Toward a scholarly edition of Beckett's critical writings

This essay outlines the case for a new, scholarly edition of Beckett's critical writings, one that would be complete and with critical annotation. For the most part these texts (critical writings, tributes, in memoria and epigraphs) have been published in a range of places. As well as in the magazines, newspapers, books and special-issue publications in which pieces originally appeared, a number were collected in Disjecta (Calder 1983 & Grove 1984). This volume, however, is not exhaustive; it misses out a number of important texts (not least Proust) and contains some textual inaccuracies. Furthermore, Beckett's critical writings are currently not available from the UK publishers Faber and the Grove Press Centenary Edition of Beckett's works, the fourth volume of which contains a section entitled ‘Criticism’, presents only three works of criticism by Beckett (Proust, ‘Dante … Bruno . Vico . . Joyce’ and ‘Three Dialogues’). In this essay, we give a brief (and far from exhaustive) overview of the publication history of Beckett's non-fiction prose texts, before outlining some of the editorial challenges they pose. Although Beckett tended to be dismissive of these works, they form an integral part of his canon.

Where did all these books come from? The Publishing Industry and American Intellectual Life

The American book publishing industry shapes the character of American intellectual life. While the newspaper and television industries have been accused of and investigated for bias and lowering America’s intellectual standards, book publishing has gone largely unexamined by scholars. The existing studies of the publishing industry have focused on finance, procedure and history. “There are few ‘theories’ of publishing – efforts to understand the ‘whys’ as well as the ‘hows.’ Few scholarly scientists have devoted significant scholarly attention to publishing” (Altbach and Hoshino, xiii). There are many possible reasons for this lacuna. First, there is a perception that books have always been around, that they are an “old” technology and therefore they don’t appear to have had as much of an impact on our society as television and other media (which were developed quickly and suddenly) seem to have had (Altbach and Hoshino, xiv). Also, despite books’ present and past popularity, television, radio, and now the internet reach more people more easily, and are therefore more topical points of study and observation. In studying the effects of mass media on everyday American life, television and the internet may be the most logical points of study. Regarding public intellectual life however, books play a much more important role. Public intellectual life has always been associated with independent thinkers publishing their work for the masses. For this reason, this I focus on trade publishing. Trade publishing produces fiction and non-fiction works for the general reading public, as opposed to technical manuals, textbooks, and other fiction and nonfiction books targeted to small and specific audiences. Although, quantitatively speaking, “the largest part of book publishing business is embodied in that great complex of companies and activities producing educational, business, scientific, technical, and reference books and materials,” (Tebbel 1987, 439) the trade industry publishes most of the books that most people read. It is the most public segment of the industry, and the most likely place to find public intellectualism. Trade publishing is not only the most public segment of the industry, but it is also the most susceptible to corruption and lowered intellectual standards. Unlike specialty publishing, which caters to a specific, known segment of society, trade publishers must compete with countless other publications, as well as with other forms of media, for the patronage of the general public. As John Tebbel (author of a widely referenced history of the publishing industry) puts it, “The textbook, scientific, or technical book is subjected to much more rigorous scrutiny by buyers and users, and in an intensively competitive market inferior products are quickly lost" (Tebbel 1987, xiv). Since the standards for trade publishing are not nearly as specific – trade books simply need to catch the attention of a significant number of readers, they don’t have to measure up to a given level of quality – the quality of trade books is much more variable. And yet, a successful trade publication can have a much greater impact on society than the most rigorously researched and edited textbook or scholarly study.

Landscapes of learning : lifelong learning in rural communities

Reviews the non-fiction book 'Landscapes of Learning: Lifelong Learning in Rural Communities,' edited by Fred Gray.

Writing/reading a life : the rhetorical practice of autobiography

This essay examines how the introduction/preface to a non-fiction text is constructed as autobiographical practice – a sort of ‘introduction-as-memoir’. The use and autobiographical effects of rhetorical tropes (stake inoculation, metaphor and binary oppositions) are examined in the introduction that prefaces Massacre myth (Moran, 1999), a polemic account of the 1926 police massacre of Aborigines that was the catalyst for Australia’s ‘History Wars’. Using the analytical methods of deconstruction, I tease out how language, structure and a (seemingly) objective account of historical virtues are recruited to the project of autobiography, and illuminate the role of language in the construction of the authorial subject (and Others), and show how these are entangled with broader social, political and epistemological issues. The analysis underlines the dialogic relationship between text, reader and society, and the instability of truth claims and the authorial subject of autobiography.

Adaptation and self-undermining postmodern views of the world

This paper examines the artistic construction of fictional and non-fictional characters and worlds and shows how adaptation changes non-fiction into fiction. This is illustrated with two films, Adaptation (Spike Jonze, 2002) and American Splendor (Shari Springer Berman and Robert Pulcini, 2003). These films are examples of self-reflexive intertextuality, in which the film chronicles the process of its own making and contains multiple portrayals of the characters and story world that inform reading/viewing. Postmodern irony is implicated in this process, which is shown to be self-undermining. The self-loathing of the characters Laroche, Orlean, Kaufman and Pekar is related to the self-loathing arising from Schopenhauer's view of the world, in which the will to life must be renounced to achieve equanimity. The dialogue that results from reading/viewing informed by differences and switching undermines the interpretation of critics that the non-fiction works and film adaptations reflect the postmodern world view, in which a person's self is created by the rush of phenomena, where persons do not change and nothing is resolved.

Instilling postcolonial nostalgias : Ned Kelly narratives for children

This essay examines books for children focusing on Ned Kelly and the Kelly gang, published from 2000 to 2011. Drawing upon theories of narrative, memory and nostalgia it analyses the narrative strategies and visual images through which these texts position readers, and their investment in formulations of the Australian nation. The essay argues that these books function as exercises in restorative nostalgia, producing palatable versions of Kelly as an Australian hero, and articulating connections between the Kelly legend and Australian national identity. By foregrounding Kelly's Irishness and by representing him as a “good badman”, these Ned Kelly narratives for children, which range across fiction, non-fiction, picture book and play script, reinscribe versions of national identity which occlude more complicated narratives. In particular, their emphasis on struggles between Irish and English settlers, and between selectors and squatters, displaces Indigenous histories, colonial violence, and systemic discrimination against those deemed outsiders to the nation.

Cross-artform creative practice as still-life recovery: Chinese-Western materialisms of time, writing and death

As argued by Norman Bryson, the still-life genre is sorely neglected by theorists and critics, largely because its concern with ‘low-plane reality’ (everyday items and acts) has obscured its genuine relevance to material thinking. By reappraising rather than abandoning the genre’s traditional themes of death and time—using a cross-cultural, Chinese-Western approach—it is possible to re-energise materialisms of time, writing and death within still life. Such a move depends above all on a re-evaluation of still life as ‘Vanitas’—the term which to date has unified, and more to the point limited, traditional still-life understandings of death and time. This article tracks a more explosive and creative materialism of still life simultaneously through the specifically Chinese approach to death (which includes the ‘Yin Yang’ 阴阳 as a sort of author of time) and via Gilles Deleuze’s cinematic philosophy of the time-image; what connects these is the very Deleuzean notion of time that subtends Chinese engagements with death. In this way, the still-life genre may be recovered from its current critical and theoretical malaise. Reconnecting with practice is a crucial aspect of this recovery, and so in its early stages this article analyses an example of still-life, creative non-fiction (authored by Cher Coad), and it concludes by establishing the value of this potentially ‘new chapter of the “still life” genre’ (in Matilde Marcolli’s terms) for the cross-artform analysis of the short story ‘Nhill’ (authored by Patrick West). Analysis, though, is only half the picture: a fully recovered still-life genre would see theory and practice endlessly circulating through each other, spurring on practice and impelling theory. Coad’s and West’s literary examples are introduced in the hope that they might trigger fresh theoretical and practice-based, still-life discoveries in prose and also in poetry.

Unwinding the film spool: Hugo, Méliès, and our return to early film

Taking Martin Scorsese's Hugo (2011) as a case study, this article explains that early film is misleadingly framed in terms of a simple non-fiction/fiction binary. The author argues that early non-fiction Lumière film instead gives evidence of choreographed performance just as Méliès' magical works document the satiric and often critical humour of the French Incoherent movement. Rather than dismiss Hugo, however, the author suggests that these themes and critical concerns have been cleverly re-located and absorbed by Martin Scorsese into the choreography, performance and humour of Hugo itself.

Summer is a good time for informal education

Students look forward to summer because usually it means a break from formal and non-formal education. Formal education refers to education in formal educational institutions, such as pre-schools, primary, secondary and tertiary educational institutions and other registered training organisations. Non-formal education refers to organised educational activity outside the established formal system, that is intended to deliver a defined set of learning objectives to an identifiable group of learners (Chemistry in Australia, October 2014, page 33). Informal education refers to all learning outside the formal non-formal educational system; informal education is often associated with life-long learning as it can include reading non-fiction books and scholarly articles, viewing documentaries and other informal professional development. Informal education can also include travel to other countries and climates. Social constructivist theory maintains that learning occurs in social settings; conversely, most learners are limited by their cultural experiences. For example, Australian students have little first-hand experience of sublimation, but this is commonly observed in very cold climates when frost, ice or snow apparently “disappears” as it sublimes to water vapour, without passing through the liquid state. A favourite summertime activity is to go to the movies, especially in air-conditioned cinemas on a hot day or night. Watching movies are a form of virtual travel, and many educators make use of movies to illustrate chemistry concepts. Some movie producers want a sense of authenticity and work hard to get the details right, even though those details might be incidental to the main plot. For example, in Centurion, Roman soldiers fail in their rescue attempt, and are taunted by the Picts for stupidity -- they would have succeeded if they had only realised that metal become brittle in the cold. Another favourite example comes from The Lord of the Rings: The Two Towers, when Bilbo, Samwise and Gollum are crossing the Dead Marshes and see lights that appear to float over the Marshes. These wills-o-the-wisp have been known for centuries, and was the subject of a debate between George Washington and his officers. Washington and Thomas Paine, “the Father of the American Revolution”, believed that the lights were due to a flammable gas released from the marsh, while Washington’s officers believed that the lights were due to a flammable liquid on the surface of the marsh. On Guy Fawkes Night, 5 November, 1783, the Washington-Paine experiment showed that when mud at the bottom of a river was disturbed, bubbles of flammable gas rose to the surface of the water. (Unknown to Washington and Paine, Alessandro Volta had performed a similar experiment in 1776.) A problem with informal education is that it is often unguided. Students may find it difficult to discern the difference between scientific reality and an artistic distortion of reality in novels and movies. Educators have an important role here. If we only teach facts and concepts, learners will be dependent on a teacher. If however, we foster students’ curiosity and ability to exercise judgement, they will be able to learn for themselves, not just during the summer, but also in every season of every year.

O palco dos excluídos: os bastidores e personagens do Albergue Noturno de Bauru

The “Albergue Noturno de Bauru” (Night Shelter of Bauru) is a social assistance entity mantained by the “Centro Espírita Amor e Caridade (CEAC)” in partnership with the “Secretaria do Bem Estar Social (SEBES)”, that aims to temporarily shelter migrants in town and people in homeless situation. Every day, about 50 people look for the Shelter, because of several reasons. Opened in 1951, the entity – the only public service that offers overnight stay in town - surpassed social transformations over the years and never stopped its work. With the opening of its new headquarters in July 2011, it also began to develop a systematic monitoring of some sheltered people, looking for the reintegration of them into the social context. All this work has made the Night Shelter accumulate many stories, especially from those people who have gone through or are still in it. Thus, this paper aims to present, through a non-fiction novel, this scenario, exposing the history and functioning of the Bauru Night Shelter, while exposing the lives of different people who are part of this universe. Through the monitoring of several night shifts, narrated in diary format, it was possible to understand how the service started, the dilemmas involved in their development and how sheltered and volunteers build this reality.

Come tradurre il metadiscorso letterario. Esempi di scrittura femminile nell'Ottocento austriaco

L’argomento affrontato nel presente lavoro di tesi dal titolo “Come tradurre il metadiscorso letterario. Esempi di scrittura femminile nell’Ottocento austriaco” è la versione interlinguistica di testi saggistici afferenti all’ambito del metadiscorso letterario. Nello specifico, non vengono analizzati testi di critica e/o metodologia ma scritti funzionali, di forte carattere pragmatico, che pur tuttavia rientrano tra le testimonianze di alta caratura letteraria, perché dovuti ad autrici che hanno fatto dell’espressione estetica la propria finalità primaria. I materiali scelti per l’analisi linguistico-testuale, compresi in un arco temporale tra la fine del Settecento e la metà dell’Ottocento, sono realizzati da donne che hanno operato in ambito teatrale facendo dell’attività di scrittura lo strumento della propria emancipazione intellettuale ed economica. La necessità di trovare una via alla pubblicazione le ha indotte a strategie di scrittura connotate da particolari stilemi e artifici retorici atti a favorire l’accettazione e la diffusione delle proposte editoriali di cui questi “paratesti” costituivano il momento giustificante. Il “lavoro di penna” è un’esperienza che viene ad assumere molteplici contorni, non privi di ricadute al momento della scelta delle strategie traduttive. Dal punto di vista formale, le testimonianze si collocano in una zona di modalità espressiva contigua alla testimonianza autobiografica. Il periodo storico e l’area di provenienza delle autrici hanno reso necessario un approccio capace di incrociare il piano diacronico con la dimensione diatopica, rendendo conto delle componenti diamesiche di una scrittura che nasce dal teatro per il teatro e ad esso e ai suoi frequentatori deve rapportarsi. Il modello traduttologico applicato ricava le sue linee fondamentali dalle riflessioni della linguistica testuale e dall’approccio integrato/multidisciplinare della “prototipologia dinamica”.