Advertisement

Introduction

  • Michelle Chiang
Chapter
Part of the New Interpretations of Beckett in the Twenty-First Century book series (NIBTFC)

Abstract

This chapter introduces key concepts that will be employed throughout the subsequent chapters. Situated in the intersection between the concepts of habit and intuition, this monograph is divided into four sections. Section 1.1 Habit clarifies the concept of Habit in Beckett’s writings. Section 1.2 Intuition defines Intuition as we consider its opposition to the concept of Habit established in the first section. Section 1.3 Disjunction explains how a sense of disjunction in Beckett’s characters and audiences is the result of the tension between Habit and Intuition.

Bibliography

  1. Ackerley, Chris. 2011. Beckett on Screen: The Television Plays (Review). Modern Drama 54(3): 383–385. https://muse.jhu.edu/article/455883. Accessed 15 May 2014.
  2. Barker, Stephen. 2006. Qu’est-ce que c’est d’après in Beckettian Time. In Beckett After Beckett, ed. S.E. Gontarski and Anthony Uhlmann, 98–115. Tallahassee: Florida University Press.Google Scholar
  3. Beckett, Samuel. 2006. Proust. In The Grove Centenary Edition: Poems, Short Fiction, and Criticism of Samuel Beckett, ed. Paul Auster, vol. 4, 1st ed., 511–554. New York: Grove Press.Google Scholar
  4. Ben-Zvi, Linda. 2008. Beckett, McLuhan, and Television: The Medium, the Message, and ‘the Mess’. In Beckett at 100: Revolving It All, ed. Linda Ben-Zvi and Angela Moorjani, 271–284. Oxford: Oxford University Press.Google Scholar
  5. Bergson, Henri. 1913a. Time and Freewill: An Essay on the Immediate Data of Consciousness, 3rd ed. Trans. F. L. Pogson. London: G. Allen.Google Scholar
  6. ———. 1913b. An Introduction to Metaphysics. Trans. T. E. Hulme. London: Macmillan and Co. Limited.Google Scholar
  7. ———. 1935. The Two Sources of Morality and Religion. Trans. R. Ashley Audra and Cloudesley Brereton. London: Macmillan and Co.Google Scholar
  8. Bignell, Jonathan. 2009. Beckett on Screen: The Television Plays. Manchester/New York: Manchester University Press.Google Scholar
  9. Connor, Steven. 1998. Slow Going. Presentation at Critical Beckett Conference, University of Birmingham, September 26. http://www.stevenconnor.com/slow.htm
  10. Critchley, Simon. 2004. Very Little... Almost Nothing. London: Routledge.Google Scholar
  11. Gontarski, S.E. 2008. Recovering Beckett’s Bergsonism. In Beckett at 100: Revolving It All, ed. Linda Ben-Zvi and Angela Moorjani, 93–106. Oxford: Oxford University Press.Google Scholar
  12. ———. 2009. The Business of Being Beckett: Beckett’s Reception in the USA. In The International Reception of Samuel Beckett, ed. Mark Nixon and Matthew Feldman, 24–39. London: Continuum.Google Scholar
  13. Iser, Wolfgang. 2000. Do I Write for an Audience? PMLA 115(3): 310–314. http://www.jstor.org/stable/463451. Accessed 20 May 2016.
  14. Kant, Immanuel. 1990. Critique of Pure Reason. Trans. J. M. D. Meiklejohn. New York: Prometheus Books.Google Scholar
  15. Kelly, Michael R. 2010. Introduction: Bergson’s Phenomenological Reception: The Spirit of a Dialogue of Self-Resistance. In Bergson and Phenomenology, ed. Michael R. Kelly, 1–21. Basingstoke: Palgrave Macmillan.CrossRefGoogle Scholar
  16. Knowlson, James. 1996. Damned to Fame: The Life of Samuel Beckett, 124. London: Bloomsbury Publishing.Google Scholar
  17. Maude, Ulrika. 2011. Beckett and the Laws of Habit. Modernism/Modernity 18(4): 814–821. http://muse.jhu.edu/journals/modernism-modernity/v018/18.4.maude.html. Accessed 24 July 2014.
  18. Miller, Ian S., and Kay Souter. 2013. Beckett and Bion: The (Im)Patient Voice in Psychotherapy and Literature. London: Karnac Books.Google Scholar
  19. Uhlmann, Anthony. 2006. Samuel Beckett and the Philosophical Image. Cambridge: Cambridge University Press.CrossRefGoogle Scholar

Copyright information

© The Author(s) 2018

Authors and Affiliations

  • Michelle Chiang
    • 1
  1. 1.Nanyang Technological UniversitySingaporeSingapore

Personalised recommendations