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Text Repetitions in Beckett's Plays, 2007.
An analysis of Samuel Beckett's use of repeating text in his works.
3,657 words (approx. 14.6 pages), 14 sources, APA, $ 101.95
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Abstract
This paper examines the repeating texts in many of Samuel Beckett's works, with an emphasis on the use of this device in his short plays. The author analyzes two of Beckett's short plays, "What Where" and "Play" to further explore his thesis. The paper also discusses the concept of textuality as it relates to Beckett's literary style. The paper also describes Beckett's work as taking the reader to powerful depths that require multiple readings.
From the Paper
"Textuality transpires from every part of Beckett's What Where and Play, thanks to the use of textual repetitions, which introduce each time a difference -and even a "differance". In this first section, we have try to highlight the act of repeating within the texts themselves -that is, inner-repetition-, laying emphasis on the first level of the repetition scale. Our second part will be dedicated to the re(-)presentation of the plays, that is to say, the repetition of the written texts through their performance."
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Storytelling In Beckett's 'Collected Shorter Plays', 2007.
A review of Samuel Beckett's 'Collected Shorter Plays'.
3,854 words (approx. 15.4 pages), 9 sources, MLA, $ 105.95
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Abstract
This paper reviews, discusses and analyses the 'Collected Shorter Plays' by Samuel Beckett. The paper reports that storytelling is the art of portraying, in words, images and sounds, what has happened in real or imagined events. The paper goes on to say that to Beckett, it represents the human effort to create order out of random experience.
According to the paper, in the Beckettian drama, a deep tension exists between life and story on the one hand, and self and story on the other hand. The paper continues by saying that storytelling constitutes an intrinsic part of the central dramatic action itself.
From the Paper
"Beckettian narrators are above all human beings. As any other individual, they use storytelling as a way to escape reality. Storytelling, then, allows Beckett's protagonists that Freudian opportunity to reveal deep and difficult thoughts and feelings, while at the same time concealing them as fiction, or it least distancing them as narration. The conflict between facing issues and fleeing them in dramatized. By choosing to tell a story, to talk about rather than to perform, to focus on a narrated past rather than on actual present, Beckettian storytellers betray their deepest, most incompatible feelings. We can go as far as to say that all that talk in Beckett's Shorter Plays may not have the sole purpose of merely presenting thoughts and feelings directly, but rather, it is intended to disguise, distance and even hide them. Evasion, therefore, is part of a character's motivation in choosing to tell a story. He feels safe in the vicariousness of narrative: nothing is experienced or betrayed directly. Actually, an essential distance is involved in storytelling: it relies on the intrinsic convention that in narrative, the author and his story persona are not identical. Therefore, it conveniently moves passions away from the body and into the mind, where the process of simultaneously admitting and denying something, facing and fleeing dangers, can be achieved safely. Hence the division of the character's self into speaker and spoken, inherent in the great majority of the plays under study here. "
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Beckett's Dramatic Technique, 2005.
This paper explores the extent to which meaning is linked to dramatic innovation in Samuel Beckett's plays.
3,401 words (approx. 13.6 pages), 18 sources, MLA, $ 96.95
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Abstract
The paper provides a thorough investigation of the presentation of Beckett's philosophical themes within the dramatic genre in order to determine whether meaning is indissolubly connected to innovation in dramatic technique. The paper shows how meaning is not indissolubly linked; Beckett allows his plays meaning outside of the dramatic arena. The paper does note, however, that Beckett's unconventional dramatisation of his philosophy contributes greatly to the plays.
From the Paper
"In his essay, 'Beckett Out of His Mind: The Theatre of the Absurd', William Haney asserts that '[b]y dispensing with narrative sequence, character development, and psychology in the conventional sense, Beckett portrays the process by which awareness moves from the qualia of a historically mediated experience to a state beyond linguistic and cultural boundaries'. This statement has two key implications: firstly that that Beckett's plays do have an intrinsic meaning, and secondly that this meaning lies beyond linguistic boundaries and is thus inseparably linked to Beckett's unconventional dramatic technique. This perspective on meaning itself, however, is problematised when placed into Beckett's cultural context. Indeed, that 'Beckett actually encouraged critics to adopt a philosophical perspective on his work' seems to indicate that this is a useful approach."
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Samuel Beckett's "Endgame", 2003.
This paper looks at how understanding the social and political context of the time of Samuel Beckett's play "Endgame" enhances the significance of the play's meaning.
2,298 words (approx. 9.2 pages), 13 sources, MLA, $ 70.95
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Abstract
The paper examines how the play "Endgame" is related to reality and discusses how it is haunted by the prospect of universal death. The paper looks at how "Endgame" is a play on language and shows how, ultimately, the play is a manifestation of the social and political context of the time.
From the Paper
"Samuel Beckett's theatre is widely assumed as a no-man's-land, a place at the end of the world, devoid of any humanity. The impression we are left with at the end of his plays is that of a timeless theatre, showing an essential and absolute humanity, which is hardly prone to historical upheavals, or even to historical variations. This is also true of Endgame, Beckett's third play, first written in French and performed at the Royal Court Theatre, London, in 1957. The play is haunted by the prospect of universal death. Indeed, Beckett imprisons his characters in a room which might be the only place on earth to house human life."
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Samuel Beckett's "Waiting for Godot", 2008.
A paper describing several different interpretations of the play "Waiting for Godot" by Samuel Beckett.
1,234 words (approx. 4.9 pages), 6 sources, APA, $ 42.95
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Abstract
This paper talks about Samuel Beckett's play "Waiting for Godot" written in the 1950s. It has been performed world wide and has been critiqued and deconstructed many times, and many different interpretations offered as to its meaning. The author of this paper concludes with his own interpretation of what Beckett might have intended from this play - that is the he might simply have wanted people to sit still and reflect about what exactly is so significant in their lives.
From the Paper
"In order to understand the comic relief of Beckett the philosophical view of Schopenhauer must be defined. Schopenhauer believed that the "will" is the inner part of man that drives the world forward--"will" supersede intellect placing desire before thought and "will" prior to being (Ross, 1998).
"In the 21st Century Beckett's Godot still has a place in theater including cyber-theater. Interactive art is all about the spontaneous and unpredictable occurrences between people coming together online and performing as if they were on a stage in front of an audience full of hecklers. The interaction between the performers and the audience is far more entertaining then the play by Beckett "Waiting for Godot" when it is performed open to anyone logged into the chat room at the Digital Storytelling Festival in Crested Butte, CO (Rosenberg, n.d.)."
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'Waiting for Godot', 2006.
A review of Samuel Beckett's play, 'Waiting for Godot'.
1,941 words (approx. 7.8 pages), 3 sources, MLA, $ 61.95
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Abstract
This paper reviews and analyzes the play 'Waiting for Godot' by Samuel Beckett. According to the paper, the play is full of instances of repetition, circularity in structure, prose, and action that serve to enforce the play's theme of life always spent in waiting for something or someone that may never occur or arrive.
From the Paper
"Similarly, the endings of both Acts are repetitive. Beckett reuses the ending of Act I with Estragon asking "Well, shall we go?" and Vladimir answering "Yes, let's go," in Act II. This exchange is followed by the stage direction comment "they do not move". The sole difference in Act II, however, is that it is Vladimir who asks and Estragon who answers. The conclusion of the play is deliberately recycled from the end of the first act. Beckett again uses repetition to support his observations of society's failure to act on their words or intentions. Vladimir recognizes this problem after deciding that they should try on the boots. Impatiently he says, "let us persevere in what we have resolved, before we forget." He is clearly aware of his own problem but this just makes his inability to solve it - to act and to move - seem even more exasperating and incomprehensible. Pozzo's and Lucky's scene in Act II also reflects this initial call to action and then subsequent inaction on Vladimir's part. He becomes abruptly passionate in helping Pozzo and shouts, "Let us not waste our time in idle discourse! Let us do something, while we have the chance!" The scene begins like an insistent rally against what he and Estragon have not been doing or have been incapable of doing throughout the play. However, Vladimir's unhurried and dawdling attitude towards helping Pozzo to his feet suggest that, even with the right intentions and resolution, helplessness as a habit cannot be broken immediately."
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Samuel Beckett, 2002.
A discussion of the themes of comedy and death in the work of the playwright Samuel Beckett.
1,879 words (approx. 7.5 pages), 3 sources, MLA, $ 60.95
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Abstract
This paper examines how Samuel Beckett is one of the most important and influential playwrights of the twentieth century. It looks at how in most of his plays, he reflects an existential feeling that life is essentially absurd and that the only positive elements in it are discovered through the creativity of individuals who attempt to create meaning or else use humor to deal with this absurdity. It analyzes how death also receives a similar treatment in his plays and while the reality of death is exceptionally sad in its terrible finality, it is also dealt with in a humorous fashion. It evaluates how this combination of sadness and humor lead Beckett himself to label his own plays as ?tragicomic,? since these contradictory elements of tragedy and comedy seem to appear at the same in the same amount often in the same passage. It shows how Beckett?s portrayal of the reality of human death is at once hysterical and depressing, whimsical and terrible, as he embraces both the absurdity of life through human creation and mourns the inability of human to triumph completely over those limitations.
From the Paper
"Fittingly, in his play Waiting for Godot, his characters deal with death in a fashion that is both absurd and laments the true tragedy of the brevity and absurdity in their lives. Indeed, early in the play, the characters are considering what they should do with themselves since they are bored by the repetition of days in the strange and unnamed place where the scene is set. In this moment, Vladimir and Estragon decide that they might choose to hang themselves from the tree that is in the center of the stage. While this suggestion of suicide may seem quite grim, it is in reality extremely comic, since the tree is so small and pathetic that it could never hold a man?s weight enough for him to be hanged. In a way, this joke about death is little more than a game that the two characters use to pass the time and one that results in great comedy."
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Analysis of Samuel Beckett's "Endgame", 2001.
This paper relates events in Samuel Beckett's real life to situations in the play.
1,690 words (approx. 6.8 pages), 5 sources, MLA, $ 54.95
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Abstract
This paper reviews Samuel Beckett's life and the influence it had on his writing. The setting of the play is analyzed, along with the characters' names, the dialogue and various themes of the play including: Self-reflexivity, father figures, and cyclically.
From the Paper
"Some of the most in-depth interpretations deal with the setting of the play. Described in the first lines, the room is said to have "two small windows, [with] curtains drawn." That image, along with many other in the play, have led many to presume that the action occurs inside the skull, the players being inside the mind and thought of the body (Mayoux 4). This is a rather accurate assumption, seeing that Beckett was a fan of Descartes, who believed that the mind was a separate entity from the body."
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"Play Waiting for Godot", 2002.
An analysis of the concept of Gogo and Didi as one identity in the play "Waiting for Godot" by Samuel Beckett.
1,150 words (approx. 4.6 pages), 1 source, $ 44.95
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Abstract
This paper will discuss the relationship of Gogo and Didi and their relationship in the play "Waiting for Godot" by Samuel Beckett. The argument will be for the union of the characters in one identity and the paper will argue for their relationship as a union of the spirits of mankind within the universe. How they balance each other out is the ideal connection that will be discussed in the relationship.
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?Waiting for Godot? by Samuel Beckett, 2002.
The paper analyzes in detail the play, ?Waiting for Godot? by Samuel Beckett, with emphasis on its religious implications.
1,395 words (approx. 5.6 pages), 1 source, MLA, $ 46.95
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Abstract
This paper states that, aside from the theme of waiting, the central theme of the play ?Waiting for Godot? is religious beliefs, especially penance and redemption. The author continues that all four major characters in the play represent a part of these themes. The play is reviewed in detail from this perspective. The paper concludes with the idea that in the last act, there is a turn of events wherein their roles are further reinforced and widened through a display of religious representations and implications.
From the Paper
"Perhaps one of the first instance of the play?s religious theme is Vladimir?s reference to the story of the thieves in the Bible. In the first act of the play, Vladimir tells Estragon the story of the thief who repented, and was saved because of his repentance. This part of the play illustrates the first sign of hopelessness of the two protagonists in the story. Both Vladimir and Estargon are men who seem to have nothing at all, save for the boots of Estragon, and the hat of Vladimir, which were constantly referred to and discussed in the play. Their nothingness was further worsened when the fact that they were actually humans who were born to suffer was brought up in the first act. In this scene, Vladimir asks Estragon the need to repent so that they will also be saved from their sins."
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"Waiting for Godot", 2005.
A discussion of religion in Samuel Beckett's play "Waiting for Godot".
3,415 words (approx. 13.7 pages), 7 sources, MLA, $ 96.95
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Abstract
"Waiting for Godot" which was written by Samuel Beckett is considered to be his most famous work. This paper focuses on the meaning of the religious themes within the play. One of the key themes found in the play, is a call to action for the Christian audience. It explains that the scene and the players are suggestive of any man and any place. It is meant to be universal in its reach; with each day representing not only a new beginning but a continuation if what came before.
From the Paper
"Nothing is completed because nothing can be completed. The despair in the play , which is never defined as such but which pervades all the lack of action and gives the play its metaphysical color, is the fact that the two tramps cannot wait for Godot, and the corollary fact that he cannot come. The rigorous use of the unities is demanded by the implacable interpretation of human life. The denouement of the play is another beginning ((Fowlie, pp 210-214).
Just the mere fact of the spelling of Godot's name adds to the metaphysical essence of this play. Godot is often seen as being short for God and the fact that these two tramps wait for his coming in reminiscent to waiting for the final coming of God."
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Samuel Beckett, 2007.
This paper describes the life and work of Samuel Beckett.
3,061 words (approx. 12.2 pages), 5 sources, APA, $ 89.95
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Abstract
The paper presents biographical information about Samuel Beckett, and then discusses some of his major works. According to the paper, Beckett had a profound effect on modern literature, and still influences writers today. Beckett's literary style is considered as well as the common themes that appear in his novels and plays. The author concludes that to truly understand Beckett's works one must understand his life.
From the Paper
"Samuel Beckett was a literary genius and a master at what he created, but he also made people think about the human condition and the place of people in the people. Not the place of people suh as their social class, but the place of people as in what they really mean to one another ancd to themselves. It was not until Beckett had his epiphany and realized that he must embrace the darkness in himself that he actually started turning out a lot of work that was high quality and worthy of praise. Until that time, Beckett had done precious little that the critics enjoyed and he really did not work that much. After the realization, however, he found that he could write what he felt and what he needed to say without fear of what others were thinking of him, and apparently without fear of what he thought of himself. This was wonderful for Beckett, but equally as important for all of those that read his work and enjoy it, because if this realization had not come to him, he may not have turned out the amount and quality of work that he did in fact create."
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Data and Text Mining, 2007.
A discussion on how data and text mining tools are revitalizing the librarian profession.
4,555 words (approx. 18.2 pages), 30 sources, MLA, $ 118.95
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Abstract
The paper discusses how the many advances in data and text mining are already revolutionizing the librarian profession. The paper explores how the ability of data mining tools to extract, transfer and load (ETL) massive amounts of data at a single time, is changing how all tasks in an organization get completed.
Outline:
Executive Summary
Content Integration Is Key
Data Mining
i) Principles of Data Mining
ii) Data Mining Timeline
Data Mining Implications for Librarianship
Text Mining
i) Text Mining Timeline
ii) Data Mining versus Text Mining
iii) Mining Blogs: An Example of How Text Mining Works
Text Mining Implications for Librarianship
Conclusion
From the Paper
"At the intersection of text mining, linguistic analysis, statistical analysis, and latent semantic indexing techniques (Wikipedia Latent Semantic Indexing 2006). is the future of text mining that has the power to discover and report trending in highly unstructured content. At the center of text-mining's' rapid growth is the increasing sophistication of Natural Language Processing (CRM Buyer 2005). IBM and their significant research efforts in natural language processing are well documented on their website, as are the efforts and investments Microsoft is making."
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"Krapp's Last Tape", 2008.
An analysis of Samuel Beckett's play "Krapp's Last Tape".
1,270 words (approx. 5.1 pages), 1 source, MLA, $ 43.95
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Abstract
This paper discusses how "Krapp's Last Tape" is a play about endings, about old age and memory. It looks at how, when analyzing what the protagonist, Krapp, perceives as the single most important incident in his life, and examining how this affected his character and the direction of his life, it is perhaps most important to ask how live events did not effect Krapp, or rather how Krapp allowed his life to remain at a standstill. It also examines how Krapp marks the passage of his years not by spending time with loved ones or moving forward, but listening to his own voice on tape. The character's life is like an endless loop, on a spool of recorded sound.
From the Paper
"The repetitive and static nature of Krapp's life finds its most potent metaphor in an encounter Krapp had with a woman on a barge. But rather than a long, lost love that has affected Krapp in a positive or negative way, this seems more like a relationship that never really deepened, and is only yet another thwarted possibility in a life that is a succession of thwarted possibilities. Krapp's haunting by many images from his past that fleetingly promised happiness are demonstrated by his obsessive listening to a tape recording of his own voice. The tape contains a journal entry from long ago, to which Krapp reacts, verbally and physically. Krapp cannot let go of the past, and even the past has few concrete memories of significance, he can only listen to his younger self's articulation of hopes that things will get better."
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Theories of the Functions of the Pyramid Texts, 2008.
A description and evaluation of the Pyramid Texts.
2,054 words (approx. 8.2 pages), 10 sources, MLA, $ 64.95
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Abstract
This paper evaluates the functions of the Pyramid Texts that are based on the contrast between Western linear logic,and "the magico-religious mentality" of Ancient Egyptian culture. The paper also discusses the different functions of the Pyramid Texts Pyramid Texts and concludes that its main function was to solemnize the funeral and burial with the appurtenances necessary for the ascension of "coming forth by day", a construction of "The Book of the Dead" uniquely suited to the alchemic minds of the Ancient Egyptians who synthesized life's polarities in a way not available to our Western thought.
From the Paper
"The Ancient Egyptian conception of reality was cyclical and grounded in the unique agricultural environment of Egypt. "Its inhabitants depended on a large degree on the fulfillment of natural cycles. " "Every day, they observed the unchanging cycle of the sun's passage: each night it died but was reborn on the horizon at dawn and continued its celestial course throughout the day, creating and sustaining life on earth. Similarly, in the annual cycle of the seasons, they saw the regular death and destruction of the vegetation, due to the parching of the land, which in turn was followed by the inundation of the River Nile, which revived and restored the plants and the crops. Both these great life-forces, the sun and the river, followed patterns of life, death and rebirth which probably inspired in the Egyptians a very early belief that individual human existence reflected these natural cycles" . "The rising and setting of the sun, the phases of the moon, the motions of the stars ('always visible from Egypt'), the annual flooding of the Nile...were perceived as manifestations of potent creative sources" and a continual process of growth, death, and rebirth" . Poised on the edge of Africa between the mutable, ever shifting sands of the desert and the fluctuating barrier of the ocean, life was seen as a series of constantly changing forms of existence dependably reoccurring and transposing into one another. "Death...was regarded not as an end, but merely as a further change...leading forward to another type of existence" .
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