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Samuel Beckett

Humanistic Perspectives

Edited by Morris Beja, S. E. Gontarski, and Pierre Astier

Frontmatter and Preface

   1. Beckett’s Theater Resonance — Ruby Cohn
   2. Beckett’s “Bits of Pipe” — James Knowlson
   3. Beckett’s Modernity and Medieval Affinities — Edith Kern
   4. Beckett’s English — Richard N. Coe
   5. Unreliable Narrative in Murphy — Rubin Rabinovitz
   6. The Harpooned Notebook: Malone Dies and the Conventions of Intercalated Narrative — H. Porter Abbott
   7. Wittgenstein, Heidegger, the Unnamable, and Some Thoughts on the Status of Voice in Fiction — Allen Thiher
   8. Neglected Biblical Allusions in Beckett’s Plays: “Mother Pegg” Once More — Kristin Morrison
   9. Qu'est-ce qui arrive? Some Structural Comparisons of Beckett’s Plays and Noh — Yasunari Takahashi
   10. Fiction as Composing Process: How It Is — Rubin Rabinovitz
   11. “Syntax Upended in Opposite Corners”: Alterations in Beckett’ Linguistic Theories — Judith E. Dearlove
   12. Film and Formal Integrity — S. E. Gontarski
   13. Come and Go: A Criticule — Hersh Zeifman
   14. The Lost Ones: A Myth of Human History and Destiny — Antoni Libera
   15. The Company Beckett Keeps: The Shape of Memory and One Fablist’s Decay of Lying — Enoch Brater
   16. Beckett, Proust, and Burroughts, and the Perils of “Image Warfare” — Nicholas Zurbrugg

Appendix. The Ohio Impromptu Holograph and Typescripts — Rubin Rabinovitz

Note on the Contributors and Indexes

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