Bibliography
Works by Samuel Beckett
Beckett, Samuel (1953), Watt, New York: Grove P.
Beckett, Samuel (1954), Waiting for Godot, New York: Grove P.
Beckett, Samuel (1957), Proust, New York: Grove P.
Beckett, Samuel (1963), Watt, London: John Calder.
Beckett, Samuel (1964), How It Is, London: John Calder.
Beckett, Samuel (1965), Proust and Three Dialogues with Georges Duthuit, London: John Calder.
Beckett, Samuel (1965), Three Novels, New York: Grove P.
Beckett, Samuel (1967), Stories and Texts for Nothing, New York: Grove P.
Beckett, Samuel (1973), Murphy, London: Picador.
Beckett, Samuel (1980), Company, New York: Grove P.
Beckett, Samuel (1983), Worstward Ho, London: John Calder.
Beckett, Samuel (1983), Disjecta: Miscellaneous Writings and a Dramatic Fragment, London: John Calder.
Beckett, Samuel (1984), Disjecta: Miscellaneous Writings and a Dramatic Fragment, ed. Ruby Cohn, New York: Grove P.
Beckett, Samuel (1984), The Collected Shorter Plays of Samuel Beckett, New York: Grove P.
Beckett, Samuel (1984), The Collected Shorter Plays of Samuel Beckett, London: Faber and Faber.
Beckett, Samuel (1986), Catastrophe et autres dramaticules, Paris: Les EÌditions de Minuit.
Beckett, Samuel (1986), The Complete Dramatic Works, London: Faber and Faber.
Beckett, Samuel (1987), Proust and Three Dialogues with Georges Duthuit, London: John Calder.
Beckett, Samuel (1990), Le Monde et le pantalon suivi de Peintres de lâempeÌchement, Paris: Minuit.
Beckett, Samuel (1992), Dream of Fair to Middling Women, ed. Eoin OâBrien and Edith Fournier, Dublin: Black Cat P.
Beckett, Samuel (1992) The Theatrical Notebooks of Samuel Beckett, Vol. III, ed. James Knowlson, London: Faber & Faber.
Beckett, Samuel (1993), Dream of Fair to Middling Women, London: John Calder.
Beckett, Samuel (1993), Samuel Beckettâs Company/Compagnie and A Piece of Monologue/Solo: A Bilingual and Variorum Edition, ed. C. Krance, New York: Garland Reference Library of the Humanities.
Beckett, Samuel (1994), Three Novels: Molloy, Malone Dies, The Unnamable, New York: Grove P.
Beckett, Samuel (1995), The Complete Short Prose, 1929â1989, ed. S. E. Gontarski, New York: Grove P.
Beckett, Samuel (1996), Nohow On, with an introduction by S. E. Gontarski, New York: Grove P.
Beckett, Samuel and Alan Schneider (1998), No Author Better Served: The Correspondence of Samuel Beckett and Alan Schneider, ed. Maurice Harmon, Cambridge: Harvard UP.
Beckett, Samuel (1999), Proust and Three Dialogues with Georges Duthuit, London: Calder.
Beckett, Samuel (1999), The Theatrical Notebooks of Samuel Beckett: The Shorter Plays, ed. S. E. Gontarski, New York: Grove P.
Beckett, Samuel (2006), The Complete Dramatic Works, London: Faber and Faber.
Beckett, Samuel (2006), The Grove Centenary Edition, ed. Paul Auster, 4 vols, New York: Grove P.
Beckett, Samuel (2009), All That Fall and Other Plays for Radio and Screen, ed. Everett C. Frost, London: Faber and Faber.
Beckett, Samuel (2009), Company, Ill Seen Ill Said, Worstward Ho, Stirrings Still, ed. Dirk Van Hulle, London: Faber and Faber.
Beckett, Samuel (2009), Krappâs Last Tape and Other Shorter Plays, ed. S. E. Gontarski, London: Faber and Faber.
Beckett, Samuel (2009), Murphy, ed. J. C. C. Mays, London: Faber and Faber.
Beckett, Samuel (2009), The Letters of Samuel Beckett, Vol. I: 1929â1940, eds. Martha Dow Fehsenfeld and Lois More Overbeck, Cambridge: Cambridge UP.
Beckett, Samuel (2011), The Letters of Samuel Beckett, Vol. II: 1941â1956, eds. George Craig, Martha Dow Fehsenfeld, Dan Gunn and Lois More Overbeck, Cambridge: Cambridge UP.
Beckett, Samuel (2016), The Letters of Samuel Beckett, Vol. IV, 1966â1989, eds. George Craig, Martha Dow Fehsenfeld, Dan Gunn and Lois More Overbeck, Cambridge: Cambridge UP.
Beckett, Samuel (n.d.), âWatt, Composite T and Tccms/inc with A revisions and A note Sâ, The Harry Ransom Humanities Research Center at the University of Texas at Austin.
Criticism and Other Sources
Abbott, H. Porter (1996), Beckett Writing Beckett: The Author in the Autograph, Ithaca, New York: Cornell UP.
Abram, David (1996), The Spell of the Sensuous: Perception and Language in a More-than-Human World, London: Vintage Books.
Ackerley, C. J. and S. E. Gontarski (2006), The Faber Companion to Samuel Beckett, London: Faber and Faber.
Addyman, David, Matthew Feldman and Erik Tonning, eds. (2017), Samuel Beckett andBBCRadio: A Reassessment, Basingstoke: Palgrave Macmillan.
Adler, Alfred (1921), The Neurotic Constitution (Outlines of a Comparative Individualistic Psychology and Psychotherapy), New York: Moffat, Yard and Company.
Adorno, Theodor (1991), âTrying to Understand Endgameâ, Notes to Literature, ed. and trans. Shierry Weber Nicholson, New York: Columbia UP, pp. 241â75.
Adorno, Theodor (2005), Minima Moralia: Reflections on a Damaged Life, trans. E. F. N. Jephcott [1974], London: Verso.
Albright, Daniel (2003), Beckett and Aesthetics, Cambridge: Cambridge UP.
Ali, Khaleem Nafeez Mohammed (2014), âImpossible Voices: Phenomenologies of Sound in Beckettâ, PhD diss., Harvard University.
Alvarez, Alfred (1992), Samuel Beckett, London: Fontana.
Arikha, Avigdor (2006), âAvigdor Arihka on Beckett and Artâ, in James and Elizabeth Knowlson, eds., Beckett Remembering/Remembering Beckett: Uncollected Interviews with Samuel Beckett & Memories of Those Who Knew Him, London: Bloomsbury, pp. 143â5.
Arnheim, Rudolf (1936), Radio, trans. Margaret Ludwig and Herbert Read, London: Faber and Faber.
Arnheim, Rudolf (1957), Film as Art, Berkeley: U of California P.
Arnheim, Rudolf (1997), Film Essays and Criticisms, trans. Brenda Benthien, Madison, WI: U of Wisconsin P.
Asmus, Walter D. (1977), âRehearsal Notes for the German PremieÌre of Beckettâs That Time and Footfalls at the Schiller-Theater Werkstatt Berlin (directed by Beckett)â, trans. Helen Watanabe, JoBS, 2, pp. 82â95.
Atik, Anne (2001), How It Was: A Memoir of Samuel Beckett, London: Faber and Faber.
Avikunthak, Ashish (2013a), âIn Search of a Genealogy: Experimental, Avant-Garde or PrayÅga?â, Deep Focus, 1: 4, pp. 32â6.
Avikunthak, Ashish (2013b), âEast by Northwestâ, Interview by Michael Guarneri, DeÌbordements, 31 March, 2013.
Bailey, Iain (2013), âSounds Worthy of the Name: Tone and Historical Feeling in Beckettâs Dramaâ, in Peter Fifield and David Addyman, eds., Samuel Beckett: Debts and Legacies: New Critical Essays, London: Bloomsbury, pp. 191â214.
Bakhtin, Mikhail (1984), Problems of Dostoevskyâs Poetics, ed. and trans. C. Emerson, Minneapolis/London: U of Minnesota P.
BalaÌzs, BeÌla (1931), Theory of the Film, trans. Edith Bone, London: Dennis Dobson.
BalaÌzs, BeÌla (2010), The Early Film Theory: Visible Man and the Spirit of Film, ed. Erica Carter, trans. Rodney Livingstone, New York: Berghahn Books.
Bandia, Paul F. (2011), âTranslation, Migration, and Relocation of Culturesâ, in Sandra Bermann and Catherine Porter, eds., A Companion to Translation Studies, Oxford: Wiley Blackwell, pp. 273â84.
Barnard, G. C. (1970), Samuel Beckett: A New Approach: A Study of the Novels and Plays, New York: Dodd, Mead & Co.
Bartenieff, Irmgard with Dori Lewis (1980), Body Movement: Coping with the Environment, New York and London: Routledge.
Barthes, Roland (2002), Oeuvres CompleÌtes, Tome I, ed. EÌric Marty, Paris: EÌditions du Seuil.
Beckett, Edward (1998), âForewordâ, in Mary Bryden, ed., Samuel Beckett and Music, pp. vâvi.
Beiser, Frederick C. (2008), Schiller as Philosopher, Oxford: Oxford UP.
Ben-Zvi, Linda (1985), âSamuel Beckettâs Media Playsâ, Modern Drama, 28: 1, pp. 22â37.
Ben-Zvi, Linda (1987), âPhonetic Structure in Beckett: From Mag to Gnawâ, in Alan Warren Friedman et al eds., Beckett Translating/Translating Beckett, University Park, PA: Pennsylvania State UP, pp. 155â64.
Ben-Zvi, Linda, ed. (1990), Women in Beckett: Performance and Critical Perspectives, Urbana and Chicago: U of Illinois P.
Ben-Zvi, Linda, ed. (2003), Drawing on Beckett: Portraits, Performances, and Cultural Contexts, Tel Aviv: Assaph Book Series.
Benjamin, Walter (1969), âThe Storytellerâ, in Hannah Arendt, ed., Illuminations, New York: Schocken, pp. 83â110.
Bergson, Henri (2004), Memoria y Vida, Madrid: Alianza Editorial.
Berkeley, George (1998), A Treatise Concerning the Principles of Human Knowledge, ed. Jonathan Dancy, Oxford: Oxford UP.
Bernold, AndreÌ (2015), Beckettâs Friendship: 1979â1989, Dublin: The Lilliput P.
Besbes, Khaled (2007), The Semiotics of Beckettâs Theatre: A Semiotic Study of the Complete Dramatic Works of Samuel Beckett, Boca Raton, Florida: Universal Publishers.
Bignell, Jonathan (2009), Beckett on Screen: The Television Plays, Manchester: Manchester UP.
Bignell, Jonathan (2010), âInto the Void: Beckettâs Television Plays and the Idea of Broadcastingâ, in Daniela Caselli, ed., Beckett and Nothing: Trying to Understand Beckett, Manchester: Manchester UP, pp. 125â42.
Bignell, Jonathan (2020), ââRandom dottinessâ: Samuel Beckett and Harold Pinter in 1958â, in Anita RaÌkoÌczy, Mariko Hori Tanaka, and Nicholas E. Johnson, eds., Beckett Influencing/Influencing Beckett, Budapest and Paris: KaÌroli GaÌspaÌr UP / LâHarmattan, pp. 61â74.
Bignell, Jonathan (2021), âScreen and Stage Space in Beckettâs Theatre Plays on Televisionâ, in Amanda Wrigley and John Wyver, eds, Theatre Plays on British Television, Manchester: Manchester UP.
Biswas, Tapu (2006), Samuel Beckettâs Waiting for Godot: Indian Interpretations through Critical and Analytical Studies, Translations and Stage Productions, Kolkata: Avantgarde.
Bixby, Patrick (2009), Samuel Beckett and the Postcolonial Novel, New York: Cambridge UP.
Bourdieu, Pierre (1993), The Field of Cultural Production: Essays on Art and Literature, ed. Randal Johnson, New York: Columbia UP.
Branigan, Kevin (2008), Radio Beckett: Musicality in the Radio Plays of Samuel Beckett, Oxford: Peter Lang.
Brater, Enoch (1974), âThe âIâ in Beckettâs Not Iâ Twentieth Century Literature, 20: 3, pp. 189â200.
Brater, Enoch (1987), Beyond Minimalism: Beckettâs Late Style in the Theater, Oxford: Oxford UP.
Brater, Enoch (2004), âBillie Whitelawâs TV Beckettâ, in Linda Ben-Zvi, ed., Drawing on Beckett: Portraits, Performances, and Cultural Contexts, Tel Aviv: Assaph Book Series, pp. 183â96.
Brater, Enoch (2010), âThe Seated Figure on Beckettâs Stageâ, in S. E. Gontarski, ed., A Companion to Samuel Beckett, Chichester: Wiley-Blackwell, pp. 346â57.
Brau, Lorie (2008), Rakugo: Performing Comedy and Cultural Heritage in Contemporary Tokyo, Lanham: Lexington Books.
Briscoe, Donald and Roy Curtis-Bramwell (1983), TheBBCRadiophonic Workshop: The First Twenty-Five Years, London: The British Broadcasting Corporation.
Brook, Peter (2008), Interviewed by Paul Taylor, The Independent, 5 September 2008, rpt. http://www.newspeterbrook.com/tag/fragments/.
Brown, Llewellyn (1998), âLa Voix, signe de lâimpossible chez Samuel Beckettâ, SBT/A, 7: Beckett Versus Beckett, pp. 165â76.
Brown, Llewellyn (2013), âVoix et illimiteÌ dans LâInnommableâ, SBT/A, 25: Beckett in the Cultural Field/Beckett dans le champ culturel, pp. 239â52.
Brown, Llewellyn (2016), Beckett, Lacan and the Voice, Stuttgart: Ibidem.
Brunette, Peter and David Wills (1989), Screen/Play: Derrida and Film Theory, Princeton: Princeton UP.
Bryant-Bertail, S. (1995), âThe True-Real Woman: Maddy Rooney as Picara in All That Fallâ, Assaph: Studies in the Theatre, 11, pp. 1â17.
Bryden, Mary, ed. (1998) Samuel Beckett and Music, Oxford: Clarendon P.
Bryden, Mary, ed. (2013), Beckett and Animals, Cambridge: Cambridge UP.
Bull, Michael and Les Back (2003), The Auditory Culture Reader, Oxford: Berg.
Burn, Gordon, George Poste and Damien Hirst (2000), Theories, Models, Methods, Approaches, Assumptions, Results and Findings, New York: Gagosian Gallery.
Burrows, Rachel (1989), âInterview with Rachel Burrowsâ, with S. E. Gontarski, Dougald McMillan and Martha Fehsenfeld, JoBS, 11â12, pp. 1â15.
Butler, Brad, and Karen Mirza (2006), Cinema of PrayÅga: Indian Experimental Film & Video, 1913â2006, London: No.w.here.
BuÌttner, Gottfried (1999), âSamuel Beckett as a Modern Initiateâ in Bruce Stewart, ed., Beckett and Beyond, Gerrards Cross: Colin Smythe, pp. 42â52.
Cage, John (1961), Silence: Lectures and Writings, Middletown, CT: Wesleyan UP.
Campbell, Julie (2005), âThe Entrapment of the Female Body in Beckettâs Plays in Relation to Jungâs Third Tavistock Lectureâ, SBT/A, 15: Historicising Beckett/Issues of Performance, Beckett dans lâhistoire/En jouant Beckett, pp. 161â72.
Campbell, Julie (2009), ââA Voice Comes to One in the Dark. Imagineâ: Radio, the Listener, and the Dark Comedy of All That Fallâ, in Steven Barfield, Matthew Feldman and Philip Tew, eds., Beckett and Death, London: Continuum, pp. 147â68.
Campbell, Julie (2013), âBeckett and the BBC Third Programmeâ, SBT/A, 25: Beckett in the Cultural Field/Beckett dans le champ culturel, pp. 109â22.
Campbell, Julie (2013), âClose your eyes: Embers and the Difficulties of Listeningâ, in Peter Fifield and David Addyman, eds., Samuel Beckett: Debts and Legacies, London and New York: Bloomsbury Methuen Drama, pp. 133â52.
Carpenter, Humphrey (1997), The Envy of the World: Fifty Years of theBBCThird Programme and Radio 3, London: Weidenfeld and Nicolson.
Caruth, Cathy (1995), Trauma: Explorations in Memory, Baltimore: Johns Hopkins UP.
Caruth, Cathy (1996), Unclaimed Experience: Trauma, Narrative, and History, Baltimore: Johns Hopkins UP.
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Caselli, Daniela (2005), Beckettâs Dantes: Intertextuality in the Fiction and Criticism, Manchester: Manchester UP.
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Cleveland, Louise (1969), âTrials in the Soundscape: The Radio Plays of Samuel Beckettâ, Modern Drama, 11: 3, pp. 267â82.
Cohn, Ruby (2001), A Beckett Canon, Ann Arbor: U of Michigan P.
Connor, Steven (1988), Samuel Beckett: Repetition, Theory and Text, Oxford: Basil Blackwell.
Connor, Steven (1992), âBetween Theatre and Theory: Long Observation of the Rayâ, in John Pilling and Mary Bryden, eds., The Ideal Core of the Onion: Reading Beckett Archives, Reading: Beckett International Foundation, pp. 79â98.
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Connor, Steven (2008), ââOn Such and Such a Day ⦠In Such a Worldâ: Beckettâs Radical Finitudeâ, SBT/A, 19: Borderless Beckett/Beckett sans frontieÌres: Tokyo 2006, pp. 35â50.
Connor, Steven (2014), Beckett, Modernism and the Material Imagination, Cambridge: Cambridge UP.
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Davies, Paul (2006), âStrange Weather: Beckett from the Perspective of Ecocriticismâ, in S. E. Gontarski and Anthony Uhlmann, eds. Beckett after Beckett, Gainesville: UP of Florida.
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Esslin, Martin (2006), âOn his debt to Joyceâ in James and Elizabeth Knowlson, eds., Beckett Remembering/Remembering Beckett: A Centenary Celebration, New York: Arcade Publishing, pp. 47â9.
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Frost, Everett C. (2007), ââNo Frills for the love of Godâ: Reading a Staged Reading of Beckettâs All That Fallâ, The Beckett Circle, 30: 2, pp. 9â13.
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Garrard, Greg (2012), âEndgame: Beckettâs Ecological Thoughtâ, SBT/A, 23: Filiations & Connexions/Filiations & Connecting Lines, pp. 383â97.
Geneste, Bruno (2017), âSamuel Beckett, lââentreâ vivifiant de lalangue et lâhiatus sinthomatique: contrer ces veÌriteÌs du surmoiâ, in Brown, ed., La Violence dans lâÅuvre de Samuel Beckett: entre langage et corps, Paris: Lettres modernes Minard, âLa Revue des Lettres modernes; SeÌrie Samuel Beckettâ, no. 4, pp. 89â116.
Genette, GeÌrard (1980), Narrative Discourse: An Essay in Method, trans. Jane E. Lewin, New York: Cornell UP.
Germoni, Karine and Pascale Sardin (2012), âTensions of the In-between: Rhythm, Tonelessness and Lyricism in Fin de partie/Endgameâ, in SBT/A, 24: Early Modern Beckett/Beckett et le deÌbut de lâeÌre modern: Beckett Between/Beckett entre deux, pp. 336â50.
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Hale, Jane Alison (1987), The Broken Window: Beckettâs Dramatic Perspective, West Lafayette, Indiana: Purdue UP.
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Performances and Multimedia
Avikunthak, Ashish (2010), Ashish Avikunthak, 1995â2010, DVD, Calcutta: Ashish Avikunthak Productions.
Beckett, Samuel (2007), âBreathâ, Online video clip, YouTube, http://video.google.com/videoplay?docid=-8915465772259371796#, accessed 21 January 2021.
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Beckett, Samuel (2010), âBreathâ, Online video clip, YouTube, http://www.youtube.com/watch?v=S2K9LAof064, accessed 21 January 2021.
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Happy Days (February 2016), dir. Makoto Satoh, perf. Keiko Takeya and Togo Igawa, Yokohama: Kawamata Hall, BankART 1929.
Happy Days (March 2018), dir. Yuta Hagiwara, perf. Honami Shimizu and Shin Ito, trans. Kaku Nagashima, Tokyo: Keio University Mita Campus, Ex Noguchi Room.
Ricks, Christopher (2014), âLecture on T. S. Eliotâs Auditory Imaginationâ, Harvard College, 2 September, 2014, available online at: https://www.youtube.com/watch?v=zhkcrQ09YdU.
Waiting for Godot (April 2011), dir. Shintaro Mori, perf. Isao Hashizume, Saburo Ishikura, Fubito Yamano, Kenichi Ishii, and Tokio Emoto, trans. Shoichiro Iwakiri, Tokyo: New National Theatre.
Waiting for Godot (August 2011), dir. Yuta Hagiwara, perf. Honami Shimizu, Shintaro Yokote, and Ichiro Matsubara, filmed Takashi Fujii, Fukushima: National Road 6.