
, Order, Chaos
Authors: Byala Gregory
Published: January 2016

This essay argues that the figure of chaos that emerges at the end of is a cosmological manifestation of Beckett's desire to undo the moment of creation. As such, it situates the novel alongside a series of cosmological texts, such as Hesiod's and Ovid's , in order to trace Beckett's assault on the moment of inception.
The Theatre of
Authors: Germoni Karine
Published: January 2016

From the 1960s onwards, Beckett played more and more with generic borders. Thus , although written in prose between 1965 and 1970, can be regarded as theatre. is as much a space in which to see as a space to be seen, offered to the reader's internal eye by a speaker who can not be located with certainty. He uses the "abode" as a theatre, imagining the "abode," its space and laws as a director and trying to keep himself aloof from the "bodies." The study of the drafts of offers confirmation of the text's theatricality.
AND THE JAPANESE SPATIAL CONCEPT
Authors: Kondo Masaki
Published: January 2016

is symbolically similar to Noh drama through its pure, silent action that suggests a ghost. The person who is seen or ill seen may be a vision. The summer house is a vanishing point of time and space. The silence and immobility pursued in are the culminating virtues of plays in the Noh tradition as outlined by Zéami, a Noh actor, dramatist and theorist. So too, the limited and unlimited world of time and space of , like the face of a watch, is an image set between visibility and invisibility, which, in turn, is a of perception.
IMAGES MUST TRAVEL FURTHER: Bataille and Blanchot Read Beckett
Authors: Sheehan Paul
Published: January 2016

Perhaps the most prescient of Beckett's early critics were the French writers Georges Bataille and Maurice Blanchot in their analyses of (respectively) and . In this paper I argue that the essence of the intellectual friendship that the two critics shared – one of the great tacit 'partnerships' of the last century, which has yet to be fully unravelled – can be discerned through their writings on Beckett. His novels are thus treated as a kind of 'border' across which their own ideas continue to emerge and evolve, which in turn has implications for the development of French theory.
"MEMORY IS THE BELLY OF THE MIND": Augustine's Concept of Memory in Beckett
Authors: Tsushima Michiko
Published: January 2016

It is not only Proustian memory but also Augustinian memory that is important in understanding memory in Beckett. In his early period Beckett showed an interest in Augustinian memory, especially the idea that memory is a stomach for the mind, and remembering is analogous to rumination. This article shows how this aspect of Augustinian memory is evoked in and . Further it develops an understanding of Beckettian memory as an externalized container of the past (e.g., a tape-recorder and a sack) and discusses it in relation to Anzieu's concept of "the Skin Ego" as a psychical container.
ECHOES OF BERGSONIAN VITALISM IN SAMUEL BECKETT'S EARLY WORKS
Authors: Milz Manfred
Published: January 2016

From 1889 to 1934, Henri Bergson differentiated between two aspects of a dynamic naturalism: on the one hand, a rationalized "homogeneous duration" that quantifies a dissected reality by means of symbolisation, and on the other hand, intuited "heterogeneous moments" that dissolve symbols in representing continuously interpenetrating elements qualitatively. These concurring vitalistic conceptions, one of an intellectual, the other of an intuitive nature, can equally be detected in Beckett's attempts to integrate being into art. This comparative inquiry examines resonances of Bergson's vitalism as residual elements of his fading influence in Beckett's early works.
"HINT OF JUGULAR AND CORDS": Beckett and Modern Medicine
Authors: Maude Ulrika
Published: January 2016

Beckett's writing is informed by medical practices and beliefs. While the references to medicine are often explicit, they also manifest themselves in implicit ways. The late prose and TV works, in particular, are suggestive of medical imaging technologies, which digitise and replicate the body, reproducing it as code or pixellated image. These two-dimensional fragmented images that give the subject or physician an understanding of anatomy and physiology, also virtualise the body, suggesting, often in problematic ways, its rewritability. This article explores instances of this tension in Beckett's work.
BEARING WITNESS IN
Authors: Smith Russell
Published: January 2016

A central preoccupation of is the act of bearing witness: "I say it as I hear it." Readings of the novel turn on whether the text ultimately bears witness to the presence of alterity or cancels it in a final claim of absolute aesthetic autonomy. Here I draw out the text's relationship to two contrasting paradigms of witnessing: the theological paradigm exemplified by Dante's and the secular paradigm formulated by Giorgio Agamben in . I argue that the text's paratactic structure, pronominal indeterminacy and ambiguous negations bear out Agamben's secular paradigm of bearing witness.
WRITING SILENCE: Samuel Beckett's Early Mimes
Authors: Naito Jonathan Tadashi
Published: January 2016

In the twentieth century, French theatre was dramatically transformed by a reconsideration of the possibilities of mime. However, Samuel Beckett's three early mimes, "Dreamer's Mime A" and and , have not been identified with this phenomenon. This essay argues that rather than being eccentric works, these early mimes were crucial in Beckett's development of a decidedly corporeal dramatic aesthetic. In this respect, he has much in common with his French contemporaries Jacques Copeau and Jean-Louis Barrault, who, through a broadly conceived notion of mime, sought to return the body to the stage.
ACTES SANS PAROLES, PAROLES SANS SCÈNE
Authors: Ôno Manako
Published: January 2016

Owing to the declared absence of spoken words on stage, each of the and appears to consist of lengthy stage directions describing a series of actions tending toward an end that is going to shed meaning on them. However, this program contains a certain number of disruptions that go counter the obvious signifying intention, a situation with parallels in morality plays. These abnormalities are further emphasized by the linguistic nature of the description "without words." My analysis of these malfunctions leads me to reconsider the concept of the 'absurd' as it has been generally applied to Beckett's theatre.
Beckett et le devenir du paysage
Authors: Mével Yann
Published: January 2016

This article aims to show how the Beckettian imagery shatters the features of the romantic landscape. Backing up our analysis with Michel Collot's research into the literary and iconographic representations of the landscape, we bring out some significant characterictics of this evolution, in spite of the lasting fascination for flora in Beckett's works.
: Des éléments absents/présents ou l'ambiguïté de l'antiromantisme beckettien
Authors: Germoni Karine
Published: January 2016

There is no more nature in the abode of . The elements are absent in the cylinder, although they are present in the discourse which is held on it. This presence/absence, both in the published text and in the manuscripts, questions Beckett's relationship with Romanticism and its poets, more particularly Lamartine. By introducing in a world without elements the search for a "lost one," this "dream being," Beckett deals ironically but also ambiguously with the romantic conception of love.
Re-visiting Stasis in the Work of Samuel Beckett
Authors: Oppenheim Lois
Published: January 2016

The objectives of this paper are threefold. First and foremost, it aims to situate psycho-dynamically the origin of the primary philosophical metaphor adopted by Beckett in his writing: stasis. Second, it explores the therapeutic value of the artistic rendering of stasis as metaphor. Finally, this paper is meant to support the belief that the point of departure for applied or interdisciplinary psychoanalysis should be the art (literary or visual) under consideration rather than the psychobiographical portrait that is necessarily composed of elements that can only be inferred.
Beckett's Principle of Reversibility: Chiasmus and the “Shape of Ideas”
Authors: Van Hulle Dirk
Published: January 2016

As a tribute to Marius Buning, in his capacity as Joyce and Beckett scholar, this article starts from the -shape on the page of the Book of Kells, discussed in Joyce's . This -shape is relevant to Beckett's treatment of the Manichaean separation of light and darkness in . Beckett's notes on this “wild stuff” from the reveal a chiastic “shape of ideas” that mattered to both Joyce and Beckett. But whereas Joyce employed the chiasmus as a stylistic device to mark his characters' epiphanies, Beckett turned it into a structural principle of reversibility.
Maeterlinck and Beckett: Paying Lip-Service to Silence
Authors: Taggart Ashley
Published: January 2016

This essay looks at Beckett's debt – aesthetic and stylistic – to Maurice Maeterlinck. His play ( 1890) is one of a number of his works which prefigure many of Beckett's theatrical obsessions. Inaction (or hidden action), a strong sense of the unknown, oppressive silence and a sense of impending extinction, predominate. Maeterlinck also leads the way for those (like Beckett) who would use the stage to bring a tragic attitude to bear on the mysteries of everyday life, in the conviction that “the essential doesn't change.”
“Accursed Progenitor!” and Georges Bataille
Authors: Fifield Peter
Published: January 2016

This article compares elements of Georges Bataille's (1928) with Beckett's (1957) and (1958), arguing for a possible influence. Focussing on the figure of Hamm, the paper traces the congruence with two published descriptions of Bataille's father. This includes comparison of manuscript precursors to and a description of Beckett's encounters with Bataille and his work.
Beckett and the Loutishness of Learning
Authors: Connor Steven
Published: January 2016

Although the pretentiousness and vanity of scholarship are routinely mocked in Beckett's writing, Beckett remained orientated and impregnated by an academic habitus long after he seemed to have broken with it, and his writing maintains a fraught relationship with the academy. This essay considers the force of pedagogic and scholarly forms in examples of Beckett's criticism, poems and fiction, and concludes with some reflections on the cycle of dependence and resentment that continues to be acted out in the relations between Beckett and his academic explicators.
“What Does it Matter Who is Speaking,” Someone Said, “What Does It Matter Who is Speaking”: Beckett, Foucault, Barthes
Authors: Hird Alastair
Published: January 2016

This paper examines the role played by Beckett's in the theoretical controversy concerning authorship that arose during the late 1960s. The implications of Foucault's quotation of in his “What Is an Author?” create a canonical position for Beckett in a literature of anti-authorship, whilst the inclusion of Barthes's “The Death of the Author” alongside a recording of in the avant-garde box magazine 5+6 facilitates a parallel reading which serves to underline certain submerged structures in Barthes's article, suggesting that the Barthesian author remains very much alive.
Where Now? A Few Reflections on Beckett, Robert Smithson, and the Local
Authors: Katz Daniel
Published: January 2016

This article examines Beckett's legacy in the work of Robert Smithson, stressing how the latter's “site/nonsite dialectic” seems to work through many of Beckett's concerns as played out in , but also in the “Three Dialogues with Georges Duthuit,” a work to which Smithson alludes in an oblique citation. Smithson himself stresses the debt of his “alogon” to the Beckettian “surd,” and I argue here that Smithson extends the Beckettian deconstruction of logocentrism into the realm of matter, objects, and “Earth Art.” It is in the wake of this process that he allows for a reconsideration of the local, itself more important in Beckett than commonly realized.
Haptic Interfaces: The Live and the Recorded Body in Beckett's on Stage and Screen
Authors: McTighe Trish
Published: January 2016

Beckett's sparse and minimalist pieces have continuously addressed the nature and characteristics of the media for which they were written. What does it mean when a work written specifically for television is transposed to the stage, as film director Atom Egoyan did in his 2006 version of Beckett's ? This article will focus on the implications of such a transposition and discuss how Egoyan's version reveals the haptic interface present in the original piece, between body and technology, between the flesh and “spirit made light” of the electronic broadcast.
Filiations Chorégraphiques: Winnie selon Béjart et chez les Dupuy
Authors: Genetti Stefano
Published: January 2016

Some remarks concerning Beckett's legacy in contemporary dance lead to a comparison between Béjart's ballet (1998) and the first part of Dupuy's ? (2002). Both inspired by , these works deal with similar issues – solitude and time, memory and movement, life and dance – in an autobiographical perspective. Nevertheless, by displaying different gestural and theatrical means, they explore divergent ways of giving Winnie back, for a few moments, the use of her legs.
Le Théâtre de Valère Novarina: Une Partie Sans Fin
Authors: Née Laure
Published: January 2016

Although Val?re Novarina borrows from Samuel Beckett the deconstruction of the human and the intended representation it entails, he differs from him concerning the meaning of the prevailing exhaustion. Beckett's paring down to bare essentials leads to increasing barreness and silence whereas Novarina's creation generates vital and ever expanding proliferation. Emanating from this is a mobile “identity,” a joy free of reason, a birth of worlds in a constant state of renewal. The act of becoming has regained its innocence in the very heart of language.
Transpositions de L'Œuvre de Beckett dans L'Art Contemporain au Québec, 2000-2010
Authors: Taban Carla
Published: January 2016

Reference to Beckett's oeuvre have increased in contemporary Quebec art during the last decade, especially in creative artifacts that explore and expose the meaning of artworks as the result of the interaction between an artistic object conditioned by its media, forms, disciplinary and institutional conventions, on the one hand; and a subject (be it the creator or the receptor of art) conditioned by its sensory, perceptual, cognitive and interpretative faculties and habits, on the other hand. This article discusses several works of this kind in an attempt to better understand their undertaking and the ways in which Beckett is called on to support it.
Murphy's Beckeytt: Legacy and Agon
Authors: Lawley Paul
Published: January 2016

Through consideration of a single play, this study examines how an Irish playwright of a later generation engages with the legacy of Beckett. Tom Murphy's 1985 play is shown to adopt certain characteristically Beckettian images and structures and to situate them within a dramatic action which involves agon at several levels. The younger writer's engagement with the older emerges through and analysis of Murphy's agonistic reading of these Beckettian figures.
Edmund Spenser, Famine Memory and the Discontents of Humanism in
Authors: Kennedy Seán
Published: January 2016

Theodor Adorno's post-humanist account of has established the aftermath of World War Two as a preeminent context for interpreting the play, but the violent origins of Ireland's Protestant Ascendancy, as foreshadowed in Spenser's (1596), provide equally compelling evidence of the intimate relationship between civilizing pretension and barbaric practice. By way of a betrayal of W. B. Yeats's suppression of the darker aspects of the Ascendancy's Irish history, in particular the Irish Famine of 1845-1852, can be seen to interrogate the discontents of humanism in both Ireland and on the Continent.
A Rhetoric of Discontinuity: On Stylistic Parallels between Pascal's and Samuel Beckett's
Authors: Foehn Melanie
Published: January 2016

Through a comparative stylistic analysis of Pascal's and Beckett's , this article assesses the significance of the striking correspondences between the two writers' use of language. Focusing in particular on their reliance upon the rhetorical figure of paradox, it suggests that Beckett's practice of a combinatory and fragmentary art was arguably inspired by his careful reading of the .
Cartesian Mechanics in Beckett's
Authors: Inoue Yoshiyuki
Published: January 2016

In this article I investigate the influence of Descartes's model of the machine on /, drawing on archival, primary, and secondary sources. The first part focuses on a number of stage props that function as prosthetic extensions of the body; the second and third parts examine instances of Cartesian mechanics, especially his bodily hydraulics and optics, in Beckett's play.
Beckett's Faint Cries: Leibniz's in and
Authors: Mori Naoya
Published: January 2016

This essay explores “the faint cries” in and in light of Leibniz's . I have argued elsewhere how consistently and systematically Beckett uses the Leibnizian 'little perceptions' in the movements of his characters. I consider that the mysterious faint sounds and cries can also be elucidated using the same principle. Furthermore, the inaudible voices and the imperceptible changes in Beckett's work reveal that they bear not only physical and psychological but also metaphysical attributes.
Présence de la Scupture Funéraire de la fin du Moyen-âge et des Débuts de L'époque Moderne Dans L'œuvre Narrative de Samuel Beckett: Du Motif Artistique Religieux à Sa Laïcisation Scripturale
Authors: Lozier Claire
Published: January 2016

This article examines the relationship between the character-narrators of Beckett's , , , , and funerary sculpture of the late Middle Ages and the early modern period. In the German Diaries, Beckett expresses his admiration for this particular form of religious sculpture, in which the dead are represented as “senile,” “humble,” and “collapsed,” and perceives its kinship with his own world. The first part of this article explores the affinities between Beckett's supine characternarrators and prone funerary statues. The second part analyses the process of secularization that Beckett's writing inflicts on this religious artistic motif.
Tensions of the In-Between: Rhythm, Tonelessness and Lyricism in
Authors: Germoni Karine , Sardin Pascale
Published: January 2016

This paper is a stylistic and genetic analysis of / envisaged through the paradigm of rhythm, seen as a key to the dramatic tension of the play. While rewriting his play into English, Beckett searched for the “music” he had in mind since the first drafts of the play. If the 'tonelessness' that characterizes impacted upon its rewriting into English, edging the English closer to the French, it is also Beckett's French which is already redolent with specific English rhythms and stress patterns, a fact attested to by an unpublished interview with actor Jean Martin.
The Proxemics of “Neither”
Authors: Dowd Garin
Published: January 2016

The conceptual vocabulary provided by Philippe Hamon for the analysis of the interrelationships of writing, architecture and the body in the nineteenthcentury novel remains partially capable of accounting for the conjunctions of text, structure and inhabitant as these are present in Beckett's post-war oeuvre. The specific challenges posed by Beckett's late prose, however, require a supplementary critical vocabulary. In this context, Beckett's “Neither” is read as exemplary of the distinctive spatial relations of the late prose.
Shepherding the Chants Home: Language and Mmanwu Minstrelsy in Ezenwa–Ohaeto's Poetry
Authors: Oha Obododimma
Published: January 2016

The essay discusses Ezenwa–Ohaeto's use of the masquerade () minstrel as a paradigm in his experimentation with language in his poetry. Such experimentation with local African oral aesthetics is common in postcolonial African literature, and has been one way that African writers have hoped to create authenticity for their writings. Ezenwa–Ohaeto in his poetry, however, does not practise this experimentation as a mere identification and use of for the minstrel (for instance in the use of proverbs, paradoxical expressions, etc. culturally associated with the persona), but reworks and re-contextualizes the local expressions. His attention to language, though not entirely successful, reveals the project on the localization of the language of African poetry as being worth-while if it treats the local sayings as raw materials from which something new must be created. The African poet who is able to take language beyond what the indigenous sources have provided is the real "shepherd" of chants.