"So it is I who speak": Communicating Bodies in Samuel Beckett's Happy Days and The Unnamable.

• Authors : Whitmarsh, Patrick¹

• Source: Journal of Modern Literature. Summer2019, Vol. 42 Issue 4, p111-128. 18p.

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Où maintenant ? Quand maintenant ? La difficulté de localiser un tiers texte entre les autotraductions de L'Innommable / The Unnamable de Samuel Beckett.

• Authors : Robert-Foley, Lily (AUTHOR)

• Source: Contemporary French & Francophone Studies. Mar2017, Vol. 21 Issue 2, p159-168. 10p.

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Chaos as a Mode of Living in Samuel Beckett's "The Unnamable."

• Authors : Harper, Mihaela P.¹ (AUTHOR)

• Source: Journal of Modern Literature. Summer2012, Vol. 35 Issue 4, p151-162. 12p.

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'Strange laughter': Post-Gothic Questions of Laughter and the Human in Samuel Beckett's Work.

• Source: Journal of Modern Literature. Summer2017, Vol. 40 Issue 4, p1-19. 19p.

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Beckett's Vessels and the Animation of Containers.

• Source: Journal of Modern Literature. Summer2017, Vol. 40 Issue 4, p75-89. 15p.

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DIMINISHING I'S: THE UNNAMABLE'S ABSENT SUBJECTHOOD AND THE DISINTEGRATION OF MEANING IN THE FACE OF FOUCAULT'S PANOPTICON.

• Authors : ARGHIANI, MOHAMMADREZA¹

• Source: Philosophy & Literature. Oct2012, Vol. 36 Issue 2, p465-475. 11p.

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"There's no Lack of Void": Waste and Abundance in Beckett and DeLillo.

• Authors : Boxall, Peter¹

• Source: Substance: A Review of Theory & Literary Criticism. 2008, Vol. 37 Issue 2, p56-70. 15p.

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“A Step Towards Silence”: Samuel Beckett’s The Unnamable and the Problem of Following the Stranger.

• Authors : Marais, Mike¹

• Source: Journal of Literary Studies. Dec2016, Vol. 32 Issue 4, p89-106. 18p.

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TIME MADE FLESH: SAMUEL BECKETT'S DUAL DEPICTION OF TIME.

• Authors : MICHELLE CHIANG, H. L.

• Source: Review of Contemporary Fiction. Spring2014, Vol. 34 Issue 1, p195-213. 19p.

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Immersions in the Cognitive Sublime: The Textual Experience of the Extratextual Unknown in García Márquez and Beckett.

• Authors : Abbott, H. Porter

• Source: Narrative. May2009, Vol. 17 Issue 2, p131-142. 12p.

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