Why does Mark's Jesus speak in parables? Why does Plato's Socrates make bad arguments? Why are Beckett's novels so inscrutable? And why don't stage magicians even pretend to summon spirits anymore? In a series of captivating chapters on Mark, Plato, Beckett, Mallarmé, and Chaucer, Joshua Landy not only answers these questions but explains why they are worth asking in the first place. Witty and approachable, How to Do Things with Fictions challenges the widespread assumption that literary texts must be informative or morally improving in order to be of any real benefit.
Added by: hmimi | Karma: 167.25 | Black Hole | 19 November 2013
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The Cambridge Introduction to Samuel Beckett
A generation after his death, Samuel Beckett remains one of the giants of twentieth-century literature and drama. More troubling for his critics, he is also one of the last century’s most potent literary myths. Like other ‘modernists’, he has a reputation for obscurity and diYculty, yet despite this his work permeates our culture in unique ways. The word ‘Beckettian’ resonates even amongst those who know little Beckett. It evokes a bleak vision of life leavened by mordant humour
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The Dirty Secrets Club: A Novel (#1 in the Jo Beckett Series) (Audiobook)
An ongoing string of high-profile and very public murder-suicides has San Francisco even more rattled than a string of recent earthquakes: A flamboyant fashion designer burns to death, clutching the body of his murdered lover. A superstar 49er jumps off the Golden Gate Bridge. And most shocking of all, a U.S. attorney launches her BMW off a highway overpass, killing herself and three others. Enter forensic psychiatrist Jo Beckett, hired by the SFPD to cut open not the victim’s body, but the victim’s life. Jo’s job is to complete the psychological autopsy, shedding light on the circumstances of any equivocal death. Soon she makes a shocking discovery:
The culmination of a lifetime's fascination with humour in all its forms, this book is the first in any language to embrace such an impressive span of authors and such a broad range of topics in French literary humour. In nine wide-ranging chapters Walter Redfern considers diverse writers and topics, including: Diderot, viewed as a laughing philosopher, mainly through his fiction (Les Bijoux indiscrets, Le Neeu de Rameau, and Jacques le fataliste); humourlessness, corraling Rousseau, Sade, the Christian God, and Jean-Pierre Brisset; the aesthete Huysmans, in both his avatars, Symbolist and Naturalist (A Rebours, Sac au dos, and other texts
Beyond Minimalism - Beckett's Late Style in the Theater
Beyond Minimalism explores Beckett's drama of the '70s and '80s, examining the ways in which play text and performance merge through the playwright's poetic idiom. Beginning with Not I and continuing through Catastrophe and What Where, Brater examines the plays not only as texts but also as theater pieces. Discussing the technical and aesthetic demands that productions like Footfalls and Rockaby make on actor, director, and spectator, Brater clarifies the essential relationship between Beckett's achievement in the context of the breakdown of genre, performance poetry, and the electronic intrusion of the recorded voice as a new theatrical convention.
