By Badiou, Alain; Beckett, Samuel; Gibson, Andrew
The prime modern French thinker Alain Badiou has been a lifelong devotee of Beckett's paintings. This ground-breaking learn offers a whole advent to and critique of Badiou's philosophy, politics, ethics and aesthetics, and his interpretation of the Irish author, as a foundation for a tremendous new interpreting of the Beckett corpus. - ;Beckett and Badiou bargains a provocative new studying of Samuel Beckett's paintings on the foundation of an entire, serious account of the concept of Alain Badiou. Badiou is the main eminent of latest French philosophers. His devotion to Beckett's paintings has been lifelong. Read more...
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Extra resources for Beckett and Badiou : the pathos of intermittency
Moran’s ‘dehiscence’¹³⁷—which overwrites more or less the whole of his narrative, since he recounts his story having already ‘dehisced’—is the breakup of a ‘ﬁctional imposition of a unity’ upon an actual inﬁnity. What Moran must learn is the paradoxical coexistence of limit and inﬁnity on which set theory insists: . . when of the innumerable attitudes adopted unthinkingly by the normal man all are precluded but two or three, these are enhanced. . Yes, when you can neither stand nor sit with comfort, you take refuge in the horizontal, like a child in its mother’s lap.
True, where Badiou writes of the ‘absolute pulverulence’ of Being,¹⁰⁰ Beckett writes of art as ‘a disfaction, a d´esuni, an Ungebund . . a blizzard of electrons’ (DI, 49). But a shared concern with atomization is not a sufﬁcient link. For Badiou, set theory provides us with an expression of actual inﬁnity. Beckett’s interest in mathematics has long been recognized. Ackerley in particular has shown how pervasive mathematical references are in his work. It is by no means immediately clear, however, that we can jump from scattered if widespread tokens of interest in mathematics in general to the idea that Beckett provides us with a literary equivalent of the set-theoretic universe.
In ‘Philosophie et math´ematique’ (1989), he restricted himself to calling for the spread of modern mathematical concepts beyond mathematics itself. ⁶⁰ He suggests that, in much modern art and music—Schoenberg, Malevich, and Duchamp, for example—‘the inﬁnite is nothing other than the ﬁnite itself’ (LS, 219). It would not be hard to ﬁnd literary equivalents of this; indeed, it would not be hard to construct a tradition of literary versions of actual inﬁnity running from Mallarm´e, Kafka, and Finnegans Wake through Roussel, Borges, and the nouveau roman to Perec and Ashbery.