El impacto de la poética beckettiana en la formación docente en la (pos)pandemia.: Avances del Proyecto Intercátedra Beckett 41.
As part of the research activities at Instituto Superior de Formación Docente Nº 41, a teacher’s training college based in the town of Adrogué (Buenos Aires, Argentina), we designed a cross-curricular project for the third year of the course of studies. This was carried out in the subjects Literatur...
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| Autores principales: | , |
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| Formato: | Artículo publishedVersion |
| Lenguaje: | Español |
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Facultad de Filosofía y Letras. Universidad de Buenos Aires
2023
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| Acceso en línea: | https://revistascientificas.filo.uba.ar/index.php/Beckettiana/article/view/13867 https://repositoriouba.sisbi.uba.ar/gsdl/cgi-bin/library.cgi?a=d&c=becke&d=13867_oai |
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| Sumario: | As part of the research activities at Instituto Superior de Formación Docente Nº 41, a teacher’s training college based in the town of Adrogué (Buenos Aires, Argentina), we designed a cross-curricular project for the third year of the course of studies. This was carried out in the subjects Literature and Youth, Second Foreign Language (French) and Teaching Rhetorics, which meant approaching Samuel Beckett’s oeuvre in an interdisciplinary manner and in the three languages in which the workshops are taught: English, French, and Spanish, respectively. Our point of departure was the bidiscursivity that characterized Beckett’s work to reflect upon his use of languages. The project included different aspects of his work, our goal being that the students were exposed to different genres as well as were able to explore various approaches to literature. Both the context of production and that of reception were taken into account. The Beckettian poetics was meaningful in terms of uncertainty and hopelessness reflected in the language and the silences, all of which was resignified as of the pandemic. We started this proposal in class by analysing brief poems, especially those that allude to language as “literature of the unword” (Cerrato, 1999; Margarit, 2013), comparing the French and English versions. Afterwards, we reached certain conclusions on “They come” / “Elles viennent” and “What is the Word” / “Comment dire”. Reflecting upon the poems’ iteration and syntax allowed us to later approach the dramatic works until we succeeded in staging Waiting for Godot as well as achieving other productions in different media. |
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