Saying Seen Again: Audio-Visual Aspects of Samuel Beckett´s Company, Ill Seen Ill Said, and Worstward Ho
|Název práce v češtině:||Audiovizuální stránka próz Samuela Becketta Company, Ill Seen Ill Said a Worstward Ho|
|Název v anglickém jazyce:||Saying Seen Again: Audio-Visual Aspects of Samuel Beckett´s Company, Ill Seen Ill Said, and Worstward Ho|
|Klíčová slova:||Samuel Beckett, Nohow On, trilogie, próza, hlas, Rudolf Arnheim, rádio, film, Sergej Ejzenštein, sovětská montáž, superimpozice, paměť, vnímání|
|Klíčová slova anglicky:||Samuel Beckett, Nohow On, trilogy, prose, voice, Rudolf Arnheim, radio, cinema, Sergei Eisenstein, Soviet montage, superimposition, memory, perception|
|Akademický rok vypsání:||2011/2012|
|Typ práce:||diplomová práce|
|Ústav:||Ústav anglofonních literatur a kultur (21-UALK)|
|Vedoucí / školitel:||prof. Mgr. Ondřej Pilný, Ph.D.|
|Řešitel:||skrytý - zadáno a potvrzeno stud. odd.|
|Schválení administrátorem:||zatím neschvalováno|
|Datum potvrzení stud. oddělením:||09.10.2012|
|Datum a čas obhajoby:||04.06.2014 08:30|
|Datum odevzdání elektronické podoby:||15.05.2014|
|Datum proběhlé obhajoby:||04.06.2014|
|Odevzdaná/finalizovaná:||odevzdaná studentem a finalizovaná|
|Oponenti:||doc. Clare Wallace, M.A., Ph.D.|
|Zásady pro vypracování|
|Almost the whole body of Samuel Beckett's work possesses a rather curious and distinguishable feature: his dramatic pieces, prose writing and poetry all seem to share certain endlessly recycled and reshaped motifs and formal characteristics. It has been argued, chiefly in relation to poetry and music, that the works of Beckett frequently exceed the borders of their genre by easily adopting qualities of other means of expression. In Beckett, prose and dramatic dialogue become incredibly melodic and elliptical as they take on the characteristics of poetry; music is assigned a “speaking” role in radio drama; the stage in theatrical works is often left dim and bare, with nearly all action being evoked verbally by voices resonating on- and off-stage.
Published collectively in 1989 by John Calder, Company, Ill Seen Ill Said and Worstward Ho form a trilogy of prose texts reflecting the mature style of Beckett's writing. The author's enduring concern with the questions of expression and perception is explored with great enthusiasm and variation in each of those texts. The remarkable audio-visual qualities of the three novels owe much not only to Beckett's familiarity with various media, but also to his experimentation with the limits of language and the possibilities of human voice. On their path towards minimalism, Beckett's texts reuse certain common motifs and address familiar themes from a yet different perspective. The texts constituting the trilogy point to the author's fondness of certain forms of artistic expression and reveal his unique ability to merge their distinct qualities in a prose text.
Beckett's works have been generally viewed as distancing from what may be comprehended as realistic forms of representation, the “novel” form in particular exceeding standard genre expectations. The lack of comprehensible story line, ultimate subjectivity of the narrator and ambiguity of the evoked events is compensated for by the texts' rhythmical structure and their unique ability to evoke vivid imagery. In the author's attempt to associate form with content, the impossibility of verbal formulation becomes directly mirrored in the progressive disintegration of the image and vice versa, revealing the paradoxical interdependence of expression and existence.
The chief aim of this thesis is to provide a close examination of Samuel Beckett's late trilogy of texts commenting directly on its audio-visual aspects. The individual chapters attempt to offer a detailed commentary on the treatment of the motif of voice and its visual counterpart in each of the novels, paying special attention to the ways in which they are executed and the objectives they pursue. A brief discussion of thematically related works for theatre, radio and television as well as their theoretical context is offered within the framework of the three basic texts. Such comparative analysis is believed to reveal possible connections between the individual works and help to achieve better comprehension of the novels in question.
|Seznam odborné literatury|
|Bignell, Jonathan. Beckett on Screen: The Television Plays. Manchester: Manchester University Press, 2009.
Brater, Enoch. The Drama in the Text: Beckett's Late Fiction. New York: Oxford University Press, 1994.
Brienza, Susan D. Samuel Beckett's New Worlds: Style in Metafiction. Oklahoma: University of Oklahoma Press, 1987.
Cohn, Ruby. A Beckett Canon. Michigan: University of Michigan Press, 2001.
Gontarski, S. E. “Introduction.” Nohow On: Company, Ill Seen Ill Said, Worstward Ho. New York: Grove Press, 1996.
Gontarski, S. E. On Beckett: Essays and Criticism. New York: Grove Press, 1986.
Knowlson, James. Damned to Fame: The Life of Samuel Beckett. London: Bloomsbury Publishing, 1996.
Knowlson, James. Images of Beckett. Cambridge: Cambridge University Press, 2003.
Pilling, John. Samuel Beckett. London: Routledge, 1976.
Rabinovitz, Rubin. The Development of Samuel Beckett's Fiction. Urbana: University of Illinois Press, 1984.
Rodenburg, Patsy. The Need for Words: Voice and the Text. London: Methurn Drama, 1993.