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Time and Uncertainty
The essays in this volume all originated at the 2001 conference of the International Society for the Study of Time. The theme 'Time and Uncertainty' sounds redundant, but the contributions try to come to terms with the irreducible openness of time and the impermanence of life. The essays from various disciplines have been grouped around 'fracture and rupture' (grappling with time and uncertainty as a breach) and 'rapture and structure (solving uncertainty into pattern).
Time and Memory
The nature of time has haunted humankind through the ages. Some conception of time has always entered into our ideas about mortality and immortality, and permanence and change, so that concepts of time are of fundamental importance in the study of religion, philosophy, literature, history, and mythology. On one aspect or another, the study of time cuts across all disciplines. The International Society for the Study of Time has as its goal the interdisciplinary and comparative study of time. This volume presents selected essays from the 12th triennial conference of the International Society for the Study of Time at Clare College, Cambridge. The essays are clustered around themes that pertain to the constructive and destructive nature of memory in representations and manipulations of time. The volume is divided into three sections Inscribing and Forgetting, Inventing, and Commemoration wherein the authors grapple with the nature of memory as a medium that reflects the passage of time.
Stravinsky, God, and Time
If, as Robert Craft remarked, ‘religious beliefs were at the core of Stravinsky’s life and work’, why have they not figured more prominently in discussions of his works? Stravinsky’s coordination of the listener with time is central to the unity of his compositional style. This ground-breaking study looks at his background in Russian Orthodoxy, at less well-known writings of Arthur Lourié and Pierre Souvtchinsky and at the Catholic philosophy of Jacques Maritain, that shed light on the crucial link between Stravinsky’s spirituality and his restoration of time in music. Recent neuroscience research supports Stravinsky’s eventual adoption of serialism as the natural and logical outcome of his spiritual and musical quest.
The Semiotics of Beckett's Theatre
Semiotics is an interdisciplinary field of research and Beckett s theatre is one which engages a large spectrum of subjects and concerns that touch upon multiple aspects of human experience. The Beckettian dramatic text, as shall be demonstrated in this book, is a fertile ground for a semiotic investigation that is orchestrated by the profound insights of C. S. Peirce. As it applies semiotics to Beckett s theatre, this book seeks to preserve, communicate and throw into relief those universal values in the playwright s works which remain unchallenged despite every change and every revolution in human societies. What this book will hopefully contribute to the general canon of theatrical studies is its study of the Beckettian dramatic text not as a model of the absurd tradition, but rather as a cultural product whose writer's thinking can scarcely be dissociated from the cultural environment within which it took shape, and whose deciphering requires the use of cultural codes and sub-codes which will undergo detailed examination in the course of analysis, a study that we may so generically call a cultural semiotic study of Beckett.
Time in Variance
This interdisciplinary volume of essays explores how the notion of time varies across disciplines by examining variance as a defining feature of temporalities in cultural, creative, and scholarly contexts. Featuring a President’s Address by philosopher David Wood, it begins with critical reassessments of J.T. Fraser’s hierarchical theory of time through the lens of Anthropocene studies, philosophy, ecological theory, and ecological literature; proceeds to variant narratives in fiction, video games, film, and graphic novels; and concludes by measuring time’s variance with tools as different as incense clocks and computers, and by marking variance in music, film, and performance art.
Narrative Worlds and the Texture of Time
This book brings together a model of time and a model of language to generate a new model of narrative, where different stories with different temporalities and non-chronological modes of sequence can tell of different worlds of human – and non-human – experience, woven together (the ‘texture of time’) in the one narrative. The work of Gerald Edelman on consciousness, J.T. Fraser on time, and M.A.K. Halliday on language is introduced; the categories of systemic functional linguistics are used for detailed analysis of English narrative texts from different literary periods. A summary chapter gives an overview of previous narrative studies and theories, with extensive references. Chapters on ‘temporalization’ and ‘spatialization’ of language contrast the importance of time in narrative texts with the effect of ‘grammatical metaphor’, as described by M.A.K. Halliday, for scientific discourse. Chapters on prose fiction, poetry and the texts of digital culture chart changes in the ‘texture of time’ with changes in the social context: ‘narrative as social semiotic’.
Samuel Beckett's Waiting for Godot
No modern play in the western dramatic tradition has provoked as much controversy or generated as much diversity of opinion as Samuel Beckett's Waiting for Godot. Since its initial production in 1953, it has revolutionized the stage through its existentialism and apparent rejection of plot. This book is a valuable introduction to the play. It begins with a summary of the play and its origins and editions. It then explores the play's meaning and the historical and intellectual contexts informing Beckett's work. The book then examines Beckett's dramatic art and gives full coverage of the play's performance history. A bibliographical essay surveys the most important critical studies.
Myth and Ritual in the Plays of Samuel Beckett
All of the essays in this collection reflect a sense that Beckett's power as a playwright derives largely from a mythic vision that informs his drama. Their approaches to the definition and use of myth and ritual in his plays vary considerably, however, ranging from the Jungian to the Marxian to the Lacanian, and drawing on the theories of Campbell, Freud, Eliade, Frye, Turner, Girard, Baudrillard, and others.
The Pinter Review
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