Playing on: chess and its metaphors in the life and work of S amuel B eckett
2012; Wiley; Volume: 54; Issue: 4 Linguagem: Inglês
10.1111/criq.12018
ISSN1467-8705
Autores Tópico(s)Philosophy, Ethics, and Existentialism
ResumoCritical QuarterlyVolume 54, Issue 4 p. 26-40 CRITICISM Playing on: chess and its metaphors in the life and work of Samuel Beckett Derek Alsop, Derek AlsopSearch for more papers by this author Derek Alsop, Derek AlsopSearch for more papers by this author First published: 29 January 2013 https://doi.org/10.1111/criq.12018Read the full textAboutPDF ToolsRequest permissionExport citationAdd to favoritesTrack citation ShareShare Give accessShare full text accessShare full-text accessPlease review our Terms and Conditions of Use and check box below to share full-text version of article.I have read and accept the Wiley Online Library Terms and Conditions of UseShareable LinkUse the link below to share a full-text version of this article with your friends and colleagues. Learn more.Copy URL Notes 1 Elizabeth James Knowlson (eds), Beckett Remembering: Remembering Beckett: Uncollected Interviews with Samuel Beckett and Memories of Those Who Knew Him (London: Bloomsbury Publishing, 2006), 181– 182. 2 Samuel Beckett, Disjecta: Miscellaneous Writings and a Dramatic Fragment, ed. Ruby Cohn (London: John Calder, 1983), 109. 3 Ruby Cohn, Back to Beckett (Princeton NJ.: Princeton University Press, 1973), 152. (Cohn gives no source, but puts the whole statement in quotation marks.) 4 K. Jeevan Kumar, ‘The Chess Metaphor in Samuel Beckett's Endgame’, Modern Drama, 40:4 (1997), 540– 552 (p. 543). 5 C. J. Ackerley and S. E. Gontarski, The Faber Companion to Samuel Beckett (London: Faber and Faber, 2006), 96. 6 Samuel Beckett, Watt, ed. C. J. Ackerley (London: Faber and Faber, 2009), 223. 7 Hugh Kenner, Samuel Beckett: A Critical Study (London: John Calder, 1962), 156. 8Ibid., 157. 9For those interested in the fundamental principles of chess, the following are recommended: Neil McDonald, Chess: The Art of Logical Thinking: From the First Move to the Last (London: Batsford, 2004); David Pritchard, The Right Way to Play Chess, revised by Richard James (London: Constable and Robinson, 2008); Andrew Soltis, Studying Chess Made Easy (London: Batsford, 2010); and Michael Stean, Simple Chess (London: Faber and Faber, 1978 (algebraic edition, Mineola NY: Dover, 2002). For those more interested in the principles of opening theory, the following are recommended: Nick de Firmian, Batsford's Modern Chess Openings (London: Batsford, 2000); Gabor Kallai, Basic Chess Openings, trans. Zita Rajcsányi (London: Everyman Chess, 1997); Raymond Keene, The Openings in Modern Theory and Practice (London: Hardinge Simpole, 2002); Raymond Keene, The Evolution of Chess Opening Theory: From Philidor to Kasparov (London: Hardinge Simpole, 2002); and Yasser Seirawan, Winning Chess Openings (London: Gloucester Publishers, 2003). On the early vulnerability of the King, Seirawan, grandmaster and four-time United States champion, writes: ‘Beginning players will always get wiped out by more experienced opponents. One of the major reasons is that the King lacks protection’ (Seirawan, Winning Chess Openings, ix). 10 Knowlson, Beckett Remembering, 206. 11 Kenner, Samuel Beckett, 156. 12 Samuel Beckett, Murphy, ed. J. C. C. Mays (London: Faber and Faber, 2009), 55. 13 C. J. Ackerley, Demented Particulars: The Annotated ‘Murphy’ (Edinburgh: Edinburgh University Press, 2010), 101. 14 Ackerley, Demented Particulars, 207. 15 Kenner, Samuel Beckett, 156. 16 Samuel Beckett, Endgame, ed. Rónán McDonald (London: Faber and Faber, 2009), p. 5. 17 James Acheson, ‘Chess with the Audience: Samuel Beckett's Endgame’, Critical Quarterly, 22:2 (1980), 22– 45 (p. 33). 18Ibid., 33. 19Ibid., 40. 20 Ben Barnes, ‘Dougald McMillan and Martha Fehsenfeld, Beckett in the Theatre’, Irish University Review, 19:2 (1989), 407– 408 (p. 407). 21 Gabriele Schwab and D. L. Selden, ‘On the Dialectic of Closing and Opening in Samuel Beckett's Endgame’, Yale French Studies, 67 (1984), 191– 202 (p. 194). 22 Theodor W. Adorno and Michael T. Jones, ‘Trying to Understand Endgame’, New German Critique, 26 (1982), 119– 150 (p. 146). 23 Knowlson, Beckett Remembering, 223. 24Ibid., 205– 206. 25 Mike Fox and Richard James, The Complete Chess Addict (London: Faber and Faber, 1987), 33– 34. 26 James Knowlson, Damned to Fame: The Life of Samuel Beckett (London: Bloomsbury, 1996), 301. (The reference is to Alexander Alexandrovich Alekhine, the normal spelling of the World Champion's name.) 27 Ackerley, Demented Particulars, 193. 28 Beckett, Murphy, 152. 29 Richard Réti, Modern Ideas in Chess, trans. John Hart (New York: Dover, 1960), 141. 30 Samuel Beckett: The Grove Centenary Edition, vol. 4, ed. Paul Auster (New York: Grove Press, 2006), 57. 31 Beckett, Murphy, 151. 32Ibid., 152. 33Ibid., 153. 34 Ackerley, Demented Particulars, 194. 35 Beckett, Endgame, 6. 36Beckett Collection, Reading University, folder entitled Molloy, undated, part of the James and Elizabeth Knowlson Collection, JEK A/5/47. 37 Beckett, Murphy, 38. 38Ibid., 62. 39 Fox and James, The Complete Chess Addict, 166. 40 Liz Garbus (dir.), Bobby Fischer: Genius and Madman – Storyville, BBC and HBO in association with ZDF and ARTE, 2010. 41 J. R. Johnstone, ‘How Many Chess Games Are There … And Who Wins?’, Australian Chess, November–December 2006, 39– 41. 42 Samuel Beckett, Eleuthéria: A Play in Three Acts, trans. Michael Brodsky (New York: Foxrock, 1995), 143– 144. 43 Samuel Beckett, The Unnamable, ed. Steven Connor (London: Faber and Faber, 2010), 134. Volume54, Issue4December 2012Pages 26-40 ReferencesRelatedInformation
Referência(s)