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...
| Publié dans: | Literature and theology |
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| Auteur principal: | |
| Type de support: | Électronique Article |
| Langue: | Anglais |
| Vérifier la disponibilité: | HBZ Gateway |
| Journals Online & Print: | En cours de chargement...
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| Fernleihe: | Fernleihe für die Fachinformationsdienste |
| Publié: |
Oxford University Press
[2016]
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| Dans: |
Literature and theology
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| Classifications IxTheo: | CB Spiritualité chrétienne CD Christianisme et culture KAH Époque moderne KAJ Époque contemporaine VA Philosophie |
| Accès en ligne: |
Volltext (Resolving-System) Volltext (doi) |
| Résumé: | 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 |
| Contient: | Enthalten in: Literature and theology
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| Persistent identifiers: | DOI: 10.1093/litthe/frv025 |