Samuel Beckett's work is deeply concerned with physical contact - remembered, half-remembered, or imagined. Applying the philosophical writings of Jean-Luc Nancy and Maurice Merleau-Ponty that feature sensation, this study examines how Beckett's later work dramatizes moments of contact between self and self, self and world, and self and other.
|Publisher:||Palgrave Macmillan US|
|Series:||New Interpretations of Beckett in the Twenty-First Century|
|Edition description:||1st ed. 2013|
|Product dimensions:||5.51(w) x 8.50(h) x (d)|
About the Author
Trish McTighe is a teaching assistant in the department of Drama Studies in the School of Creative Arts at Queen s University Belfast.
Table of Contents
Introduction: Haptics, Aesthetics, Philosophy 1. Eye: Failing, Myopic, Grainy 2. Ear: Full of Relentless Echoes 3. Mouth: Trying to Tell it All, Failing 4. Skin, Space, Place 5. On the One Hand . . . (The One that Writes the Body) 6. On the Other Hand . . . (The One that Refuses to Touch) Conclusion: Departing Bodies, Between Doubting Thomas and Noli me Tangere