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• W915102254 abstract "This paper investigates question of aurality in Beckett's narrative and radiophonic works of early sixties. It focuses on Comment c'est and its English translation How It Is, considered here as a central work in Beckett's intermedial practice of hybridisation between genres and media. At crossroads between a novel and a radio play, between written and spoken word, Comment c'est/How It Is enacts performance of reader as a silent listener. Corporality and language overlap in as novel builds up metaphor of human body as a medium.A Text for EarsThe form of Comment c'est has attracted interest of a large corpus of critics. The 'strange' body of novel, with its fragmentary and broken sentences which appear to lack punctuation and syntactic structure, challenges status of fictional genre itself and presents innovative roles for reader. Early readings of have emphasised dialectic between visuality and aurality as one of key features of novel. For Maurice Blanchot, writing and reading in Comment c'est turns into a common experience, joining voice of reader to that of author. this common experience of overlapping voices, it sense of hearing which assumes an importance superior to that of sight: Ici, ce n'est plus la puissance de voir qui est requise: il faut renoncer au domaine du visible et de l'invisible, a ce qui se represente, fut-ce negativement. Entrendre seulement entendre (Here power of sight no longer called for: one has to renounce domain of visible and invisible, all that can be represented, even if negatively. To hear only to hear; 482; editor's translation). Similarly, James Knowlson and John Pilling interpret 'rudimentary' syntax and fragmented form of novel as contributing to shift in Beckett from a concern with sight to a concern with o/aurality: In How It Is Beckett moving away from visual and towards verbal, which why 'images' have to cease; he becomes less concerned with seeing how it and more concerned with saying how it is (65). An analysis of dichotomy between representational and performative also constitutes core of Leslie Hill's poststructuralist reading of novel. Following Blanchot's remarks, Leslie Hill reads Comment c'est as an example of the slippage taking place in Beckett's work between narrative prose and theatre (13334). For Hill, of Comment c'est more performative than descriptive or representational, putting reader as it does in role of performer of written word.Significantly, genetic criticism on Comment & est/ How It Is has more recently drawn attention to language of novel and its hybrid nature, suspended as it between orality and literacy. Edouard O'Reilly (1996, 2003) has shown that only after several drafts, and through an intermediate translation in English, does Beckett arrive at present form of novel. During this process, written language of deconstructed and reshaped, and traditionally articulated prose of first versions abandons narrative structure of written language to slip into a form suspended between writing and blank verse, whose rhythm and structure mirror those found in ordinary speech (1996, 50-52). Anthony Cordingley has also argued for a gradual sonorisation and oralisation of in passage from preliminary version of L'Image to Comment c'est. Cordingley suggests that subtractive process to which Beckett submits his - elimination of punctuation marks, erasure of conjunctions, articles, pronouns - attempts not only to recast written word as a unit of spoken language but disrupts rapid, silent reading of text (52).1Although building on these readings, this paper takes a different approach, trying to look beyond dichotomy between written and spoken language and between and voice which seems to have animated much of criticism of Beckett. …" @default.
• W915102254 created "2016-06-24" @default.
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• W915102254 date "2012-01-01" @default.
• W915102254 modified "2023-09-28" @default.
• W915102254 title "ILL-TOLD ILL-HEARD: Aurality and Reading in Comment c'est/How It Is" @default.
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