Beckett, Samuel
(Dublin 1906-1989 Paris) : Irischer Schriftsteller, Dramatiker, Nobel-Preisträger
Name Alternative(s)
Beckett, Samuel Barclay
Subjects
Index of Names : Occident
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Literature : Occident : Ireland
Chronology Entries (24)
| # | Year | Text | Linked Data |
|---|---|---|---|
| 1 | 1960-2006 |
Samuel Becket and China : general. Lin Lidan ; Zhang Helong : Beckett in the 1960s showed the monolitic tendencies of misunderstanding and refjection, his reception in the mid-1970s and 1980s took off in more diverse directions, with some scholars showing the initial signs of serious interestin Beckett. In the period 1977-1990, over fifty translations of and criticisms on Theatre of the Absurd, and over twenty criticisms on Beckett's drama were published. These translations and criticisms constituted the major trend in Beckett studies during the period. A the same time, the Theatre of the Absurd and Beckett's plays became the focus in Chinese scholars' introduction to Western modernist literature and arts. Chinese academics seemed willing to affirm the aesthetic value of Beckett's experimental dramatic techniques, which they saw were mostly anti-theatre in the sense that these techniques effectively dismantled realistic dramatic techniques by eroding the teleological and logical development of plots. They continued to betray a lack of understanding regarding the themes of Beckett's plays and the relationship between the themes and the experimental techniques. The general critical trend of the period tends to lament the hopeless tone underlying Beckett's plays and to align the deplorable human conditions in his plays to those in the Western world. For many Chinese academics, Beckett's experimental techniques must be scrutinized for how they were used to dramatise the bleak human conditions in the bourgeoisie Western world. The studies of Beckett's drama in the 1990s continued mainly in two directions : while some critics continued to interpret Beckett's plays along the lines of absurdity, hope, and quest thematically, as well as of anti-theatre, anti-tradition, and anti-art technically, a trend prevalent in the 1970s and 1980s, a few critics endeavoured to move beyond these established critical parameters by broadening critical perspectives and by experimenting with new approaches. Shifting the focus to language, structure, narrative, and dialogue in Beckett's plays, these critics seemed able to penetrate deeper into Beckett's artistic design and, in so doing, to reveal their aesthetic value. During the early 1980s, only a small number of criticisms were published on Beckett's short fiction, and critics tended to read it as anti-fiction. The 1990s saw a significant leap forward in terms of the achievements in the studies of Beckett's fiction, a leap characterized by Chinese academics' efforts to shrug off the previous influence of established concepts of literature and of the leftist ideology to gain independent voices. 2000- : Beckett, as the representative writer of the Theatre of the Absurd school and as Nobel laureate, became a popular object of study for both college teachers and graduate students, with a number of over two hundred essays published, of which over one hundred essays have been devoted to Waiting for Godot. Beckett's plays attracted more critical attention than his fiction, with Waiting for Godot enjoying more popularity than his other plays. Chinese academics responded to Beckett's centenary celebration in 2006 with much enthusiasm and vigour. |
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| 2 | 1963 |
Dong Hengxun. Xi ju yi shu de duo luo : Faguo fan xi ju pai [ID D30771]. Dong Hengxun mounts a poignant attack on the French anti-theatre : deviation from realist dramatic tradition ; thematic and artistic absurdity ; pessimistic outlook on life. He further labels this school 'one of the most popular decadent literary schools in the contemporary capitalist world', and one that represents not only a pessimistic outlook but also vicious 'denigration of the world's progressive forces'. Dong deems Samuel Beckett's Waiting for Godot a quintessential showcase of French anti-theatre. For Dong his plays in general and Waiting for Godot in particular 'are full of riddles, some of which Beckett himself cannot solve'. |
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| 3 | 1964 | Aufführung von Act without words I von Samuel Beckett in der Hong Kong City Hall, unter der Regie von Jane Lai und Vicki Ooi. | |
| 4 | 1978 |
Zhu, Hong. Huang dan pai xi ju shu ping [ID D30773]. In contrast to the traditional bourgeoisie literature that tends to place man at the centre of the universe, Beckett's play Waiting for Godot lays emphasis on man's vulnerability in an absurd world. The two-act play well illustrates the general philosophical attributes of absurdist plays : an agnostic world, an unpredictable destiny, man's abject conditions, meaningless behavious, and the wish for death. |
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| 5 | 1983 |
Yi, Wubing. Lüe lun Deng dai Geduo ji qi ta [ID D30774]. The techniques in Waiting for Godot successfully presented the social reality of an absurd contemporary Western society. The absurd themes and techniques are seamlessly one. However, the play was informed by the bourgeoisie philosophy, particularly its idealism and mysticism. It portrays irrational and illogical characters, and it promotes 'unconscious instincts', thus resulting in a play that is opaque and even harmful to prevent the people from knowing and reforming the world. |
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| 6 | 1983 |
Qu, Shijing. Beikete de fan xiao shuo [ID D30775]. The first critical stuy of Beckett's Trilogy, in which Qu read the three novels in the context of anti-fiction, noting that Beckett's characters were 'dehumanized human beings thrown into existence in the world of existential philosophy, who represent the decadent and twisted ideology of the bourgeois. Beckett's methods of composition are not only irrational but abstract. |
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| 7 | 1984 |
Liu, Zhongde. Cong fan xiao shuo pai zuo jia Bekaite jin zhu shi bai tan qi [Beckett]. [ID D30776]. Liu borrowed the concept of anti-fiction in his essay. Based on his analysis of the characters, themes, self-assertion, and unconsciousness, Liu used the story as an example to mount his biting attack on those critics who were sympathetic to modernist literature at the time. |
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| 8 | 1984 |
Chen, Jia. Tan huang dan pai ju ben Deng dai Geduo [ID D30777]. It is precisely due to Samuel Beckett's use of unprecedented representational techniques, and, to a larger degree, to the author's portrayal of the suffering vagrants and slaves as ignorant and docile human beings that Waiting for Godot became highly acclaimed in the circle of Western literature. Yet, such portrayal of characters only suited the needs of Westenr bourgeois ; for this reason, we must not follow the footsteps of foreign critics in paaising the play to the sky as a masterpiece when the play is seriously flawed by its pessimism. |
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| 9 | 1987 |
Aufführung von Deng dai Geduo = Waiting for Godot von Samuel Beckett im Shanghai Changjiang Theatre durch Studenten des Shanghai Drama Institute. Introductory notes in the printed programme : Deng dai Geduo, first performed during the fifties in Paris, is now more than thirty years old. The title is now a household word in the West, and the play is required reading for every college student in the humanities in the Western world. This is proof of the play's profound influence, which propelled its author Beckett to the first rank of the world's dramatists. And yet this play is a total stranger to us, since this is its first performance in our country. Why is this play considered to be the representative work of the Theatre of the Absurd ? Because it incorporates all the classic features of this lieterary genre : there is neither a lively plot nor an attempt at complege characterization ; ther is neither a clearly delineated topic nor the use of dramatic conflict. Even the dialogue is often illogical. The one action in the play - 'Waiting' – is advanced by a combination of realistic and abstract methods ; either by ideas or through the subconscious ; my means self-contained or extended ; through life's small incidents or by philosophical reflection ; all of this through the circular movement of its simple structure. Thus the play is transformed and expanded until it achieves for 'Waiting' a goal that transcends time and space, transcends national boundaries, and even transcends timelessness itself in its artistic effect – in order to reflect mankind's shared emotions. And the two tramps in the play become mankind's 'representatives'. The effect so produced shows the great power of pure art and its classic value. This play has had over a thousand performances in the United States. Once, when the author was asked by a director, 'Who is the Godot that everyone is waiting for in the play ?' the author's replay was that he himself did not know. We can perhaps offer the following attempt at an answer : 'So long as mankind has expectations, an equivalent degree of 'waiting' will exist ; so long as that degree of 'waiting' exists, it will be matched by an equal number of 'Godots' in the world. We hope that the performance of Deng dai Geduo will help advance our understanding of the West, and, at the same time, provide a new direction for out theatrical enterprise. Lo Irving : The premiere of this Beckett play in China was fraught with a great deal of symbolic significance, beginning with the location of the theatre itself. The stage for the performance was sparsely but effectively set with a stunted willow tree at one end, substantial enough to have a rope thrown across the bough later. The costumes were Western, including the tight boots and the various hats. The entrances and exits for Pozzo, the elaborate gestures with the whip, the bustle with the bags and baskets were all stages in the grand manner, wich, together with the music and even the appearance of dancers, betrayed an unmistakable affinity to the tradition of the Peking Opera. In this sense the Chinese Godot, while presented as a work set in the Western world, was at least partially assimilated in the Chinese cultural orbit. |
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| 10 | 1987 | Aufführung von Happy days von Samuel Beckett durch die Zhong ying ju tuan = Chung Ying Theatre Company in Hong Kong, in Cantonese. |
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| 11 | 1989 | Aufführung von Deng dai Geduo = Waiting for Godot by Samuel Beckett als Freiluftfestspiel der Central Acadmy of Drama, unter der Regie von Meng Jinghui. | |
| 12 | 1990 |
Hong Zengliu. Er shi shi ji de xi fo si shen hua : jian lun Beikete de "Deng dai Geduo" [ID D30778]. Hong argues that in Waiting for Godot Beckett designed a uniquely circular dramatic form in which the play's language remains aloof of external referentiality, and argument resonant of early poststructuralist readings in the West. |
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| 13 | 1991 |
Aufführung von Deng dai Geduo = Waiting for Godot by Samuel Beckett an der Central Academy of Drama, unter der Regie von Meng Jinghui. Meng Jinghui : Is there anyone in the audience truly willing to go on an adventure with us to shatter this illusory mirage, to rebuild a remembered homeland, and to capture, as far as our eyes can reach, the landscape that surrounds us ? This is what we want to know. To kindle the embers of our passion, safeguard our abode of existence, and look back with more intense candour, wakefulness and vigilance – this is what we can do. It is a pity that for various reasons we have not been able to materialize our dreams on the stage, when the mere throught of these dreams has left us quivering with thrills. Cao Xueping : The audience sat on the stage and watched the two 'angry young tramps', Hu Jun as Vladimir and Guo Tao as Estragon, waiting for Godot, and displaying the irrational rebellion and depression of youth. The presententeion, in the words of Meng, was 'suppressed, unstilted, marked by its cruelty, poetry and violence – the violence of language and the violence of violence'. As the violence mounted, Vladimir smashed the window panes with his sizeable black umbrella and brought the performance to an end. |
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| 14 | 1997 |
Shu, Xiaomei. Shi lun Beikete xi ju zuo pin zhong di shi kong jie gou [ID D30779]. Shu argues that Beckett's plays surpassed the traditional temporal and spatial designs by making time opaque, circular, and disorderly, and my making the locations obscure, abstract and symbolic. |
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| 15 | 1997 |
Lu, Jiande. Zi you xu kong de xin ling : Samiaoer Beikete de xiao shuo chuang zuo [ID D30780]. Lu argues that technical innovation and self-dispossession constitute the main motifs of Beckett's fiction, which Beckett uses as an allegory and an instrument to concene an idea ; it is 'the embodiment of Tao that is empty and murky, the Tao as manifestations of ideas. |
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| 16 | 1997 |
Shu, Xiaomei. Shi hua dui chen huang dan : Beikete Deng dai Geduo xi ju yu yan zhu yao te zheng [ID D30781]. Shu shows that the language of Beckett's plays exhibits a poetic quality and tendencies towards symmetry and absurdity. |
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| 17 | 1998 |
Aufführung einer Zusammenfügung von San jie mei = Three sisters von Anton Chekhov und Deng dai Geduo = Waiting for Godot von Samuel Beckett im Beijing ren yi shou du ju chang = Capital Theatre des Beijing People's Art Theatre, unter der Regie von Lin Zhaohua. Except for the removal of some scenes and characters, a complete act oft he original Three sisters serves as the main body for an act of the production and, in that act, a number of fragments from Waiting for Godot are inserted. What the audience saw was in effect an alternation of extracts from the two plays. The idea of having Beckett's characters enter Chekhov's play, and 'vice versa', was to connect the contemporary orld of Godot with the historical world of Three sisters. Apart from the actors' double characters, the set design also provided a spatial frame fort he combination. Since the performing area of Three sisters was primarily upstage and that for Godot downstage, the actors playing in both generally switched characters in accordance with the performing areas they occupied. Such an arrangement of the performing areas for the two plays created a space that required the audience to literally view Three sisters through Godot. |
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| 18 | 1998 |
Aufführung von Waiting for Godot von Samuel Beckett im Zhen han ka fei ju chang = Hardhan Café Theatre in Shanghai, unter der Regie von Ren Ming des Beijing People's Art Theatre mit weiblichen Darstellern für Estragon und Vladmir. Ren Ming retained a radically abridged version and punctuated it with interruptions by Pozzo ; and the monologue came in the form of a voice-over as Lucky, Pozzo's tame intellectual who performs on demand, was replaced by a fashion dummy. |
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| 19 | 1998 |
Hou, Weirui. Yu zhen shi yu huang dan : shi lun Saimiaoer Beikete de huang dan [ID D30782]. Using Murphy, Watt, and Trilogy as examples, Hou points out the Beckett appeals to absurd narrative forms to dramatise the real existential conditions facing Westerners in the modernist era of civilization ; that is, Beckett sheds light on the reality ghrough the medium of absurdity. This esay became a pioneering example for the study of Beckett's fiction as absurdist. It offers a positive assessment of Beckett as a fiction writer : 'Just as the fictional works of Joyce have changed the fate of modernist fiction, the fictional works of Beckett have cast a decided influence on post-war fiction. |
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| 20 | 2002 |
Shu, Xiaomei. Dian ying yu yan zai Beikete ju zuo zhong di yun yong cong zui hou yi pan lu yin dai tan qi [ID D30783]. Shu provides an analysis of how Beckett makes use of three montage techniques of narrative – parallel, intersection, and repetition – in order to emphasise the play as 'pure theatre' and anti-theatre. |
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| 21 | 2003 |
He, Chengzhou. Beikete : xi ju dui xiao shuo de gai xie [ID D30784]. He explores the relationship between Beckett's plays and fiction, arguing that Beckett's use of language, characterization, and symbolism in his plays can be traced to his fiction such as Trilogy ; in this sense, his plays can be seen as the rewriting of his fiction. |
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| 22 | 2003 |
Ran, Dongping. Tu po xian dai pai xi ju de yi shu jie xian : ping Samiaoer Beikete de jing zhi xi ju [ID D30785]. Ran uses the concept of silent play in the analysis of action, plot, and milieu in Beckett's plays, arguing that the absence of centre and subjectivity is symptomatic of postmodern aesthetics. |
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| 23 | 2004 |
He, Chengzhou. Beikete de yuan xi ju yan jiu [ID D30786]. He appeals to the concept of meta-theatre in the analysis of Waiting for Godot, Endgame, and Krapp's last tape, focusing on Beckett's development of 'a play within a play', 'self-reflexivity', and 'commentary of the play'. |
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| 24 | 2005 |
Wang, Yahua. A journey to the "ideal core of the onion" : self-exploration and formal experiment in Beckett's novels [ID D30787]. Wang's book investigates Beckett's five novels Murphy, Watt, Molloy, Melanie dies and The unnameable. Focusing on their intertextuality, Wang argues that self-exploration and formal experiment represent the dynamic progression of Beckett's fiction and its postmodern aesthetics. |
Bibliography (18)
| # | Year | Bibliographical Data | Type / Abbreviation | Linked Data |
|---|---|---|---|---|
| 1 | 1965 |
Beckett, Samuel. Deng dai Geduo. Bekete ; Shi Xianrong yi. (Beijing : Zhongguo xi ju chu ban she, 1965). Übersetzung von Beckett, Samuel. En attendant Godot : pièce en deux actes. (Paris : Ed. de Minuit, 1952). = Waiting for Godot : tragicomedy in 2 actes. (New York, N.Y. : Grove Press, 1954). [Erstaufführung Théâtre de Babylone, Paris 1953]. 等待戈多 |
Publication / Beck5 | |
| 2 | 1969 |
[Beckett, Samuel]. Deng dai Guotuo. Liu Daren, Qiu Ganjian he yi. (Taibei : Xian ren zhang chu ban she fa xing, 1969). (Ju chang cong shu. Xian ren zhan wen ku ; 34). Übersetzung von Beckett, Samuel. En attendant Godot : pièce en deux actes. (Paris : Ed. de Minuit, 1952). = Waiting for Godot : tragicomedy in 2 actes. (New York, N.Y. : Grove Press, 1954). [Erstaufführung Théâtre de Babylone, Paris 1953]. 等待果陀 |
Publication / Beck6 | |
| 3 | 1969 |
Mi'er Anji Asiduliyasi : 1967. Samuer Beikete : 1969. (Taibei : Yuan jing chu ban shi ye gong si, 1981). (Nuobei'er wen xue jiang quan ji, 42). 米爾. 安基. 阿斯杜里亞斯 : 1967 /撒姆爾. 貝克特 : 1969 Enthält : [Asturias, Miguel Angel]. Zong tong xian sheng. Asiduliyasi zhu ; Liu Qifen yi. [Beckett, Samuel]. Deng dai Guotuo. Beikete zhu ; Liu Daren, Qiu Gangjian yi. Übersetzung von Beckett, Samuel. En attendant Godot : pièce en deux actes. (Paris : Ed. de Minuit, 1952). = Waiting for Godot : tragicomedy in 2 actes. (New York, N.Y. : Grove Press, 1954). [Erstaufführung Théâtre de Babylone, Paris 1953]. |
Publication / Beck9 | |
| 4 | 1970 |
[Beckett, Samuel]. Beikete xi ju xuan ji. Beikete zhuan ; Ma Qingzhao deng yi. (Taibei : Jing sheng, 1970). (Jing sheng bian yi wen ku. Dan jiang xi yang xian dai xi ju yi cong). 貝克特戲劇選集 [Enthält]. Deng dai Guotuo. Übersetzung von Beckett, Samuel. En attendant Godot : pièce en deux actes. (Paris : Ed. de Minuit, 1952). = Waiting for Godot : tragicomedy in 2 actes. (New York, N.Y. : Grove Press, 1954). [Erstaufführung Théâtre de Babylone, Paris 1953]. 等待果陀 Ya ju. Übersetzung von Beckett, Samuel. Acte sans paroles I. In : Beckett, Samuel. Fin de partie ; suivi de, Acte sans paroles. (Paris : Ed. de Minuit, 1957). = Act without words : a mime for one player. In : Beckett, Samuel. Endgame : a play in one act ; followed by Act without words. (London : Faber and Faber, 1958). [Erstaufführung Royal Court Theatre, London 1957]. Ke la pu zui hou de lu yin dai. Übersetzung von Beckett, Samuel. Krapp's last tape. (New York, N.Y. : Grove Press, 1958). [Erstaufführung Royal Court Theatre, London 1958]. Zhong ju. Übersetzung von Beckett, Samuel. Endgame : a play in one act ; followed by Act without words. (London : Faber and Faber, 1958). [Erstaufführung Royal Court Theatre, London 1957]. |
Publication / Beck2 | |
| 5 | 1970 |
[Becket, Samuel]. Beikete xuan jie. Beikete zhuan ; Xu Jinfu yi. (Taibei : Chuang yi she, 1970). (Chuang yi she wen ku ; 16). [Übersetzung ausgewählter Werke von Beckett]. 貝克特選介 [Enthält] : Reviews ; Novelettes : Dante and the lobster ; The expelled ; Texts for nothing ; Imagination more imaginez ; Plays : Come and go ; Cascando ; screen play ; Eh Joe : TV play. |
Publication / Beck3 | |
| 6 | 1970 |
[Beckett, Samuel]. Dang dai Faguo duan pian xiao shuo xuan. Zheng Zhen, Liang Bingjun he yi. (Taibei : Chen zhong chu ban she, 1970). [Contemporary French short stories, by Beckett and others]. 當代法國短篇小說選 |
Publication / Beck4 |
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| 7 | 1980-1985 |
[Beckett, Samuel]. Deng dai Geduo. Bekete ; Shi Xianrong yi. In : Wai guo xian dai pai zuo pin xuan. Vol. 3 [ID D16726]. Übersetzung von Beckett, Samuel. En attendant Godot : pièce en deux actes. (Paris : Ed. de Minuit, 1952). = Waiting for Godot : tragicomedy in 2 actes. (New York, N.Y. : Grove Press, 1954). [Erstaufführung Théâtre de Babylone, Paris 1953]. 死无葬生之地 |
Publication / YuanK2.44 |
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| 8 | 1980-1985 |
Beckett, Samuel. Zhu ke zi xu. Bekete ; Tu Lifang yi. In : Wai guo xian dai pai zuo pin xuan. Vol. 3 [ID D16726]. [[Original-Titel nicht gefunden]. Exil / Autobiographie]. 逐客自叙 |
Publication / YuanK2.53 |
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| 9 | 1981 |
[Beckett, Samuel]. Beikete, 1969. Nuobei'er wen xue jiang quan ji bian yi wie yuan hui. (Taibei : Taibei xian ban qiao shi, 1981). (Nuobei'er wen xue jiang quan ji ; 41). 貝克特, 1969 [Enthält] : Ke la pu zui hou de lu yin dai. Übersetzung von Beckett, Samuel. Krapp's last tape. (New York, N.Y. : Grove Press, 1958). [Erstaufführung Royal Court Theatre, London 1958]. Zhong ju. Übersetzung von Beckett, Samuel. Endgame : a play in one act ; followed by Act without words. (London : Faber and Faber, 1958). [Erstaufführung Royal Court Theatre, London 1957]. Ya ju. Übersetzung von Beckett, Samuel. Acte sans paroles I. In : Beckett, Samuel. Fin de partie ; suivi de, Acte sans paroles. (Paris : Ed. de Minuit, 1957). = Act without words : a mime for one player. In : Beckett, Samuel. Endgame : a play in one act ; followed by Act without words. (London : Faber and Faber, 1958). [Erstaufführung Royal Court Theatre, London 1957]. Deng dai Guotuo. Übersetzung von Beckett, Samuel. En attendant Godot : pièce en deux actes. (Paris : Ed. de Minuit, 1952). = Waiting for Godot : tragicomedy in 2 actes. (New York, N.Y. : Grove Press, 1954). [Erstaufführung Théâtre de Babylone, Paris 1953]. 等待果陀 Moluo. Übersetzung von Beckett, Samuel. Molloy. (Paris : Ed. De Minuit, 1951). |
Publication / Beck1 |
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| 10 | 1981 | [Beckett, Samuel]. A, mei hao de ri zi. Xiao Lian, Jiang Fan yi. In : Dang dai wai guo wen xue ; vol. 2 (1981). Übersetzung von Beckett, Samuel. Happy days : a play in two acts. (London : Faber and Faber ; New York, N.Y. : Grove Press, 1961). [Erstaufführung Cherry Lane Theatre, New York, 1961]. | Publication / Beck17 | |
| 11 | 1981 | [Beckett, Samuel]. Ju zhong. Feng Hanlu yi. In : Dang dai wai guo wen xue ; vol. 2 (1981). Übersetzung von Beckett, Samuel. Endgame : a play in one act ; followed by Act without words. (London : Faber and Faber, 1958). [Erstaufführung Royal Court Theatre, London 1957]. | Publication / Beck18 | |
| 12 | 1983 |
[Beckett, Samuel ; Ionesco, Eugène ; Genet, Jean]. Huang dan pai xi ju xuan. (Beijing : Wai guo wen xue chu ban she, 1983). (Dang dai wai guo wen xue). 荒诞派戏剧选. [Enthält] : Ausgewählte Übersetzungen von Samiao'er Beikete und Youjin Youniesiku. [Genet, Jean]. Nü pu. Rang Ri'nai yi. Übersetzung von Genet, Jean. Les bonnes : précédé comment jouer les bonnes. (Paris : Marc Barbezat, 1947). 女僕 |
Publication / GenJ5 | |
| 13 | 1987 |
[Beckett, Samuel]. Deng dai Guotuo. Beikete zhu ; Zhi Xu yi. (Taibei : Zi hua yin xing, 1987). (495 xi lie ; 55). Übersetzung von Beckett, Samuel. En attendant Godot : pièce en deux actes. (Paris : Ed. de Minuit, 1952). = Waiting for Godot : tragicomedy in 2 actes. (New York, N.Y. : Grove Press, 1954). [Erstaufführung Théâtre de Babylone, Paris 1953]. 等待果陀 |
Publication / Beck8 | |
| 14 | 1992 |
[Beckett, Samuel]. Deng dai Guotuo. Beikete yuan zhu ; Wang Mengyu bian yi. (Taibei : Yuan zhi chu ban, 1992). (Shi jie wen xue tu shu guan ; 30). Übersetzung von Beckett, Samuel. En attendant Godot : pièce en deux actes. (Paris : Ed. de Minuit, 1952). = Waiting for Godot : tragicomedy in 2 actes. (New York, N.Y. : Grove Press, 1954). [Erstaufführung Théâtre de Babylone, Paris 1953]. 等待果陀 |
Publication / Beck7 | |
| 15 | 1993 | Beckett, Samuel. Dream of fair to middling women. (New York, N.Y. : Arcade Publ., 1993). [Geschrieben 1932 in Paris]. | Publication / Beck25 |
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| 16 | 1999 |
[Beckett, Samuel]. Pulusite lun. Beikete ; Shen Rui yi. (Beijing : She hui ke xue wen xian chu ban she, 1999). Übersetzung von Beckett, Samuel. Proust. (London : Chatto & Windus 1931). 普鲁斯特论 |
Publication / Prou19 | |
| 17 | 1999 | [Beckett, Samuel]. Pulusite lun. Shen Rui, Huang Wei yi. In : Pulusite lun. (Bejing : She hui ke xue wen xian chu ban she, 1999). Übersetzung von Beckett, Samuel. Proust. (New York, N.Y. : Grove Press, 1931). (The Dolphin books ; 7). | Publication / Beck19 | |
| 18 | 2006 |
[Beckett, Samuel]. Beikete xuan ji. Beikete ; Guo Changjing, Yu Zhongxian [et al.] yi. Vol. 1-5. (Changsha : Hunan wen yi chu ban she, 2006). [Übersetzung usgwählter Werke von Samuel Beckett]. 贝克特选集 |
Publication / Beck24 |
Secondary Literature (31)
| # | Year | Bibliographical Data | Type / Abbreviation | Linked Data |
|---|---|---|---|---|
| 1 | 1963 |
Dong, Hengxun. Xi ju yi shu de duo luo : Faguo fan xi ju pai. In : Qian xian ; no. 8 (1963). [The dramatic arts in decay : the French anti-theater]. 戏剧艺术的堕落——法国"反戏剧派" |
Publication / Beck27 | |
| 2 | 1964 |
Ding, Yaozan. Xi fang shi jie de xian feng pai wen yi shi jie zhi shi. In : Shi jie zhi shi ; no. 9 (1964). [The Avant Garde literature and arts in the Western world. Betr. u.a. Samuel Beckett]. 西方世界的“先锋派”文艺 |
Publication / Beck46 | |
| 3 | 1978 |
Zhu, Hong. Huang dan pai xi ju shu ping. In : Shi jie wen xue ; no 1 (1978). [The theatre of the absurd : a review. Betr. u.a. Samuel Beckett]. 荒诞派戏剧述评 |
Publication / Beck28 | |
| 4 | 1983 |
Yi, Wubing. Lüe lun Deng dai Geduo ji qi ta. In : Hunan cheng shi xue yuan xue bao ; no. 1 (1983). [Preliminary comments on Waiting for Godot]. 略论等待戈多及其它 |
Publication / Beck29 | |
| 5 | 1983 |
Qu, Shijing. Beikete de fan xiao shuo. In : Wai guo wen xue bao dao ; no. 3 (1983). [Beckett's anti-fiction]. 贝克特的"反小说" |
Publication / Beck30 | |
| 6 | 1984 |
Liu, Zhongde. Cong fan xiao shuo pai zuo jia Bekaite jin zhu shi bai tan qi. In : Qiu suo ; no. 2 (1984). [The lost ones and Samuel Beckett as an anti-fiction writier]. 从反小说派作家贝凯特近著《失败》谈起 |
Publication / Beck31 | |
| 7 | 1984 |
Chen, Jia. Tan huang dan pai ju ben Deng dai Geduo. In : Dang dai wai guo wen xue ; no. 1 (1984). [On Waiting for Godot by Samuel Beckett as an absurd play]. 谈谈荒诞派剧本〈等待戈多〉 |
Publication / Beck32 | |
| 8 | 1989 |
Cheng, Mingcheng. Zou guo qian qiu. (Taibei : Lian jing chu ban shi ye gong si, 1989). [Abhandlung über Samuel Becket und Victor Hugo]. 走過千秋 |
Publication / Beck11 | |
| 9 | 1989 | Lo, Irving. Waiting for Godot in the People's Republic of China. In : Journal of Beckett studies ; vol. 11-12 (1989). | Publication / Beck20 | |
| 10 | 1990 |
Hong Zengliu. Er shi shi ji de xi fo si shen hua : jian lun Beikete de "Deng dai Geduo". In : Anhui da xue xue bao ; no 1 (1990). [The myth of Sisyphus]. 二十世纪的席西佛斯神话 : 简论贝克特的<等待戈多> |
Publication / Beck33 | |
| 11 | 1992 |
[Alvarez, A.]. Beikete. A. A'erwaleisi zhu ; Zhao Yuese yi. (Beijing : Zhongguo she hui ke xue chu ban she, 1992). (Wai guo zhu ming si xiang jia yi cong). Übersetzung von Alvarez, A. Beckett. (London : Fontana, 1973). 贝克特 |
Publication / Beck10 | |
| 12 | 1995 |
Jiao, Er ; Yu Xiaodan. Beiket : huang dan wen xue. (Changchun : Changchun chu ban she, 1995). (Quan qiu Nuobei'er jiang huo de zhe zhuan ji da xi). [Abhandlung über Samuel Beckett]. 貝克特 : 荒誕文學大師 |
Publication / Beck12 | |
| 13 | 1995 |
Zeng, Liling. Beikete xiao shuo zhi "jie". (Taibei : Xing zheng yuan guo ke hui ke zi zhongxin, 1995). (Xing zheng yuan guo jia ke xue wei yuan hui yan jiu jiang li dai biao zuo bao gao). [Undoing in Samuel Beckett's fiction]. 貝克特小說之解 |
Publication / Beck14 | |
| 14 | 1995 |
Lu, Yongmao. Beikete xiao shuo yan jiu. (Kaifeng : Kaifeng da xue chu ban she, 1995). [Studies of Samuel Beckett’s fiction]. 贝克特小说研究 |
Publication / Beck23 | |
| 15 | 1997 |
Shu, Xiaomei. Shi lun Beikete xi ju zuo pin zhong di shi kong jie gou. In : Wai guo wen xue yan jiu ; no 2 (1997). [The temporal and spatial structures in the works of Samuel Beckett]. 试论贝克特戏剧作品中的时空结构 |
Publication / Beck35 | |
| 16 | 1997 |
Lu, Jiande. Zi you xu kong de xin ling : Samiaoer Beikete de xiao shuo chuang zuo. In : Xian dai zhu yi zhi hou : xie shi yu shi yan. (Beijing : Zhongguo she hui ke xue chu ban she, 1997). [Free and empty soul : a study of Samuel Beckett's novels]. 自由虚空的心灵萨缪尔贝克特的小说创作 |
Publication / Beck36 | |
| 17 | 1997 |
Shu, Xiaomei. Shi hua dui chen huang dan : Beikete Deng dai Geduo xi ju yu yan zhu yao te zheng. In : Wai guo wen xue yan jiu ; no. 2 (1997). [Poeticization, symmetry, and absurdity : the dramatic language in Waiting for Godot von Samuel Beckett]. 诗化对称荒诞 : 贝克特等待戈多戏剧语言的主要特征 |
Publication / Beck37 | |
| 18 | 1998 |
Hou, Weirui. Yu zhen shi yu huang dan : shi lun Saimiaoer Beikete de huang dan. In : Hangzhou da xue xue bao ; no. 2 (1998). [The absurd reality : a study of Samuel Beckett's absurd]. 寓真实于荒诞 : 试论塞缪尔贝克特的荒诞小说 |
Publication / Beck38 | |
| 19 | 2000 |
Ge, Deng ; Tang, Ying. Saimiuer Beikete he ta de shi ji. (Lanzhou : Dun huang wen yi chu ban she, 2000). [Abhandlung über Samuel Beckett]. 塞缪尔贝克特和他的世界 |
Publication / Beck13 | |
| 20 | 2000 |
[Pilling, John]. Beikete. (Shanghai : Shanghai wei yu jiao yu chu ban she, 2000). Übersetzung von Pilling, John. Samuel Beckett. (London : Routledge and Kegan Paul, 1976). 贝克特 |
Publication / Beck15 | |
| 21 | 2000 |
Meng, Jinghui. Deng dai Geduo dao yan de hua. In : Xian feng xi ju dang an. Meng Jinghui bian. (Beijing : Zuo jia chu ban she, 2000). [Waiting for Godot [by Samuel Beckett] production notes]. 等待戈多导演的话 |
Publication / Beck21 | |
| 22 | 2002 |
Shu, Xiaomei. Dian ying yu yan zai Beikete ju zuo zhong di yun yong cong zui hou yi pan lu yin dai tan qi. In : Nanjing shi da xue xue bao ; no. 2 (2002). [The cinematic language in Beckett's plays : Krapp's last tape]. 电影语言在贝克特剧作中的运用从最后一盘录音带谈起 |
Publication / Beck39 | |
| 23 | 2003 |
He, Chengzhou. Beikete : xi ju dui xiao shuo de gai xie. In : Dang dai wai guo wen xue ; no 3 (2003). [Samuel Beckett and his rewriting of novels in plays]. 贝克特 : 戏剧对小说的改写 |
Publication / Beck40 | |
| 24 | 2003 |
Ran, Dongping. Tu po xian dai pai xi ju de yi shu jie xian : ping Samiaoer Beikete de jing zhi xi ju. In : Wai guo wen xue ping lun ; no. 2 (2003). [Beyond the art boundary of modernist drama : Samuel Beckett's theatre of silence]. 突破现代派戏剧的艺术界限 : 评萨缪尔贝克特的静止戏剧 |
Publication / Beck41 | |
| 25 | 2004 |
He, Chengzhou. Beikete de yuan xi ju yan jiu. In : Dang dai wai guo wen xue ; no. 3 (2004). [A probe into Samuel Beckett's meta-theatre]. 贝克特的元戏剧研究 |
Publication / Beck42 | |
| 26 | 2005 | Wang, Yahua. A journey to the "ideal core of the onion" : self-exploration and formal experiment in Beckett's novels. (Beijing : Beijing Language and Culture University Press, 2005). | Publication / Beck43 | |
| 27 | 2006 |
Wang, Yahua ; Liu, Lixia. Nan yi ming mingy i yan yi yi zhi mi tuan : Saimiaoer Beikete xiao shuo nan yi ming ming zhi jie gou zhu yi chan shi. In : Wai guo wen xue ping lun ; no 3 (2006). [Impossible to name, absurdity, and the aporia of meaning : a structuralist interpretation of The unnameable by Samuel Beckett]. 王雅华难以命名异延意义之谜团塞缪尔贝克特小说难以命名者之解构主义阐释 |
Publication / Beck44 | |
| 28 | 2007 |
Liu, Aiying. Saimiaoer Beikete : Jian zheng shen ti zhi zai. Diss. Shanghai International Studies University, 2007. [Samuel Beckett : the body matters]. 塞缪尔贝克特 : 见证身体之在 |
Publication / Beck34 | |
| 29 | 2009 | Lie, Jianxi ; Ingham, Mike. The reception of Samuel Beckett in China. In : The international reception of Samuel Beckett. Ed. By Mark Nixon and Matthew Feldman. (London : Continuum, 2009). | Publication / Beck16 |
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| 30 | 2010 |
Lin, Lidan. Chinese music as a narrative model : the aesthetics of liu liu and metafiction in Samuel Beckett's "Dream of fair to middling women". In : English studies ; vol. 91, no 3 (2010). http://www.tandfonline.com/doi/full/10.1080/00138381003647608#.UmYz4RAlKqg. |
Publication / Beck26 | |
| 31 | 2011 | Lin, Lidan ; Zhang, Helong. The Chinese response to Samuel Beckett (1906-89). In : Irish studies review ; vol. 19, no 4 (2011). | Publication / Beck22 |
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