Reflections on Beckett: a centenary celebration

The essays in this collection were originally delivered as part of the Samuel Beckett lecture series at Trinity College Dublin, Samuel Beckett's alma mater. The contributors include eminent Beckett scholars such as Linda Ben-Zvi, Enoch Brater, Ruby Cohn and Stan Gontarski, theatre scholars such as Herbert Blau and Joseph Roach, practitioners such as the Irish actor, Barry McGovern, and cultural critics such as Marina Warner and Terry Eagleton. The collection sheds new light on Beckett's enigmatic theater, offering new perspectives on Beckett's use of language and silence, on his attitudes toward the body, on those who influenced him and on those he has influenced (including Suzan-Lori Parks and Femi Osofisan), and on Beckett and the art of self-collaboration. Each contributor places the playwright into a network of genealogies and legacies and his work into important historical, cultural, and aesthetic contexts. Together, the essays demonstrate Beckett's impact on theater, performance, and visual arts during the latter half of the twentieth century and serve to open up new directions for Beckett studies.

A cognitive and psycholinguistic investigation of neologisms

Background: Jargon aphasia with neologisms (i.e., novel nonword utterances) is a challenging language disorder that lacks a definitive theoretical description as well as clear treatment recommendations (Marshall, 2006). Aim: The aims of this two part investigation were to determine the source of neologisms in an individual with jargon aphasia (FF), to identify potential facilitatory semantic and/or phonological cuing effects in picture naming, and to determine whether the timing of the cues relative to the target picture mediated the cuing advantage. Methods and Procedures: FF’s underlying linguistic deficits were determined using several cognitive and linguistic tests. A series of computerized naming experiments using a modified version of the 175 item-Philadelphia Naming Test (Roach, Schwartz, Martin, Grewal, & Brecher, 1996) manipulated the cue type (semantic versus phonological) and relatedness (related versus unrelated). In a follow-up experiment, the relative timing of phonological cues was manipulated to test the effect of timing on the cuing advantage. The accuracy of naming responses and error patterns were analyzed. Outcome and Results: FF’s performance on the linguistic and cognitive test battery revealed a severe naming impairment with relatively spared word and nonword repetition, auditory comprehension of words and monitoring, and fairly well preserved semantic abilities. This performance profile was used to evaluate various explanations for neologisms including a loss of phonological codes, monitoring failure, and impairments in semantic system. The primary locus of his deficit appears to involve the connection between semantics to phonology, specifically, when word production involves accessing the phonological forms following semantic access. FF showed a significant cuing advantage only for phonological cues in picture naming, particularly when the cue preceded or coincided with the onset of the target picture. Conclusions: When integrated with previous findings, the results from this study suggest that the core deficit of this and at least some other jargon aphasics is in the connection from semantics to phonology. The facilitative advantage of phonological cues could potentially be exploited in future clinical and research studies to test the effectiveness of these cues for enhancing naming performance in individuals like FF.

Six new loci associated with body mass index highlight a neuronal influence on body weight regulation

Common variants at only two loci, FTO and MC4R, have been reproducibly associated with body mass index (BMI) in humans. To identify additional loci, we conducted meta-analysis of 15 genome-wide association studies for BMI (n > 32,000) and followed up top signals in 14 additional cohorts (n > 59,000). We strongly confirm FTO and MC4R and identify six additional loci (P < 5 x 10(-8)): TMEM18, KCTD15, GNPDA2, SH2B1, MTCH2 and NEGR1 (where a 45-kb deletion polymorphism is a candidate causal variant). Several of the likely causal genes are highly expressed or known to act in the central nervous system (CNS), emphasizing, as in rare monogenic forms of obesity, the role of the CNS in predisposition to obesity.

Collabowrighting the hyper(play)text: a postdramatic digital poetics

The aim of this research is to exhibit how literary playtexts can evoke multisensory trends prevalent in 21st century theatre. In order to do so, it explores a range of practical forms and theoretical contexts for creating participatory, site-specific and immersive theatre. With reference to literary theory, specifically to semiotics, reader-response theory, postmodernism and deconstruction, it attempts to revise dramatic theory established by Aristotle’s Poetics. Considering Gertrude Stein’s essay, Plays (1935), and relevant trends in theatre and performance, shaped by space, technology and the everchanging role of the audience member, a postdramatic poetics emerges from which to analyze the plays of Mac Wellman and Suzan-Lori Parks. Distinguishing the two textual lives of a play as the performance playtext and the literary playtext, it examines the conventions of the printed literary playtext, with reference to models of practice that radicalize the play form, including works by Mabou Mines, The Living Theatre and Fiona Templeton. The arguments of this practice-led Ph.D. developed out of direct engagement with the practice project, which explores the multisensory potential of written language when combined with hypermedia. The written thesis traces the development process of a new play, Rumi High, which is presented digitally as a ‘hyper(play)text,’ accessible through the Internet at www.RumiHigh.org. Here, ‘playwrighting’ practice is expanded spatially, collaboratively and textually. Plays are built, designed and crafted with many layers of meaning that explore both linguistic and graphic modes of poetic expression. The hyper(play)text of Rumi High establishes playwrighting practice as curatorial, where performance and literary playtexts are in a reciprocal relationship. This thesis argues that digital writing and reading spaces enable new approaches to expressing the many languages of performance, while expanding the collaborative network that produces the work. It questions how participatory forms of immersive and site-specific theatre can be presented as interactive literary playtexts, which enable the reader to have a multisensory experience. Through a reflection on process and an evaluation of the practice project, this thesis problematizes notions of authorship and text.