Samuel Beckett, repetition and modern music

Cover
Endorsement
Half title page
Title Page
Copyright Page
Dedication
Table of contents
Figures
Acknowledgements
Introduction
	Notes
1 Music and literature
	A roaring start
	Music and literature interaction
	Music and the literary diegesis
	Music as structural device in literature
	The sounding of text
	The growth of Word and Music Studies
	Notes
2 Repetition in music and literature
	Repetition in music
	Repetition in experimental music
	Repetitions in literature
	Notes
3 Musico-literary interaction in modern Ireland and the musical aesthetic of Samuel Beckett
	Music and metaphor in Beckett’s early fiction
	Notes
4 Beckett’s semantic fluidity: Repetition in the later work
	Beckett’s later Schopenhauerian music
	Close reading No. 1 from Ill Seen Ill Said
		1. Exact clothed repetitions
		2. Local musematic repetition
		3. Binary oppositional repetitions
		4. Discursive repetition recurring throughout Ill Seen Ill Said
	Close reading no. 2 from Ill Seen Ill Said
	Close reading from Worstward Ho
	Conclusion
	Notes
5 Beckett and Feldman: Time, repetition and the liminal space
	Neither
	Neither, V2
	Neither, V3
	The nine-note interlocking texture
	Words and Music
	Conclusion
	Notes
6 Improvising Beckett: Chance, silence and repetition
	Lessness
	Silence and indeterminacy
	Beckett’s Not I
	Binary oppositions
	Discursive repetitions
	Notes
Conclusions
	Notes
Bibliography
	Websites
	Discography
Index