A Deleuzean Study of Samuel Beckett’s Three Plays: Krapp’s Last Tape, Not I, Endgame

نمونه فرم تکمیل شده و پر شده کارشناسی ارشد و دکتری و پروپوزال رشته های مختلف آماده برای درس روش تحقیق مدیریت، حسابداری، روانشناسی، معماری، عمران، تربیت بدنی، کارآفرینی، پزشکی، علوم سیاسی، شیمی، فیزیک و سایر رشته های دانشگاهی

General Background

Samuel Beckett (13 April 1906 – ۲۲ December 1989) is an outstanding Irish avant-garde novelist, playwright, theatre director, and poet, who lived in Paris for most of his adult life and wrote in both English and French. His work offers a bleak, tragicomic outlook on human nature, often coupled with black comedy and gallows humor. Beckett is widely regarded as among the most influential writers of the 20th century. He is considered one of the last modernists. As an inspiration to many later writers, he is also sometimes considered one of the first postmodernists. Furthermore, he is one of the key writers in the “Theatre of the Absurd“. Besides, Beckett’s work has extended the possibility of drama and fiction in unprecedented ways, bringing to the theater and the novel an acute awareness of the absurdity of human existence_ our desperate search for meaning, our individual isolation, and the gulf between our desires and the language in which they find expression. Beckett was awarded Croix de guerre (France), Medaille de Resistence (France), honorary doctorate from Trinity College (1959-Dublin), International Publishers’ Formentor Prize (1961), Foreign Honorary Member of the American Academy of Arts and Sciences (1968), and in 1969 Nobel Prize in Literature “for his writing, which—in new forms for the novel and drama—in the destitution of modern man acquires its elevation”. Beckett studied French, Italian, and English and he went to Paris while there, he was introduced to a renowned Irish author James Joyce. This meeting had a profound impact on the young man.

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Statement of the Problem

There would be no way one can merely claim that Beckett had Deleuze in mind while writing his three pieces, Krapp’s Last Tape, Not I, and Endgame. However, while reading these plays, as a researcher, one may come across the notion of process of becoming, what Deleuze frequently concentrates on in his revolutionizing theories. The process of becoming other than yourself and coming into the light of the new world in which there is no place for humanity to be there. Therefore, the researcher aims to examine the main characters in the mentioned works- Krapp, Ham, Clov, and the woman’s mouth- carefully to see if they can be positioned in such a process. Furthermore, she needs to make sure that she would not limit herself to finding traces of Deleuze’s becoming process in Becket’s male and female figures; rather it is necessary to expand the whole theory to other characters and events to examine the applicability of Deleuze’s theory to Becket’s theater. In the same way, the significance of the male and female figures’ function in these works should not be degraded as they are not excluded from Becket’s or Deleuze’s. On the contrary, they are to be appreciated in the newly born world of becoming.

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Significance of the Problem

Delimitation

Approach and Methodology

Literature Review

Definition of Key Terms

References