Finding a Form for the Speechless
Samuel Beckett and Miwa Yanagiâs Zero Hour
äºSamuel Beckett Today / Aujourd'huiSearch for other papers by Kumiko Kiuchi in
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As articulated to Avigdor Arikha, Beckett saw âfind[ing] a formâ for speechlessness as one of his tasks as a writer. Different literary genres facilitated his exploration of the speechless in the motif of spectres. The Japanese artist and dramatist Miwa Yanagiâs theatrical piece Zero HourâTokyo Roseâs Last Tape takes on this task by borrowing some of the elements of Krappâs Last Tape. Drawing on the historical context of the âTokyo Rose Case,â the article explores similarities and differences between the two artists in their incorporation of the spectral and their use of media, as well as analyzing the original use of mixed media (tape recorder and radio) in Zero Hour as a way to elucidate the speechless/the spectral.
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| å ¨é¨æé´ | è¿å»ä¸å¹´ | è¿å»30天 | |
|---|---|---|---|
| æè¦æµè§æ¬¡æ° | 64 | 0 | 0 |
| å ¨ææµè§æ¬¡æ° | 378 | 43 | 8 |
| PDFä¸è½½æ¬¡æ° | 162 | 36 | 0 |
Finding a Form for the Speechless
Samuel Beckett and Miwa Yanagiâs Zero Hour
äºSamuel Beckett Today / Aujourd'huiSearch for other papers by Kumiko Kiuchi in
Current site
Google Scholar
PubMed
As articulated to Avigdor Arikha, Beckett saw âfind[ing] a formâ for speechlessness as one of his tasks as a writer. Different literary genres facilitated his exploration of the speechless in the motif of spectres. The Japanese artist and dramatist Miwa Yanagiâs theatrical piece Zero HourâTokyo Roseâs Last Tape takes on this task by borrowing some of the elements of Krappâs Last Tape. Drawing on the historical context of the âTokyo Rose Case,â the article explores similarities and differences between the two artists in their incorporation of the spectral and their use of media, as well as analyzing the original use of mixed media (tape recorder and radio) in Zero Hour as a way to elucidate the speechless/the spectral.
| å ¨é¨æé´ | è¿å»ä¸å¹´ | è¿å»30天 | |
|---|---|---|---|
| æè¦æµè§æ¬¡æ° | 64 | 0 | 0 |
| å ¨ææµè§æ¬¡æ° | 378 | 43 | 8 |
| PDFä¸è½½æ¬¡æ° | 162 | 36 | 0 |
