1. Introduction: A Cognitive JourneyIt is fairly odd discovering, in letter to Georges Duthuit at very beginning of June 1949 - only two months after having started to draft The Unnamable, in one of gloomiest periods of his creative career - Beckett was reading Around World in 80 Days, positively classified as lively stuff (LSB II, 163). Given descending, excavating nature of last novel of trilogy, it would have been less surprising to find mention of equally famous masterpiece by Verne, Voyage au centre de la Terre (1864). Yet, in less local scrutiny, both horizontal, superficial (and significantly circular) orbit of Phileas Fogg's enterprise, and vertical, geologically stratified axis of Professor Lidenbrok's quest are present in Beckett's narrative work. However, these two movements are not simultaneously operative, but rather are subsequently exploited throughout Beckett's narrative trajectory. As Mark Nixon elucidates, sometime after Murphy there is turning point in how trope of journey is treated in Beckett's fiction, since Beckett has accepted that there was no 'to' or 'towards', and thus no redemptive destination (191). The horizontal pointless excursions of Belacqua across Irish cityscapes or Murphy's wandering in outer of London progressively come to an end in trilogy - passing, as Shane Weller argues, from object-world or subject-world of Murphy to flight from all world in Malone meurt (Weller, 109). This is not to say trope of journey disappears from Beckett's literary imagination. Rather, as Nixon indicates, it remains central to Beckett's postwar work, but is negated (97) or, would suggest, inverted (The Unnamable being a kind of inverted spiral, (Beckett 2009, 310)). The horizontal plane of movement is replaced by vertical expedition, and Belacqua's gression (Beckett 2010, 33) is substituted by an inward plunge, of which The Unnamable constitutes endless bottom. In this narrative manoeuvre, different 'towardness' emerges, for Beckett understands, as we shall see, outward journey in search of self is wrong figure (qtd. in Knowlson, 247). An alternative exploration has to be directed on way to what he calls of (247) by going beyond what is called in Molloy the surface leaden above infernal depths (Beckett 2009, 73) of mind from which illusion of selfhood stems.In present article, want to account for this second speleological journey in Beckett's fictional work by drawing on contemporary cognitive theories of self.1 On one hand, want to suggest that, in The Unnamable, Beckett does indeed reach some kind of centre of subjective planet, structure and functions of which resemble those qualities philosopher of mind Daniel Dennett attributes to what he calls center of narrative gravity (1991, 418). This parallel should enrich interpretation of outcome of this expedition, with discovery feeling of seed of (narrative) motion is false sensory impression responsible for stupid obsession with depth (Beckett 2009, 287), which in turn accounts for conception and perception of self as an internal locus of subjectivity. Furthermore, put this narrative account of self into relation with two distinct problems related to self-consciousness: namely, problems of circularity and of infinite regress. As we shall see, The Unnamable can be read as fictional rendering of these two complications indissolubly bounded to an ontology of self-knowledge. On other hand, elaborate on remarkable similarities between three-levels model of self proposed by neuroscientist Antonio Damasio (2010), and distinct cognitive levels narrator of The Unnamable lets reader perceive, especially by pointing beyond its linguistic existence. In letter to Aidan Higgins in 1952, Beckett wrote about The Unnamable as the end of jaunt, going further by saying I used to think all [t]his work was an effort, necessarily feeble, to express nothing. …
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