Beckett’s Dantes: Intertexuality in the Fiction and by Daniela Caselli

By Daniela Caselli

This is the 1st learn in English at the literary relation among Beckett and Dante. it's a transparent and cutting edge studying of Samuel Beckett and Dante's works and a severe engagement with modern theories of intertextuality. Caselli provides an unique intertextual examining of Beckett's paintings, detecting formerly unknown quotations, allusions to, and parodies of Dante in Beckett's fiction and feedback.

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Beckett’s Dantes: Intertexuality in the Fiction and Criticism

This can be the 1st research in English at the literary relation among Beckett and Dante. it's a transparent and cutting edge interpreting of Samuel Beckett and Dante's works and a serious engagement with modern theories of intertextuality. Caselli supplies an unique intertextual analyzing of Beckett's paintings, detecting formerly unknown quotations, allusions to, and parodies of Dante in Beckett's fiction and feedback.

Extra resources for Beckett’s Dantes: Intertexuality in the Fiction and Criticism

Example text

Cellineggiava finickety scrolls and bosses, exposed to the fleers of uneasy poets. If to be seated is to be wise, then no man is wiser than thee. That class of cheap stinger. 11 After a paraphrase of Pugatorio IV, Toynbee writes: Benvenuto says of him that besides being a maker of musical instruments, B. , who was a lover of music, was intimate with him and on that account: – ‘Iste fuit de Florentia, qui faciebat citharas et alia instrumenta musica, unde cum magna cura sculpebat and incidebat, colla et capita citararum, et aliquando etiam pulsabat.

9 Beckett’s notebook on Ariosto also discusses the establishment of Italian as a common language and quotes a passage from De vulgari eloquentia in which the vernacular is referred to as the ‘panther’ to be hunted. TCD MS 10962, fol. 60. 10 Mengaldo, Linguistica e retorica, p. 78. xix, 1. 12 Mengaldo backs his theory with the historical materialist hypothesis that manuscripts from different traditions (especially the Sicilian) may have been read by Dante in the ‘Tuscanised’ language of the copyists.

1375) and that of the Anonimo Fiorentino (c. 10 The ‘tinkle-tinkle of a fourhander’ goes back to Benvenuto’s ‘aliquando etiam pulsabat’, a phrase quoted verbatim in Dream: Whether squatting in the heart of his store, sculpting with great care and chiselling the heads and necks of lutes and zithers, or sustaining in the doorway the girds of eminent poets, or coming out into the street for a bit of song and dance (aliquando etiam pulsabat), he [Belacqua] was cheating and denying his native indolence, denying himself to the ground-swell of his indolence, holding himself clear, refusing to be sucked down and abolished … Sometimes he speaks of himself thus drowned and darkened as ‘restored to his heart’; and at other times as ‘sedendo et quiescendo’ with the stress on the et and no extension of the thought into the spirit made wise.

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