About mouths and resonances: The affirmation of an enunciating consciousness

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In the following article we will explore the status and function of monologism in three dramatic pieces by Samuel Beckett, Happy Days (1961), Play (1962-1963), Not I (1972). We will approach them in his relationship with the notion of dramatic character, its “space-temporal-discursive conditioning”...

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Autor principal: Brnci´c, Carolina
Formato: Artículo publishedVersion
Lenguaje:Español
Publicado: Facultad de Filosofía y Letras. Universidad de Buenos Aires 2016
Materias:
Beckett
drama
monologue
character
dramatic speech
monólogo
personaje
discurso dramático
Acceso en línea:https://revistascientificas.filo.uba.ar/index.php/Beckettiana/article/view/7585
https://repositoriouba.sisbi.uba.ar/gsdl/cgi-bin/library.cgi?a=d&c=becke&d=7585_oai
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Repositorio Digital de la Universidad de Buenos Aires (UBA) de Universidad de Buenos Aires
id I28-R145-7585_oai
record_format dspace
spelling I28-R145-7585_oai2025-11-17 Brnci´c, Carolina 2016-07-15 In the following article we will explore the status and function of monologism in three dramatic pieces by Samuel Beckett, Happy Days (1961), Play (1962-1963), Not I (1972). We will approach them in his relationship with the notion of dramatic character, its “space-temporal-discursive conditioning” and its relationship with “another”. Within the three plays, seen as a projection, it is possible to visualise a progressive radicalisation on the manner of placing a character, denaturalise and singularise it. These three different placements address the same communicative situation and the same problem: they are all the affirmation of an enunciative self-consciousness. En el siguiente artículo exploraremos el estatus y función del monologismo en tres piezas dramáticas de Samuel Beckett, Happy Days (1961), Play (1962-1963), Not I (1972), vinculándolo con la noción del personaje dramático, su ‘condicionamiento espacial-temporal-discursivo’ y su relación con un ‘otro’. En las tres obras, vistas proyectivamente, es posible visualizar una progresiva radicalización en las formas de situar al personaje, despersonalizarlo y singularizarlo. Los tres modos de disposición establecen la misma situación comunicativa y el mismo problema: la afirmación de una autoconciencia enunciante. application/pdf https://revistascientificas.filo.uba.ar/index.php/Beckettiana/article/view/7585 spa Facultad de Filosofía y Letras. Universidad de Buenos Aires https://revistascientificas.filo.uba.ar/index.php/Beckettiana/article/view/7585/6784 Beckettiana; Núm. 15 (2016); 37-50 2683-9679 0327-7550 Beckett drama monologue character dramatic speech Beckett drama monólogo personaje discurso dramático About mouths and resonances: The affirmation of an enunciating consciousness De bocas y resonancias: La afirmación de una conciencia enunciante info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion https://repositoriouba.sisbi.uba.ar/gsdl/cgi-bin/library.cgi?a=d&c=becke&d=7585_oai
institution Universidad de Buenos Aires
institution_str I-28
repository_str R-145
collection Repositorio Digital de la Universidad de Buenos Aires (UBA)
language Español
orig_language_str_mv spa
topic Beckett
drama
monologue
character
dramatic speech
Beckett
drama
monólogo
personaje
discurso dramático
spellingShingle Beckett
drama
monologue
character
dramatic speech
Beckett
drama
monólogo
personaje
discurso dramático
Brnci´c, Carolina
About mouths and resonances: The affirmation of an enunciating consciousness
topic_facet Beckett
drama
monologue
character
dramatic speech
Beckett
drama
monólogo
personaje
discurso dramático
description In the following article we will explore the status and function of monologism in three dramatic pieces by Samuel Beckett, Happy Days (1961), Play (1962-1963), Not I (1972). We will approach them in his relationship with the notion of dramatic character, its “space-temporal-discursive conditioning” and its relationship with “another”. Within the three plays, seen as a projection, it is possible to visualise a progressive radicalisation on the manner of placing a character, denaturalise and singularise it. These three different placements address the same communicative situation and the same problem: they are all the affirmation of an enunciative self-consciousness.
format Artículo
publishedVersion
author Brnci´c, Carolina
author_facet Brnci´c, Carolina
author_sort Brnci´c, Carolina
title About mouths and resonances: The affirmation of an enunciating consciousness
title_short About mouths and resonances: The affirmation of an enunciating consciousness
title_full About mouths and resonances: The affirmation of an enunciating consciousness
title_fullStr About mouths and resonances: The affirmation of an enunciating consciousness
title_full_unstemmed About mouths and resonances: The affirmation of an enunciating consciousness
title_sort about mouths and resonances: the affirmation of an enunciating consciousness
publisher Facultad de Filosofía y Letras. Universidad de Buenos Aires
publishDate 2016
url https://revistascientificas.filo.uba.ar/index.php/Beckettiana/article/view/7585
https://repositoriouba.sisbi.uba.ar/gsdl/cgi-bin/library.cgi?a=d&c=becke&d=7585_oai
work_keys_str_mv AT brnciccarolina aboutmouthsandresonancestheaffirmationofanenunciatingconsciousness
AT brnciccarolina debocasyresonanciaslaafirmaciondeunaconcienciaenunciante
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