'Disappointed Bridges': Language, Identity and Historiography in the Works of James Joyce and Samuel Beckett (2008)
Type of ContentTheses / Dissertations
Degree NameMaster of Arts
PublisherUniversity of Canterbury. Culture, Literature and Society
This thesis investigates the ambivalent and sceptical relationship towards language and linguistic representation shared by James Joyce and Samuel Beckett. The motivations behind the subversive approaches to language enacted by the two writers are both literary and political: both question the ability of language to represent external reality, and seek to expose and subvert the ways in which linguistic representations, and language in general, are mediated by ideological and social values which often reflect the political goals of those who create or use them. The discussion of Joyce focuses on Ulysses (1922), but I also discuss to a lesser extent Dubliners (1914), A Portrait of the Artist as a Young Man (1916) and Finnegans Wake (1939). The main focus of the discussion of Beckett is his so-called 'Trilogy' of novels, Molloy (1955), Malone Dies (1956) and The Unnamable (1958),1 and his plays Krapp's Last Tape (1958) and Happy Days (1960). Wherever appropriate, the relevant works of one author are referred to during discussions of the other.
RightsCopyright Samuel John Lister
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O'Connor, Elizabeth Joan (University of Canterbury, 1979)The thesis makes a thematic study of by Samuel Beckett consisting of Theatre I (1956), Theatre II (1958), Radio I (1961) and Radio II (1962). All were unpublished until 1973 or later. Concentrating on the plays written ...
Acheson, James (University of Canterbury. English, 1988)Though Beckett is best known for Waiting for Godot, his first published work was not a play but a critical essay. That essay, "Dante • • • Bruno • Vico • • Joyce" (1929), a defence of Joyce's "Work in Progress," was the ...
Nash, Rebecca (University of Canterbury. Humanities, 2014)This thesis discusses Samuel Beckett's non-verbal language, as observed in his novel, The Unnamable, his film, Film, and his pieces for television, Quadrat I + II. Beckett's sensory focus is nascent in The Unnamable, as ...