Samuel Beckett's Signature in Years 1929–1938: Reflecting on the Thought Process: Language, the Neutrum and Memory

Cover
Dedication
Table of Contents
Introduction
Part One
Chapter 1: The Concept of the Signature
	1.1. Physicality of the signature
	1.2. The proper names, manner and style
	1.3. The Signature as an act and event
Chapter 2: The Signature of Samuel Beckett
	2.1. The role of the receiver in the signature
	2.2. Signature and poetics
	2.3. The definition of the signature
	2.4. The artistic signature of Samuel Beckett
Chapter 3: The Language
	3.1. The concept of language in Beckett’s early writings
Chapter 4: The Neutrum
	4.1. The neutral language
	4.2. The threshold of possibility
	4.3. Aporia and the limit
	4.4. Epochē and the reduction
Chapter 5: Memory and time
	5.1. Body and mind
	5.2. Memory, movement, symbol
	5.3. The principles of Samuel Beckett’s signature
Part Two
Chapter 1: Early criticism in Dante… Bruno. Vico.. Joyce. (1929) and Proust (1931)
	1.1. Searching for the artistic voice: Dante… Bruno. Vico.. Joyce.
		1.1.1. Symbol, sign, language: ‘The danger is in neatness of identifications.’
		1.1.2. The dynamic reduction: ‘Church—Marriage—Burial’
	1.2. In search of time and memory: Proust
		1.1.1. Time and sign: ‘That double-headed monster of damnation and salvation’
Chapter 2: More Pricks Than Kicks (1934)
	2.1. More Pricks Than Kicks: the young artist’s ‘intricate festoons of words’
	2.2. ‘Dante and the Lobster:’ The space of ‘somewhere else’
	2.3. ‘Ding-Dong:’ The spherical journey into the mind
Chapter 3: Murphy (1938)
	3.1. Between pain and persistence
	3.2. Constructing the fundaments: The kite, the horoscope and the Mental Hospital
	3.3. Murphy, ‘the puppets’ and the system
	3.4. The mind-body split
Chapter 4: ‘Echo’s Bones:’ A short story (wr. 1933 – publ. 2014)
	4.1. A connector between early and post-war texts: ‘Echo’s Bones’
	4.2. The story’s construction: ‘This little triptych’
	4.3. A system of structural relations: ‘A classic-romantic corpse’
Conclusions
Bibliography