By the same authors

Music in Beckett’s Nacht und Träume: Vocality and Imagination

Research output: Contribution to conferencePaper

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Music in Beckett’s Nacht und Träume : Vocality and Imagination. / Laws, Catherine.

2012. Paper presented at Samuel Beckett Working Group , Southampton, United Kingdom.

Research output: Contribution to conferencePaper

Harvard

Laws, C 2012, 'Music in Beckett’s Nacht und Träume: Vocality and Imagination', Paper presented at Samuel Beckett Working Group , Southampton, United Kingdom, 7/09/12 - 9/09/12. <http://www.beckettcircle.org/2012/10/samuel-beckett-working-group-southampton.html>

APA

Laws, C. (2012). Music in Beckett’s Nacht und Träume: Vocality and Imagination. Paper presented at Samuel Beckett Working Group , Southampton, United Kingdom. http://www.beckettcircle.org/2012/10/samuel-beckett-working-group-southampton.html

Vancouver

Laws C. Music in Beckett’s Nacht und Träume: Vocality and Imagination. 2012. Paper presented at Samuel Beckett Working Group , Southampton, United Kingdom.

Author

Laws, Catherine. / Music in Beckett’s Nacht und Träume : Vocality and Imagination. Paper presented at Samuel Beckett Working Group , Southampton, United Kingdom.

Bibtex - Download

@conference{b3ba8e695ea4463e8852ae9f0850e3cd,
title = "Music in Beckett{\textquoteright}s Nacht und Tr{\"a}ume: Vocality and Imagination",
abstract = "The influence of music upon the work of Samuel Beckett is frequently commented on, and Schubert is the composer to whom the author alludes most frequently. Specific compositions are invoked alongside those of Beethoven, particularly in some of the early stories, and in the radio play All That Fall and the television play Nacht and Tr{\"a}ume we hear extracts of Schubert{\textquoteright}s music. Moreover, Beckett{\textquoteright}s particular musical choices and the specific ways in which he employs the music are significant within his broader exploration of subjectivity, authority and the imagination. Understanding this is revealing with regard to the self-conscious preoccupations of Modernism and beyond.This paper examines how Beckett{\textquoteright}s use of Schubert mirrors the ambiguities of image, agency, action and identity in Nacht and Tr{\"a}ume . Here music is used as a means of trying to imagine the unimaginable; the emphasis is on the productive imagining and re-imagining of release, transcendence, absolution. Beckett exploits music{\textquoteright}s ability to carry consciousness without specific subjectivity, invoking presence and agency without grounding.",
author = "Catherine Laws",
year = "2012",
language = "English",
note = "Samuel Beckett Working Group ; Conference date: 07-09-2012 Through 09-09-2012",

}

RIS (suitable for import to EndNote) - Download

TY - CONF

T1 - Music in Beckett’s Nacht und Träume

T2 - Samuel Beckett Working Group

AU - Laws, Catherine

PY - 2012

Y1 - 2012

N2 - The influence of music upon the work of Samuel Beckett is frequently commented on, and Schubert is the composer to whom the author alludes most frequently. Specific compositions are invoked alongside those of Beethoven, particularly in some of the early stories, and in the radio play All That Fall and the television play Nacht and Träume we hear extracts of Schubert’s music. Moreover, Beckett’s particular musical choices and the specific ways in which he employs the music are significant within his broader exploration of subjectivity, authority and the imagination. Understanding this is revealing with regard to the self-conscious preoccupations of Modernism and beyond.This paper examines how Beckett’s use of Schubert mirrors the ambiguities of image, agency, action and identity in Nacht and Träume . Here music is used as a means of trying to imagine the unimaginable; the emphasis is on the productive imagining and re-imagining of release, transcendence, absolution. Beckett exploits music’s ability to carry consciousness without specific subjectivity, invoking presence and agency without grounding.

AB - The influence of music upon the work of Samuel Beckett is frequently commented on, and Schubert is the composer to whom the author alludes most frequently. Specific compositions are invoked alongside those of Beethoven, particularly in some of the early stories, and in the radio play All That Fall and the television play Nacht and Träume we hear extracts of Schubert’s music. Moreover, Beckett’s particular musical choices and the specific ways in which he employs the music are significant within his broader exploration of subjectivity, authority and the imagination. Understanding this is revealing with regard to the self-conscious preoccupations of Modernism and beyond.This paper examines how Beckett’s use of Schubert mirrors the ambiguities of image, agency, action and identity in Nacht and Träume . Here music is used as a means of trying to imagine the unimaginable; the emphasis is on the productive imagining and re-imagining of release, transcendence, absolution. Beckett exploits music’s ability to carry consciousness without specific subjectivity, invoking presence and agency without grounding.

M3 - Paper

Y2 - 7 September 2012 through 9 September 2012

ER -