Samuel Beckett’s Italian Modernisms

Michela Bariselli is a Lecturer in Philosophy in the Department of Philosophy, University of Reading. Davide Crosara is a Research Fellow in English Literature at the University of Rome, Sapienza. Antonio Gambacorta is a translator and a literary scholar with a PhD from the University of Reading. Mario Martino is Professor of English Literature at the University of Rome, Sapienza.

List of Contributors

Introduction

Davide Crosara, Beckett’s Italian Modernity

Part I. Beckett and Italian Interwar Culture

Stanley E. Gontarski, Beckett’s Dystopian Trilogy, Part I: Lucky's ‘Cerebral physiology’ and the Irrelevance of Godot

Andre Furlani, Leopardi in Beckett’s Late Modernist Romanticism

Livia Sacchetti, Mirroring Acts. Dramatic Form in Pirandello and Beckett

Part II. Beckett, Modernism and Tradition: Absurdism and Purgatorial Shadows

Daragh O’Connell, Analogymongering: Dante and Vico in Beckett

John McCourt, ‘Denti Alligator’ or ‘airtight alligator’: Reading Dante with Joyce and Beckett

Dirk Van Hulle, Beckett and Ariosto: Nominalist Irony, ‘perhaps’

Manfred Pfister, Beckett’s Kickoff: Orlando Furioso as Theatre of the Absurd

Part III. Beckett, Italian Modernism and Late Modernism: Theatre, Intermediality and Testimony

Annamaria Cascetta, Samuel Beckett and Italian Culture: from Dantesque Scenarios to the Theatre Scene of the 2000s.

Corinna Salvadori Lonergan, Samuel Beckett's Not I – Purgatorially Merciful?

Grazia D’Arienzo, ‘A theatre of concrete visual images, a theatre of poetic images.’ The Staging of Neither by the Italian Video-Artistic Group Studio Azzurro

Luigi Pinton, ‘Company’: Tabucchi, Beckett and Testimony

Afterword

Enoch Brater, Aging with Beckett in Italy, Online and Elsewhere

Index