Abstract
This paper explores the use of reflexive and metafictional narrative structures in The Unnamable and other texts by Samuel Beckett. Reflexivity is shown to be the structural basis at all textual levels, from the articulation of character and plot development, through the use of narrative voice and modality, to the implied authorial level and the aesthetic stance of the text. Narratology and deconstruction are used as analytical tools to explore the peculiar semiotic productivity of the Beckettian text and draw the aesthetic and philosophical implications of Beckett's use of narrative form.
Highlights
Las novelas de Beckett son reflexivas en el sentido de que no dan por sabidas las convenciones en las que se asientan, sino que juegan constantemente a ponerlas en evidencia, horadarlas; están continuamente utilizando como motor creativo la pregunta sobre sus propias condiciones de posibilidad
John Barth describe sus novelas The Sot-WeedFactor y Giles Goat-Boy como "novéis which imítate the form of the Novel by an author who imitates the role of Author" (33)
El regressus in infinitum es una forma de reflexividad textual que se puede encarnar de diversas maneras en el interior de una narración
Summary
Las novelas de Beckett son reflexivas en el sentido de que no dan por sabidas las convenciones en las que se asientan, sino que juegan constantemente a ponerlas en evidencia, horadarlas; están continuamente utilizando como motor creativo la pregunta sobre sus propias condiciones de posibilidad.
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