Titlebook: Beckett and Authority; The Uses of Cliché Elizabeth Barry Book 2006 Palgrave Macmillan, a division of Macmillan Publishers Limited 2006 arg

ALLY

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拘留

漂浮

,Cliché and Memory, any character from any point of view is to concern oneself with his or her memory, his or her past. And in addition, much of Beckett’s work in particular is first-person narrative, concerned exclusively with a character’s own memories. The first works in French in particular—Beckett’s novellas of t

–FER

,Cliché, Autobiography and Epitaph,exercise of looking back at a life, whether through autobiography or biography, memoir, or epitaph, is one of the most respected and authoritative of cultural activities. This method implies two key assumptions. First, it presupposes that there is an end-point, the time of writing, which can provide

玉米

,Cliché and the Language of Religion,for this existence. The position of cliché itself mimics that of Beckett, similarly ambivalent, with regard to religion. Beckett’s protagonists . that they are cursed with original sin (life the ‘immemorial expiation’ of which Molloy speaks; Hamm taking it for granted that any progenitor is ‘a(chǎn)ccurse

FIS

Crepitus

,Cliché, Consensus and Realism,oust (to whom might also be added Gustave Flaubert) in this respect, these writers in fact display an ‘extraordinary intimacy’ with their works of art. They do not, it is true, express there their personal feelings or ideas, but they nonetheless inhabit every word and shape their work according to a

浸軟

https://doi.org/10.1007/978-3-319-27048-7oust (to whom might also be added Gustave Flaubert) in this respect, these writers in fact display an ‘extraordinary intimacy’ with their works of art. They do not, it is true, express there their personal feelings or ideas, but they nonetheless inhabit every word and shape their work according to a

DAUNT

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