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Zusatztext This collection of occasional pieces offers important articulations of a piece with Gontarski’s sustained scholarship of over forty years. It is a compendium that offers numerous insights and interesting analyses largely accessible to the lay reader as well as to the Beckett scholar versed in Gontarski’s previous critical work. Informationen zum Autor S. E. Gontarski is Robert O. Lawton Distinguished Professor of English at Florida State University, USA. He is the author or editor of 29 books and, with Paul Ardoin and Laci Mattison, he is series editor of the Bloomsbury series, Understanding Philosophy, Understanding Modernism . The serie editors were also volume editors for the initial books in that series: Understanding Bergson, Understanding Modernism (Bloomsbury, 2013) and the follow-up, Understanding Deleuze, Understanding Modernism (Bloomsbury, 2014). Gontarski’s recent books are: Beckett’s “Happy Day”: A Manuscript Study (2017) and Revisioning Beckett: Samuel Beckett’s Decadent Turn (Bloomsbury, 2018). Anthony Uhlmann is Director of the Writing and Society Research Centre at Western Sydney University, Australia. He is the author of Beckett and Poststructuralism (Cambridge University Press, 1999), Samuel Beckett and the Philosophical Image (Cambridge University Press, 2006), and Thinking in Literature (Bloomsbury, 2011). From 2008-2013 he edited the Journal of Beckett Studies . He was shortlisted for the Australian University Heads of English Prize for Literary Scholarship for 2020. Klappentext The turn towards vice and decadence in Samuel Beckett's work and the extent to which this was at odds with the hang-ups of the inter-war and postwar artistic establishment is explored in this original assessment of the novelist and playwright. Vorwort A major new work by S. E. Gontarski, arguably the world's leading authority on Samuel Beckett, that revisions Beckett's career and literary output. Zusammenfassung Revisioning Beckett reassesses Beckett’s career and literary output, particularly his engagement with what might be called decadent modernism. Gontarski approaches Beckett from multiple viewpoints: from his running afoul of the Irish Censorship of Publications Acts in the 1930s through the 1950s, his preoccupations to “find literature in the pornography, or beneath the pornography,” his battles with the Lord Chamberlain in the mid-1950s over London stagings of his first two plays, and his close professional and personal associations with publishers who celebrated the work of the demimonde . Much of that term encompasses an opening to the fullness of human experience denied in previous centuries, and much of that has been sexual or decadent. As Gontarski shows, the aesthetics that emerges from such early career encounters and associations continues to inform Beckett’s work and develops into experimental modes that upend literary models and middle-class values, an aesthetics that, furthermore, has inspired any number of visual artists to re-vision Beckett. Inhaltsverzeichnis AcknowledgmentsForeword Anthony Uhlmann (Western Sydney University, Australia) Demonology, Sade-ism, and Samuel Beckett's Decadent Turn: An Introduction I. A Professional Life 1. Samuel Beckett and Lace Curtain Irish Modernisms2. Publishing in America: Sam and Barney 3. Eleutheria : Samuel Beckett’s Suppressed Bohemian Manifesto II. A Theatrical Life 4. Textual Aberrations, Ghost Texts and the British Godot : A Saga of Censorship5. 'Nothingness in Words Enclosed?': Waiting for Godot 6. An End to Endings: Samuel Beckett’s End Game(s)7. Samuel Beckett's Art of Self-Collaboration8. Beckett's Keyhole Art: Voyeurism, Schaulust and the Perversions of Theatre9. 'He Wants to ...
