In 1964, John Fletcher drew attention to the critics’ lack of consideration for Samuel Beckett’s critical writings as singular discursive pieces.
Thirty years later, Rupert Wood drew the same conclusion: despite the deconstructive logic of the essays, the critics cannot resist the metatextual status they grant to the author’s philosophical and aesthetic theories.
Beckett puise ainsi dans les écrits du philosophe italien Giordano Bruno pour forger, selon nous, son propre principe littéraire, “l’identité des contraires,” proposant une formule sans toutefois imposer un programme.
C’est ce qui propulse Beckett au cœur de trois crédos modernistes : le “modernisme historique,” le “modernisme hiéroglyphique” et le “modernisme alchimique.” Cet article propose de les explorer au prisme de l’essai critique de Beckett.
The fifth meaning includes, in addition to these powers, the use of words, chants, calculations of numbers and times, images, figures, symbols, characters, or letters.
, James Joyce, it also feeds on other arts, such as cinema and its relation to ideographic writing, as well as on more questionable sources such as the science of the occult.Literary criticism is not bookkeeping” the established avant-garde.Indeed, according to Céline Mansanti, it kept up with the tradition of its kind by promoting formal experiment, while offering an alternative to the crisis of modernism by choosing to explore the unconscious thus going against Eliot and Pound’s , 1926: “I will have another go at it, but up to present I make nothing of it whatever.This propels him to the heart of three modernist Si l’essai de Beckett fait l’éloge de James Joyce, l’un des écrivains emblématiques du courant moderniste, il se nourrit également d’autres arts tels que le cinéma et sa relation à l’écriture idéographique, mais aussi de sources plus contestées telles que la science de l’occulte.Beckett s’oppose là à une avant-garde sclérosée, qu’elle se constitue d’écrivains ou de critiques.(32) This interconnection between the writer and the reader leads Eliot to acknowledge and undermine a duality between the private world of the self and the public world of the outside. Joyce,” Beckett seemingly mistreats the reader so as to tackle the concept of the “plain reader’s rights.”, in which Robert Graves and Laura Riding dedicate the first chapter to the “plain reader’s rights.” In this chapter, Graves and Riding try to go beyond the cliché of the “high-brow’s game of baiting the low-brow” (10) in modernist poetry, which is, according to them, “merely a joke at the plain reader’s expense” (10).These opposites “are irreconcilable, yet on the other hand neither would exist without the other, and they met into each other by a process which we cannot grasp” (Howarth 64). No modernist poetry is worthwhile, if it disregards the plain reader. Joyce” though, as Laura Salisbury remarks The rapid skimming and absorption of the scant cream of sense is made possible by what I may call a continuous process of copious intellectual salivation.What had been considered as , disappeared at the same time in 1929 (Mansanti 29-53).If broadly speaking, those little independent magazines had previously succeeded in replacing the “‘extrinsic’ scholarship [based on literary history, philology and biography] with ‘intrinsic’ criticism” so as to focus on literary technique, entailing “iconoclastic declarations and prescriptions” (Waugh 91“Must we wring the neck of a certain system in order to stuff it into a contemporary pigeon-hole, or modify the dimensions of that pigeon-hole for the satisfaction of the analogymongers?The plain reader 16/17 in which Beckett’s essay about Joyce is published, its editor Eugene Jolas presents the reviewer’s modernist manifesto, “Revolution of the Word,” whose two last principles define the artist’s task at the expense of the plain reader and against what appears to hinder formal innovation: “11. This definition matches Beckett’s concern with Joyce’s direct expression, which he defines as follows, “Here form , Beckett still praises such kind of impressionist language style, “For Proust, as for the painter, style is more a question of vision than of technique.[…] Indeed he makes no attempt to dissociate form from content.