Samuel Becketts Italian Modernisms

In the wake of both Joycean and Dantean celebrations, this volume aims to investigate the fecund influence of Italian culture on Samuel Beckett's work, with a specific focus on the Twentieth Century.

Autorentext

Michela Bariselli is a Lecturer in Philosophy in the Department of Philosophy, University of Reading.

Davide Crosara is a Research Fellow in English Literature at the University of Rome, Sapienza.

Antonio Gambacorta is a translator and a literary scholar with a PhD from the University of Reading.

Mario Martino is Professor of English Literature at the University of Rome, Sapienza.

Inhalt

Part 1 Beckett and Italian Interwar Culture 1. Beckett's Dystopian Trilogy, Part I: Lucky's 'Cerebral Physiology' and the Irrelevance of Godot 2. Leopardi in Beckett's Late Modernist Romanticism 3. Mirror Acts: Dramatic Form in Pirandello's Six Characters in Search of an Author and Beckett's Waiting for Godot Part 2 Beckett, Modernism and Tradition: Absurdism and Purgatorial Shadows 4. Analogymongering: Dante and Vico in Beckett 5. 'Denti Alligator' or 'Airtight Alligator': Reading Dante with Joyce and Beckett 6. Beckett and Ariosto: Nominalist Irony, 'Perhaps' 7. Beckett's Kickoff: Orlando Furioso as Theatre of the Absurd Part 3 Beckett, Italian Modernism and Late Modernism: Theatre, Intermediality and Testimony 8. Samuel Beckett and Italian Culture: From Dantesque Scenarios to the Theatre Scene of the 2000s 9. Samuel Beckett's Not I - Purgatorially Merciful? 10. 'A Theatre of Concrete Visual Images [...], a Theatre of Poetic Images': The Staging of Neither by the Italian VideöArt Group Studio Azzurro 11. 'Company': Beckett, Tabucchi, and Testimony