Beckett’s Becoming-Body without Organs and Irish
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This paper is a politicized reading of Beckett’s Irishness which deals with his Irishness by coupling Irish Beckett and poststructural Beckett, especially focusing on Deleuze’s reading of Beckett. It argues that Beckett’s politics and his Irishness go beyond the binary distinction of universal and historical contexts and aim at constructing a new, fully real, virtual Irish instead of a possible, or an ideal Irish. In this light, it discusses on Beckett’s Irishness in terms of the “body without organs,” terminology borrowed from Artaud by Deleuze and Guattari. And it argues that Beckett’s own, i.e., “Beckettian” way in constructing his Irishness is exactly the same method as Deleuze and Guattari’s in making body without organs. This paper reads Waiting for Godot as his first project of constituting a body without organs and examines how Beckett begins to make theatre, himself and Ireland a body without organs. It appropriates Z ˘ iz˘ek’s reading of Deleuze as well as Deleuze’s reading of Beckett and his terminologies for the purpose of revealing Beckett’s politics in making himself, Ireland, theatre bodies without organs. It is time perhaps that Ireland overwhelmed by the shock of sudden changes through the so-called Celtic Tiger sidesteps the actual context in order to find its body without organs suffocated beneath multi-layered baffling strata in social formation. Thus, this paper shows that timely Beckett’s theatre can provide the virtual space of the multiple singular potentialities where we can find a virtual and singular Irishness.
Abstract
This paper is a politicized reading of Beckett’s Irishness which deals with his Irishness by coupling Irish Beckett and poststructural Beckett, especially focusing on Deleuze’s reading of Beckett. It argues that Beckett’s politics and his Irishness go beyond the binary distinction of universal and historical contexts and aim at constructing a new, fully real, virtual Irish instead of a possible, or an ideal Irish. In this light, it discusses on Beckett’s Irishness in terms of the “body without organs,” terminology borrowed from Artaud by Deleuze and Guattari. And it argues that Beckett’s own, i.e., “Beckettian” way in constructing his Irishness is exactly the same method as Deleuze and Guattari’s in making body without organs. This paper reads Waiting for Godot as his first project of constituting a body without organs and examines how Beckett begins to make theatre, himself and Ireland a body without organs. It appropriates Z ˘ iz˘ek’s reading of Deleuze as well as Deleuze’s reading of Beckett and his terminologies for the purpose of revealing Beckett’s politics in making himself, Ireland, theatre bodies without organs. It is time perhaps that Ireland overwhelmed by the shock of sudden changes through the so-called Celtic Tiger sidesteps the actual context in order to find its body without organs suffocated beneath multi-layered baffling strata in social formation. Thus, this paper shows that timely Beckett’s theatre can provide the virtual space of the multiple singular potentialities where we can find a virtual and singular Irishness.
참고문헌 (30)
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