The Pretty Quietist Pater: Samuel Beckett's Molloy and the Aesthetics of Quietism
Recent scholarship has highlighted the importance of 'quietism' in Samuel Beckett's personal and artistic development during the 1930s. This article extends this analysis by showing how the 'pretty quietist Pater' recited by Moran in Molloy (1951/55) was not Beckett's i...
| Главный автор: | |
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| Формат: | Электронный ресурс Статья |
| Язык: | Английский |
| Проверить наличие: | HBZ Gateway |
| Interlibrary Loan: | Interlibrary Loan for the Fachinformationsdienste (Specialized Information Services in Germany) |
| Опубликовано: |
[2016]
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| В: |
Literature and theology
Год: 2016, Том: 30, Выпуск: 4, Страницы: 439-455 |
| Индексация IxTheo: | CB Христианская жизнь CD Христианство и культура KAH Новое время KAJ Новейшее время VA Философия |
| Online-ссылка: |
Volltext (Resolving-System) Volltext (doi) |
| Итог: | Recent scholarship has highlighted the importance of 'quietism' in Samuel Beckett's personal and artistic development during the 1930s. This article extends this analysis by showing how the 'pretty quietist Pater' recited by Moran in Molloy (1951/55) was not Beckett's invention but rather borrowed from Jean de La Bruyère's satirical Dialogues sur le quiétisme (1699). The article also shows how Molloy, like Beckett's early novel Dream of Fair to Middling Women, explores quietism as an aesthetic framework that Beckett drew from André Gide's critical writing on Fyodor Dostoevsky. |
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| ISSN: | 1477-4623 |
| Второстепенные работы: | Enthalten in: Literature and theology
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| Persistent identifiers: | DOI: 10.1093/litthe/frv025 |
