Abstract
This essay explores the philosophical implications inherent in Samuel Beckett’s most enigmatic and metonymic late theater work, Not I, even as he frequently abjured any interest in philosophy, which he claimed neither to read nor to understand. The play is profoundly ontological, however, and its metonymic stage image engages the classical philosophical conundrum of the relationship of the part, a piece or fragment, say, to the whole, an issue with which Beckett has at least been intrigued for most of his creative life.
Full Text
Published Version
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a call