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E-grāmata: Affects, Cognition, and Politics of Samuel Beckett's Postwar Drama and Fiction: Revolutionary and Evolutionary Paradoxes

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The Affects, Cognition, and Politics of Samuel Beckett’s Postwar Drama and Fiction: Revolutionary and Evolutionary Paradoxes theorizes the revolutionary and evolutionary import of Beckett’s works in a global context defined by increasingly ubiquitous and insidious mechanisms of capture, exploitation, and repression, alongside unprecedented demands for high-volume information-processing and connectivity. Part I shows that, in generating consistent flows of solidarity-based angry laughter, Beckett’s works sabotage coercive couplings of the subject to social machines by translating subordination and repression into processes rather than data of experience. Through an examination of Beckett’s attack on gender/ class-related normative injunctions, the book shows that Beckett’s works can generate solidarity and action-oriented affects in readers/ spectators regardless of their training in textual analysis. Part II proposes that Beckett’s works can weaken the cognitive dominance of constrictive “frames” in readers/ audiences, so that toxic ideological formations such as the association of safety and comfort with simplicity and “sameness” are rejected and more complex cognitive operations are welcomed instead—a process that bolsters the mind’s ability to operate at ease with increasingly complex, malleable, extensible, and inclusive frames, as well as with increasing volumes of information.

1 Introduction to Beckett's "Absurdist" Excess
1(36)
1.1 Absurdist Excess and Political Value
1(16)
1.2 Revolution, or, The Paradox and Affect
17(5)
1.3 Evolution, or, Beckett's "Script Multiplication and Enrichment"
22(5)
1.4 Scope, Approach, and Main Contributions
27(10)
Part I Contagion and Accessibility: Revolutionary Beckett
37(142)
2 Repetition, Deliberation, and an Other Power: The Paradox as Practice
39(44)
2.1 Textual Entropy and Machinic Disruption
39(4)
2.2 Abstraction and Accessibility (Trees vs. Diagrams)
43(9)
2.3 Humour, Irony, and the Production of Repression
52(10)
2.4 The Paradox and Heteronormative Rule (Male or... or... or...)
62(11)
2.5 The Schizophrenic's Stick and the Corporate Body
73(10)
3 The Liberating Laughter of "Nearly There": Beckett's Solidarity-Building Dramas
83(34)
3.1 "Playing at" Social Productivity and Integration
83(11)
3.2 Discharging Repression: Humour, Anger, and the Machinic Switch
94(14)
3.3 "Repetition for Itself"/ Recursion -Based Liberatory Practices
108(9)
4 Under-the-Radar Derision and Anger: Becoming Revolutionary in/through Beckett's Fiction
117(62)
4.1 Language and the Body
117(8)
4.2 Feigning Impotence and Repurposing Language, or, Sharing the Diagra m
125(26)
4.3 The Flesh as a Machinic Imposition
151(5)
4.4 Company as a Machinic Ruse
156(18)
4.5 Revolution
174(5)
Part II Script Evaluation and Enrichment: Evolutionary Beckett
179(92)
5 Beckett's "Script Multiplication and Enrichment": Rejecting Toxic Disjunctions and Seeking Inclusivity
181(30)
5.1 Interpretation, Cognitive Encoding, and the Paradox
181(6)
5.2 From Resonance to Editing and Actualization
187(9)
5.3 Shock and Anchoring Through Style, Intertextuality, and Dramatization
196(7)
5.4 Staging a Raw Experience of the Grotesque, or, Against Tragedy/Comedy as Cognitive Frames/Scripts/Schemata
203(8)
6 Evaluation, Expulsion, Expansion, and Refraining: Building Processing Speed and Tolerance to Cognitive Strain
211(50)
6.1 From Feigning Inability to Pleasure and Empowerment: God, Labour, and Family Ties Reassessed and Reframed
211(6)
6.2 Staging Systemic Confinement, or, Dissolving Clusters of Repressive Frames/Scripts/Schemata
217(11)
6.3 Eliciting Advanced Decoding and Accelerated Reassessment, or, Reaching a Cognitive "High"
228(10)
6.4 Deactivating Covert Hierarchy-Based Frames/Scripts/Schemata: Survival and Companionship as Threat-Based Impositions
238(19)
6.5 Evolution
257(4)
7 Conclusion
261(10)
Bibliography 271(12)
Index 283
Cristina Ionica teaches English, Film, Writing, and Professional Communication courses at Fanshawe College in London, Canada. Her research has been published in ESC: English Studies in Canada, Angelaki: Journal of the Theoretical Humanities, MLS: Modern Language Studies, Critique: Studies in Contemporary Fiction, LIT: Literature Interpretation Theory, and Horror Studies.