Abstract
In this paper I try to analyze the bilingual principle as it shows up in Beckett's theatre. I am going to define first the bilingual phenomenon as I conceive it in my study so as to demonstrate its equivocal modalities of repetition. I shall continue by identifying the dramatic processes by which the principle of repetition is transferred on the scene. I take in account in the following the dantesque characteristics of the scenography such as it was conceived by Beckett with the intention to reconsider the literary filiations of 'his' Belacqua and to analyze its implications in the work.
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