By Marcin Tereszewski
Even if Beckett scholarship has in contemporary many years skilled a renaissance because of numerous poststructuralist ways that have a tendency to stress destabilization and inexpressibility because the defining gains of Beckett's output, really little recognition has been paid to the moral features of his aesthetics of failure.
This publication suits into that renaissance, yet attracts on a unique, notwithstanding hardly ever addressed, connection that Samuel Beckett's paintings stocks with that of Maurice Blanchot and Emmanuel Levinas. it really is inside of this philosophical context that the importance of Beckett's aesthetics of failure turns into such a lot seen. Beckett's paintings will be defined as certainly one of sluggish aid and disintegration of language, a stripping away of the instruments rendering expression in any respect attainable for the sake of coming near near the inexpressible. conventional illustration yields to silence and linguistic aporia; language yields to pictures of absence and vacancy.
The basic objective of this learn is to track this circulate of 'unwording' and research the function inexpressibility performs in Beckett's prose in its visible, linguistic and moral manifestations, because the aesthetics of inexpressibility is intrinsically sure with the moral accountability of literature understood as holding a relation with alterity.
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Additional info for The Aesthetics of Failure: Inexpressibility in Samuel Beckett's Fiction
The thirteen texts constituting the Texts for Nothing, instead of showcasing semantic and syntactic disintegration in the manner of the trilogy, tend to focus more succinctly on neutrality and vacancy. Therefore, it is not so much a question of difference of style, but a difference of intensity and consistency that separates these two otherwise similar works. Negativity still remains the primary underlying force of these texts, though it would be an overstatement and an oversimplification to claim that Beckett’s work endeavors towards a state of silence and nothingness, as such a teleological implication would be a distorting 40 Chapter One imposition on the texts.
The Unnamable and Texts for Nothing have been singled out in this chapter, as they both exemplify the negative project Beckett hinted at in his critical work, especially in the “Three Dialogues with George Duthuit”. What becomes the salient point of analysis is the dispossessed subject in language, a subject that is assailed by an exterior voice whose presence is a reflection of his consciousness. The ensuing project of negation and selferasure, predicated as it is on the hope of finding that right word that would put an end to the voice, can only be frustrated by the very logic of its enterprise.
Exceptions to this critical silence have surfaced relatively recently and include the considerations by such Beckettian scholars as H. Porter Abbott, Shira Wolosky, and Susan Brienza. On the whole, however, critics and biographers have given Texts for Nothing only a cursory glance, relegating the work to Beckett’s “post-trilogy vacuum” and seeing it as largely derivative of the themes occupying the trilogy. This attitude is understandable considering Beckett’s own comments about this work found in Israel Shenker’s interview from 1956, in which he goes on to state that Texts for Nothing were meant “to get out of the attitude of 24 Chapter One disintegration” but ultimately failed in this endeavor (qtd.