| How To Use This Book |
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| Begin by reading the author |
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| How to approach unfamiliar or difficult texts |
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| Using biographical material |
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| Vocabulary |
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| Summary |
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Why Read Samuel Beckett Today? |
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1 | (5) |
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1 | (1) |
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1 | (1) |
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Pushing language to the limits |
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1 | (1) |
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2 | (1) |
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2 | (1) |
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3 | (1) |
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3 | (1) |
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Beckett's continued influence |
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4 | (1) |
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5 | (1) |
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How to Approach Beckett's Work |
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6 | (4) |
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6 | (1) |
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6 | (1) |
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Comprehending the incomprehensible |
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7 | (1) |
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7 | (1) |
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7 | (1) |
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8 | (1) |
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9 | (1) |
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10 | (1) |
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10 | (9) |
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10 | (1) |
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10 | (1) |
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11 | (1) |
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The first encounter with France |
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11 | (1) |
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11 | (1) |
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12 | (1) |
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12 | (1) |
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13 | (1) |
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14 | (1) |
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15 | (1) |
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15 | (1) |
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16 | (1) |
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16 | (2) |
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18 | (1) |
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19 | (1) |
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Major Works (1): The Plays |
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19 | (15) |
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19 | (6) |
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25 | (2) |
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27 | (1) |
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28 | (1) |
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28 | (1) |
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29 | (1) |
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30 | (1) |
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31 | (3) |
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Major Works (2): The Prose |
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34 | (6) |
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34 | (2) |
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36 | (1) |
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37 | (1) |
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38 | (1) |
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39 | (1) |
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Major Themes and Techniques |
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40 | (11) |
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40 | (2) |
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42 | (2) |
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44 | (1) |
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44 | (1) |
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45 | (1) |
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46 | (4) |
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50 | (1) |
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Contemporaryr Views of Beckett |
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51 | (12) |
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51 | (1) |
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52 | (1) |
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52 | (1) |
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53 | (1) |
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Reaction to Beckett's pre-Godot work |
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54 | (1) |
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54 | (2) |
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56 | (1) |
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Godot arrives in France, England and San Quentin Penitentiary |
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57 | (1) |
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57 | (1) |
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58 | (1) |
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59 | (1) |
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60 | (1) |
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Attracting and alarming actors |
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61 | (1) |
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Home of the not so famous |
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62 | (1) |
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62 | (1) |
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Modern Critical Approaches to Beckett |
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63 | (14) |
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63 | (1) |
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63 | (1) |
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64 | (1) |
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64 | (2) |
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66 | (2) |
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68 | (2) |
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Philosophical and theoretical readings |
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70 | (1) |
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71 | (1) |
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72 | (1) |
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73 | (1) |
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74 | (2) |
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76 | (1) |
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77 | (4) |
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77 | (2) |
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Theatre production and festivals |
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79 | (1) |
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Associations, societies and study |
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79 | (1) |
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Modern art - performance art, video art and installations |
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80 | (1) |
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80 | (1) |
| Glossary |
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81 | (3) |
| Chronology of Major Works |
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84 | (1) |
| Index |
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85 | |
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