Genesis Apocryphon Research Articles

Intellection in the Work of Samuel Beckett

A source-critical or tradition-historical approach to the Genesis Apocryphon will quite justifiably emphasize the features of the Apocryphon that point toward what can be described as its lack of compositional unity. There exists, however, a level on which the Apocryphon can be shown to be a whole; that is its narrative unity. The latter is the result of the ways in which the final author/composer organized and manipulated the sources and traditions, whether written or oral, with which he worked. The acknowledgment that the Apocryphon is unified on this level opens the door to its treatment as an integral (if fragmentary) literary artifact, as I shall demonstrate in further studies.

From Proof to Print

A source-critical or tradition-historical approach to the Genesis Apocryphon will quite justifiably emphasize the features of the Apocryphon that point toward what can be described as its lack of compositional unity. There exists, however, a level on which the Apocryphon can be shown to be a whole; that is its narrative unity. The latter is the result of the ways in which the final author/composer organized and manipulated the sources and traditions, whether written or oral, with which he worked. The acknowledgment that the Apocryphon is unified on this level opens the door to its treatment as an integral (if fragmentary) literary artifact, as I shall demonstrate in further studies.

"The Society of my Likes"

A source-critical or tradition-historical approach to the Genesis Apocryphon will quite justifiably emphasize the features of the Apocryphon that point toward what can be described as its lack of compositional unity. There exists, however, a level on which the Apocryphon can be shown to be a whole; that is its narrative unity. The latter is the result of the ways in which the final author/composer organized and manipulated the sources and traditions, whether written or oral, with which he worked. The acknowledgment that the Apocryphon is unified on this level opens the door to its treatment as an integral (if fragmentary) literary artifact, as I shall demonstrate in further studies.

The Unnamable Mirror

A source-critical or tradition-historical approach to the Genesis Apocryphon will quite justifiably emphasize the features of the Apocryphon that point toward what can be described as its lack of compositional unity. There exists, however, a level on which the Apocryphon can be shown to be a whole; that is its narrative unity. The latter is the result of the ways in which the final author/composer organized and manipulated the sources and traditions, whether written or oral, with which he worked. The acknowledgment that the Apocryphon is unified on this level opens the door to its treatment as an integral (if fragmentary) literary artifact, as I shall demonstrate in further studies.

Compagnie & Cie & Cie …

A source-critical or tradition-historical approach to the Genesis Apocryphon will quite justifiably emphasize the features of the Apocryphon that point toward what can be described as its lack of compositional unity. There exists, however, a level on which the Apocryphon can be shown to be a whole; that is its narrative unity. The latter is the result of the ways in which the final author/composer organized and manipulated the sources and traditions, whether written or oral, with which he worked. The acknowledgment that the Apocryphon is unified on this level opens the door to its treatment as an integral (if fragmentary) literary artifact, as I shall demonstrate in further studies.

How to do Things With Syntax

A source-critical or tradition-historical approach to the Genesis Apocryphon will quite justifiably emphasize the features of the Apocryphon that point toward what can be described as its lack of compositional unity. There exists, however, a level on which the Apocryphon can be shown to be a whole; that is its narrative unity. The latter is the result of the ways in which the final author/composer organized and manipulated the sources and traditions, whether written or oral, with which he worked. The acknowledgment that the Apocryphon is unified on this level opens the door to its treatment as an integral (if fragmentary) literary artifact, as I shall demonstrate in further studies.

Scholars/Artists/Beckett

A source-critical or tradition-historical approach to the Genesis Apocryphon will quite justifiably emphasize the features of the Apocryphon that point toward what can be described as its lack of compositional unity. There exists, however, a level on which the Apocryphon can be shown to be a whole; that is its narrative unity. The latter is the result of the ways in which the final author/composer organized and manipulated the sources and traditions, whether written or oral, with which he worked. The acknowledgment that the Apocryphon is unified on this level opens the door to its treatment as an integral (if fragmentary) literary artifact, as I shall demonstrate in further studies.

Preliminary Material

A source-critical or tradition-historical approach to the Genesis Apocryphon will quite justifiably emphasize the features of the Apocryphon that point toward what can be described as its lack of compositional unity. There exists, however, a level on which the Apocryphon can be shown to be a whole; that is its narrative unity. The latter is the result of the ways in which the final author/composer organized and manipulated the sources and traditions, whether written or oral, with which he worked. The acknowledgment that the Apocryphon is unified on this level opens the door to its treatment as an integral (if fragmentary) literary artifact, as I shall demonstrate in further studies.

"Le Tissu et la Guenille"

A source-critical or tradition-historical approach to the Genesis Apocryphon will quite justifiably emphasize the features of the Apocryphon that point toward what can be described as its lack of compositional unity. There exists, however, a level on which the Apocryphon can be shown to be a whole; that is its narrative unity. The latter is the result of the ways in which the final author/composer organized and manipulated the sources and traditions, whether written or oral, with which he worked. The acknowledgment that the Apocryphon is unified on this level opens the door to its treatment as an integral (if fragmentary) literary artifact, as I shall demonstrate in further studies.

"Cherchez la Foule"

A source-critical or tradition-historical approach to the Genesis Apocryphon will quite justifiably emphasize the features of the Apocryphon that point toward what can be described as its lack of compositional unity. There exists, however, a level on which the Apocryphon can be shown to be a whole; that is its narrative unity. The latter is the result of the ways in which the final author/composer organized and manipulated the sources and traditions, whether written or oral, with which he worked. The acknowledgment that the Apocryphon is unified on this level opens the door to its treatment as an integral (if fragmentary) literary artifact, as I shall demonstrate in further studies.

Beckett's Godot in Berlin

A source-critical or tradition-historical approach to the Genesis Apocryphon will quite justifiably emphasize the features of the Apocryphon that point toward what can be described as its lack of compositional unity. There exists, however, a level on which the Apocryphon can be shown to be a whole; that is its narrative unity. The latter is the result of the ways in which the final author/composer organized and manipulated the sources and traditions, whether written or oral, with which he worked. The acknowledgment that the Apocryphon is unified on this level opens the door to its treatment as an integral (if fragmentary) literary artifact, as I shall demonstrate in further studies.

Beckett and Synaesthesia

A source-critical or tradition-historical approach to the Genesis Apocryphon will quite justifiably emphasize the features of the Apocryphon that point toward what can be described as its lack of compositional unity. There exists, however, a level on which the Apocryphon can be shown to be a whole; that is its narrative unity. The latter is the result of the ways in which the final author/composer organized and manipulated the sources and traditions, whether written or oral, with which he worked. The acknowledgment that the Apocryphon is unified on this level opens the door to its treatment as an integral (if fragmentary) literary artifact, as I shall demonstrate in further studies.

The Magic Triangle

A source-critical or tradition-historical approach to the Genesis Apocryphon will quite justifiably emphasize the features of the Apocryphon that point toward what can be described as its lack of compositional unity. There exists, however, a level on which the Apocryphon can be shown to be a whole; that is its narrative unity. The latter is the result of the ways in which the final author/composer organized and manipulated the sources and traditions, whether written or oral, with which he worked. The acknowledgment that the Apocryphon is unified on this level opens the door to its treatment as an integral (if fragmentary) literary artifact, as I shall demonstrate in further studies.

On Beckett's Metaphysics of Non-Location

A source-critical or tradition-historical approach to the Genesis Apocryphon will quite justifiably emphasize the features of the Apocryphon that point toward what can be described as its lack of compositional unity. There exists, however, a level on which the Apocryphon can be shown to be a whole; that is its narrative unity. The latter is the result of the ways in which the final author/composer organized and manipulated the sources and traditions, whether written or oral, with which he worked. The acknowledgment that the Apocryphon is unified on this level opens the door to its treatment as an integral (if fragmentary) literary artifact, as I shall demonstrate in further studies.

Beckett et le Moi-Peau

A source-critical or tradition-historical approach to the Genesis Apocryphon will quite justifiably emphasize the features of the Apocryphon that point toward what can be described as its lack of compositional unity. There exists, however, a level on which the Apocryphon can be shown to be a whole; that is its narrative unity. The latter is the result of the ways in which the final author/composer organized and manipulated the sources and traditions, whether written or oral, with which he worked. The acknowledgment that the Apocryphon is unified on this level opens the door to its treatment as an integral (if fragmentary) literary artifact, as I shall demonstrate in further studies.

Belacqua's Shadows in Dream of Fair to Middling Women and How it is

A source-critical or tradition-historical approach to the Genesis Apocryphon will quite justifiably emphasize the features of the Apocryphon that point toward what can be described as its lack of compositional unity. There exists, however, a level on which the Apocryphon can be shown to be a whole; that is its narrative unity. The latter is the result of the ways in which the final author/composer organized and manipulated the sources and traditions, whether written or oral, with which he worked. The acknowledgment that the Apocryphon is unified on this level opens the door to its treatment as an integral (if fragmentary) literary artifact, as I shall demonstrate in further studies.

Elements of Haiku in Beckett

A source-critical or tradition-historical approach to the Genesis Apocryphon will quite justifiably emphasize the features of the Apocryphon that point toward what can be described as its lack of compositional unity. There exists, however, a level on which the Apocryphon can be shown to be a whole; that is its narrative unity. The latter is the result of the ways in which the final author/composer organized and manipulated the sources and traditions, whether written or oral, with which he worked. The acknowledgment that the Apocryphon is unified on this level opens the door to its treatment as an integral (if fragmentary) literary artifact, as I shall demonstrate in further studies.

Beckett's Lawlessness

A source-critical or tradition-historical approach to the Genesis Apocryphon will quite justifiably emphasize the features of the Apocryphon that point toward what can be described as its lack of compositional unity. There exists, however, a level on which the Apocryphon can be shown to be a whole; that is its narrative unity. The latter is the result of the ways in which the final author/composer organized and manipulated the sources and traditions, whether written or oral, with which he worked. The acknowledgment that the Apocryphon is unified on this level opens the door to its treatment as an integral (if fragmentary) literary artifact, as I shall demonstrate in further studies.

Music in Words and Music

A source-critical or tradition-historical approach to the Genesis Apocryphon will quite justifiably emphasize the features of the Apocryphon that point toward what can be described as its lack of compositional unity. There exists, however, a level on which the Apocryphon can be shown to be a whole; that is its narrative unity. The latter is the result of the ways in which the final author/composer organized and manipulated the sources and traditions, whether written or oral, with which he worked. The acknowledgment that the Apocryphon is unified on this level opens the door to its treatment as an integral (if fragmentary) literary artifact, as I shall demonstrate in further studies.

"Dreaming of […] Love"

A source-critical or tradition-historical approach to the Genesis Apocryphon will quite justifiably emphasize the features of the Apocryphon that point toward what can be described as its lack of compositional unity. There exists, however, a level on which the Apocryphon can be shown to be a whole; that is its narrative unity. The latter is the result of the ways in which the final author/composer organized and manipulated the sources and traditions, whether written or oral, with which he worked. The acknowledgment that the Apocryphon is unified on this level opens the door to its treatment as an integral (if fragmentary) literary artifact, as I shall demonstrate in further studies.