FRINK Linked Data Fragments server

Matches in SemOpenAlex for { <https://semopenalex.org/work/W1927844035> ?p ?o ?g. }

• W1927844035 abstract "Samuel Beckett achieved worldwide recognition first as the playwright of Waiting for Godot by the mid-1950s, and the 1969 Nobel Prize for Literature secured his reputation as a novelist. It is less widely known that before this fame in other fields, he was a published critic of visual art, especially painting, from the year 1938 forward. Some of these writings on art were collected and published in 1984 as the third part of his book Disjecta: Miscellaneous Writings and a Dramatic Fragment. This edition includes nearly forty pages of previously uncollected commentaries, reviews, and fragments about figures including Jack B. Yeats, Henri Hayden, Avigdor Arikha, and the brothers Geer and Bram Van Velde.1 Various Beckett archives around the world hold more of this critical corpus, as well as much of the same material in its original context, including his contributions to Les Cahiers a'Art (1945-46), Derriere le Miroir (June 1948), and Bulletin Galerie Michel Warren (May 1957). Beckett's extensive correspondence with Georges Duthuit, a major figure of the 1950s postwar visual art scene in Paris and a close friend of Beckett's between 1948 and 1952, reveals that he had regular involvement in the translation of French art criticism for the literary magazine Transition, which Duthuit edited from 1948. Beckett did this for financial compensation, but not attribution, so its full extent remains unknown.2 As has been widely discussed since the earliest stages of the now-institutionalized field of Beckett Studies, Beckett's works on paper and on stage are also saturated with cross-references to paintings.3 Finally, it emerges from all three of his major biographies that Beckett had lasting friendships with many artists, contributing to his evident knowledge of, and fascination with, both visual art and art history.It is interesting that given this context, Beckett is not taken particularly seriously as an art critic generally, and is rarely considered as an Irish art critic specifically. There are several reasons for these interlocking absences from art historical discourse. First, Beckett's achievements in other literary areas clearly overshadow his identity as a critic, in terms of where his lasting importance is most evident and where scholarly attention is likely to focus. His theories on painting are mostly mined for the ways in which they give clues to his own emerging aesthetic, or in other words, tacitly in subordinate status to his other works. Second, Beckett's achievement of literary stature as an Irishman writing in self-imposed geographic and linguistic exile, together with the legacy of censorship of his works and other public conflicts with the ideology of the Irish Free State, created a mutually adverse relationship between Beckett and Ireland that is still not fully resolved (though notably rehabilitated as of his 2006 centenary).4 Third, Beckett's critical voice, especially in his early criticism, simply does not adhere to rhetorical conventions of contemporary academic discourse, nor does it make any special bid for clarity. During Beckett's student years Trinity College Dublin was not a bastion of the professional critical diction that would become New Criticism by mid-century, and it is unlikely that this movement's 1920s avant-garde - figures like Ivor Richards and William Empson - were known to Beckett. Instead, as Steven Connor notes, Beckett's rhetoric in his non-fiction is notable for its 'crustacean antiqueness'. In a 2009 lecture reflecting on Beckett's ambivalent attitude toward academia in general, Connor writes, 'His is a language of smirking self-exhibition, of highly wrought phrases creased and corrugated by snarling self-disgust [...] it is a sort of poisoned bell-lettrism, a connoisseurship turned convulsively and self-mutilatingly on itself.'5 In short, while Becketti s theatrical style may have won the twenty-first century, his critical style did not win the twentieth. It is particularly difficult to secure a legacy as a scholar without a readership that can follow one's arguments. …" @default.
• W1927844035 created "2016-06-24" @default.
• W1927844035 creator A5046280383 @default.
• W1927844035 date "2013-12-01" @default.
• W1927844035 modified "2023-09-26" @default.
• W1927844035 title "‘Performative Criticism: Samuel Beckett and Georges Duthuit’" @default.
• W1927844035 hasPublicationYear "2013" @default.
• W1927844035 type Work @default.
• W1927844035 sameAs 1927844035 @default.
• W1927844035 citedByCount "0" @default.
• W1927844035 crossrefType "journal-article" @default.
• W1927844035 hasAuthorship W1927844035A5046280383 @default.
• W1927844035 hasConcept C107038049 @default.
• W1927844035 hasConcept C124952713 @default.
• W1927844035 hasConcept C134141054 @default.
• W1927844035 hasConcept C142362112 @default.
• W1927844035 hasConcept C142932270 @default.
• W1927844035 hasConcept C166957645 @default.
• W1927844035 hasConcept C204034006 @default.
• W1927844035 hasConcept C205783811 @default.
• W1927844035 hasConcept C2776445246 @default.
• W1927844035 hasConcept C2779343474 @default.
• W1927844035 hasConcept C509535802 @default.
• W1927844035 hasConcept C52119013 @default.
• W1927844035 hasConcept C554144382 @default.
• W1927844035 hasConcept C7991579 @default.
• W1927844035 hasConcept C95457728 @default.
• W1927844035 hasConceptScore W1927844035C107038049 @default.
• W1927844035 hasConceptScore W1927844035C124952713 @default.
• W1927844035 hasConceptScore W1927844035C134141054 @default.
• W1927844035 hasConceptScore W1927844035C142362112 @default.
• W1927844035 hasConceptScore W1927844035C142932270 @default.
• W1927844035 hasConceptScore W1927844035C166957645 @default.
• W1927844035 hasConceptScore W1927844035C204034006 @default.
• W1927844035 hasConceptScore W1927844035C205783811 @default.
• W1927844035 hasConceptScore W1927844035C2776445246 @default.
• W1927844035 hasConceptScore W1927844035C2779343474 @default.
• W1927844035 hasConceptScore W1927844035C509535802 @default.
• W1927844035 hasConceptScore W1927844035C52119013 @default.
• W1927844035 hasConceptScore W1927844035C554144382 @default.
• W1927844035 hasConceptScore W1927844035C7991579 @default.
• W1927844035 hasConceptScore W1927844035C95457728 @default.
• W1927844035 hasIssue "9" @default.
• W1927844035 hasLocation W19278440351 @default.
• W1927844035 hasOpenAccess W1927844035 @default.
• W1927844035 hasPrimaryLocation W19278440351 @default.
• W1927844035 hasRelatedWork W140400697 @default.
• W1927844035 hasRelatedWork W1529038435 @default.
• W1927844035 hasRelatedWork W1600014990 @default.
• W1927844035 hasRelatedWork W1831602582 @default.
• W1927844035 hasRelatedWork W1984221080 @default.
• W1927844035 hasRelatedWork W2000810623 @default.
• W1927844035 hasRelatedWork W2080079871 @default.
• W1927844035 hasRelatedWork W2087848788 @default.
• W1927844035 hasRelatedWork W2233780391 @default.
• W1927844035 hasRelatedWork W2317177002 @default.
• W1927844035 hasRelatedWork W2333462673 @default.
• W1927844035 hasRelatedWork W2470976948 @default.
• W1927844035 hasRelatedWork W2512779167 @default.
• W1927844035 hasRelatedWork W429738740 @default.
• W1927844035 hasRelatedWork W58187031 @default.
• W1927844035 hasRelatedWork W614081352 @default.
• W1927844035 hasRelatedWork W656955992 @default.
• W1927844035 hasRelatedWork W82133493 @default.
• W1927844035 hasRelatedWork W110246689 @default.
• W1927844035 hasRelatedWork W1647819232 @default.
• W1927844035 hasVolume "9" @default.
• W1927844035 isParatext "false" @default.
• W1927844035 isRetracted "false" @default.
• W1927844035 magId "1927844035" @default.
• W1927844035 workType "article" @default.