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Beckett’s dialogue with the arts (music, painting, digital media) has found a growing critical attention, from seminal comprehensive studies (Oppenheim 2000; Harvey, 1967, to name just two) to more recent contributions (Gontarski, ed., 2014; Lloyd, 2018). Research has progressively moved from a general inquiry on Beckett beyond the strictly literary to issues related to intermediality and embodiment (Maude, 2009; Tajiri, 2007), post humanism and technology (Boulter, 2019; Kirushina, Adar, Nixon eds, 2021), intersections with popular culture (Pattie and Stewart, eds., 2019). However, a specific analysis on Beckett’s relationship with Italian arts and poetry on one side–and on Italian artists’ response to Beckett’s oeuvre on the other–is still missing. The volume offers an original examination of Beckett’s presence on the contemporary Italian cultural scene, a stage where he became (and
still is) the fulcrum of some of the most significant experimentations across different genres and media. The reader will look at him as an “Italian” artist, in constant dialogue with the most significant modern European cultural turns.
“Samuel Beckett’s Italian Negotiations fills an important gap in both Beckett’s studies and the reception of Beckett in Italy, and it offers provocations to further study on these issues. Its editors, Davide Crosara and Mario Martino, have done an impressive job of selecting contributors from the ‘Beckett and Italy’ conference and foregrounding new facets of this relationship that are sure to interest scholars and students of Modernist literature and theory and of Italian studies even as much of Beckett’s art constitutes ‘a parody of modernist cosmopolitanism itself’, as Crosara notes in his ‘Introduction to the volume’.” —Stanley Gontarski, Florida State University, USA.
Notes on Contributors; Introduction, Davide Crosara; Part One: Visual Encounters, Chapter 1. ‘The Pantheon at Rome or Certain Beehive Tombs’: Beckett’s Posthumous Architecture - Mark Byron; Chapter 2. Some Notes on Beckett and Michelangelo -Mariacristina Cavecchi; Chapter 3. ‘C’est l’Image la Dernière’: Samuel Beckett and Gastone Novelli - Davide Crosara; Part Two: Radio and Opera, Chapter 4. Beckett’s Neither, an ‘Anti-Opera’ in Rome - Yuri Chung; Chapter 5. Dante, Wartime Radio and the Italia Prize -Pim Verhulst; Part Three: Poetic Voices, Chapter 6. Beckett the Troubadour - Mario Martino; Chapter 7. The Empty House: Watt’s Leopardi Traces- Will Davies; Part Four: Echoes. Translations, Reverberations; Chapter 8. Beckett Resonating in Italy. Which Text, Whose Voice?- Rossana Sebellin; Chapter 9. Beckett After Language - Mena Mitrano