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By P. McTighe

Samuel Beckett's paintings is deeply excited by actual touch - remembered, half-remembered, or imagined. utilizing the philosophical writings of Jean-Luc Nancy and Maurice Merleau-Ponty that characteristic sensation, this examine examines how Beckett's later paintings dramatizes moments of touch among self and self, self and international, and self and different.

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Example text

There is a contrast also between the ways in which geometric patterning characterizes the far views, while texture and grain are the features of the close-up. Both views are held together in this work, juxtaposed against one another to such an extent that the film becomes a study of the possibilities of film imagery. Its title would seem to suggest its priorities lie here: it is a self-reflexive commentary on this form of media. O’s destruction of the photographs is a destruction of the past, particularly a destruction of moments of past percipii, frozen in time by the camera.

He passes the window several times before becoming aware of the threat of exposure. Once he realizes the possibility of visibility through the glass he draws the tattered remnants off the blind and curtain over the glass: the blind is dark colored and ripped, the curtains are made of a gauzy material. O commits a similar act of veilingg upon the mirror. He fetches a blanket from the bed and drapes it over the frame of the object, at all times making sure to remain within the “angle off immunity,” thus never perceiving his own reflection.

20 ● The h Haptic Aesthetic h in Samuell Beckett’s k Drama be separated. Grain has aural connotations also. ”24 Krapp’s “cracked voice ” with its “distinctive intonation” (CSP P, 55) reveals his age and decrepitude—the play was written with the unique voice of actor Patrickk Magee in mind. When the present Krapp speaks, we hearr his body with all of its desire and decay. So what of this body, this meat that emerges in Krapp’s performance? There are traces, however spectral, still apparent of Krapp’s bodily desires.

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