[Samuel Beckett in Company 01] • Beckett, Lacan, and the Voice by Brown, Llewellyn -- Read -- Imperial Library of Trantor

Index

Cover Table of Contents Samuel Beckett in Company

Beckett and Relation: A Preface to the Series Bibliography

Abbreviations and editions used for works by Beckett

Abbreviations for works in English Abbreviations for works in French Nota

Acknowledgements Lacan with Beckett: Departures The Voices of Samuel Beckett: Introduction and First Approaches

Listening A Complex Field Lacan and the Voice: A Preliminary Overview Lacan and Beckett: Affinities? The Limits of Certain Uses of Lacan ‘Jouissance’: a Factor of ‘Empêchement’ Further Developments Referring to Lacan: A Change of Orientation Psychoanalysis, Beckett and the Voice: An Outline of Concepts Structure of Our Study

I — The Voice and Its Structure

Initial Concepts Voice and Retroaction of the Signifier The ‘Buffering’ Effect of the Paternal Metaphor ‘Foreclosure’ of the Paternal Metaphor The Model of the ‘Pastout’ or the ‘Unlimited’ An ‘Unborn’ Subject An Impassive Mother A Nonexistent Other The Voice: Real and ‘Lalangue’ The Hallucinated Voice

II — Disjunction of Pronouns

Metaphorical Formation of the ‘I’ ‘I’ and the Drive: ‘Not I’ Staging the ‘He’: ‘A Piece of Monologue’

III. — Continuous, Interrupted, Responses

1. The Continuous

Multiplicity and ‘Dead Voices’ Creating Silence The Dead Voices in ‘Eh Joe’

2. Interruption

Interruption as Absolute Imperative of the Superego Caprice

3. Inscription

Inscription: A Definition The Inscription of Footsteps: ‘Footfalls’ The Infinite ‘Unborn’ Voice of ‘Footfalls’

4. Image and Reading

‘Do the Image’ The Image in ‘Rough for Radio II’ The Reading Voice: ‘being oneself one’s own other’

IV — Exteriority and Artifice

1. The Voice of the Machine

a. The Recorded Voice The Otherness of the Recorded Voice Voice and Gaze: ‘Krapp’s Last Tape’ b. Voice and the Radio Abolition of the Imaginary The Space of the Indescribable The Auditor and the Jouissance of the Voice The Other: A Spectral Voice Aspects of the ‘Sound Editor’ The Inhuman Sound Editor: ‘Play’ The Sound Editor as the Character’s Double: ‘What Where’ The Sound Editor Affected in Return: ‘Cascando’, ‘Rough for Radio I’ Between Words and Music

2. Discursive Apparatus

Discursive Structures The System of the MMM Circumscribing the Subject’s Unknown: ‘Molloy’ Inscription as Torture ‘Rough for Radio II’: from Torture to an Ephemeral Birth ‘What Where’: the Irremediable Abyss Containing the ‘unlimited’

Singularity of the Voice: A Conclusion Bibliography

Abbreviations Other Works by Samuel Beckett Works on Beckett General Works

Notes Series Copyright