No-thing is Left to Tell: Zen/Chaos Theory in the Dramatic Art of Samuel BeckettFairleigh Dickinson Univ Press, 1999 - 236 Seiten Zen Buddhism and the Chaos theory are used in this work as binocular lenses to examine the existential difficulties in Samuel Beckett's plays in terms that circumvent traditional Western schools of thought. No-Thing Is Left to Tell examines Waiting for Godot, Endgame, Happy Days, Footfalls, and Ohio Impromptu, discovering both within them and throughout the larger scale of Beckett's plays as a whole, a movement toward revisioning our world in terms of a nonclosed, unself-conscious state. Illustrated. |
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Häufige Begriffe und Wortgruppen
actions apparently arrow attractor audience Beckett's drama Beckett's plays becomes being-time bifurcation Cantor dust causal Chaos theory Chaotic system characters closure Clov Clov's complex conceptual context create death destabilized distinction dynamic elements Endgame enlightenment equation Estragon Eugen Herrigel example existence final Footfalls Hamm Hamm's Happy Days Hayles Herrigel important indicates iterative Julia set Kasulis koan language look Lucky's Mandelbrot set May's May/V meaning metaphor mother motion movement Nagg narrative never nirvana noise nonlinear object Ohio Impromptu old style pacing pair paradigm paradox pattern Pause pendulum phase space physical potential Pozzo present quantum reality reference relationship repetition reveals ritual Samuel Beckett scale self-similar sense speech stage story suffering Suzuki Taoism things tion universe vision Vladimir void Waiting for Godot Willie Winnie Winnie's without-context words zazen Zen and Chaos Zen Buddhism Zeno's Zeno's paradox
Beliebte Passagen
Seite 19 - The Tao that can be told is not the eternal Tao. The name that can be named is not the eternal name.
Verweise auf dieses Buch
"Greener, more mysterious processes of mind": Natur als Dichtungsprinzip bei ... Gerd Bayer Eingeschränkte Leseprobe - 2004 |