De Samuel Beckett a David Markson: la representación de “lo que hay en la mente”
The novel Wittgenstein’s Mistress (1988) by the American writer David Markson (1927-2010) introduces a work with representation and intertextuality that, later, in the named The Notecard Quartet ‒Reader’s Block (1996),This Is Not a Novel (2001), Vanishing Point (2004) and The Last Novel (2007) are t...
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| Formato: | Artículo publishedVersion |
| Lenguaje: | Español |
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Facultad de Filosofía y Letras. Universidad de Buenos Aires
2023
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| Acceso en línea: | https://revistascientificas.filo.uba.ar/ojs/index.php/Beckettiana/article/view/13902 https://repositoriouba.sisbi.uba.ar/gsdl/cgi-bin/library.cgi?a=d&c=becke&d=13902_oai |
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I28-R145-13902_oai2025-11-12 Diab, Pabla 2023-12-27 The novel Wittgenstein’s Mistress (1988) by the American writer David Markson (1927-2010) introduces a work with representation and intertextuality that, later, in the named The Notecard Quartet ‒Reader’s Block (1996),This Is Not a Novel (2001), Vanishing Point (2004) and The Last Novel (2007) are taken to saturation: the set of quotes and allusions constitute both novels. Some recurrent techniques of Markson, like repetition and fragmentariness, have also been observed and analyzed in the Irish writer Samuel Beckett. In the same way, links between literature, painting and music. And to this could be added the work with intertextuality and reflection on translation and, obviously, language. Even though in an interview to Markson by Joseph Tabbi (1990) the writer rejects having so direct links with the Irish, the truth is that the particular case of Wittgenstein’s Mistress, with its narrator sitting in front of her typewriter hearing the sound of the keyboard and the scratch of the Scotch tape half peeled off from a broken glass allow to suggest correspondences -to stablish intertextual relationships- both with the novel Murphy (1938) and with the theater plays Endgame (1957) and Happy days (1961) by Samuel Beckett. In this article, from a comparative study of the mentioned works, we will analyze the recurrent technical devices of both writers and we will observe the way in which both Markson and Beckett give to their works a poetic character. La novela Wittgenstein’s Mistress (1988) del escritor estadounidense David Markson (1927-2010) presenta un trabajo con la representación y con la intertextualidad que más adelante, en el llamado The Notecard Quartet ‒Reader’s Block (1996),This Is Not a Novel (2001), Vanishing Point (2004) y The Last Novel (2007)‒, se lleva a la saturación: el conjunto de citas y alusiones constituyen sendas novelas. Ciertos procedimientos recurrentes en Markson, como la repetición y la fragmentariedad han sido observados y analizados en el irlandés Samuel Beckett. Algo similar ocurre con los vínculos de la literatura con la pintura y con la música. Y a esto se podría agregar el trabajo con la intertextualidad y la reflexión acerca de la traducción y, obviamente, el lenguaje. Si bien en una entrevista de Joseph Tabbi a Markson (1990), el escritor rechaza los vínculos tan directos con el irlandés, lo cierto es que el caso particular de Wittgenstein’s Mistress, con su narradora protagonista Kate, sentada frente a su máquina de escribir escuchando el sonido del teclado y el scratch de la cinta engomada a medias despegada de un vidrio roto permiten plantear correspondencias ‒establecer relaciones intertextuales‒ tanto con la novela Murphy (1938) como con las obras de teatro Final de partida (1957) y con Happy days (1961) de Samuel Beckett. En este trabajo, a partir de un estudio comparativo de las obras mencionadas analizamos los procedimientos recurrentes en ambos escritores y observamos el modo como dichos recursos otorgan a sus escritos un carácter poético. application/pdf https://revistascientificas.filo.uba.ar/ojs/index.php/Beckettiana/article/view/13902 10.34096/beckettiana.n20.13902 spa Facultad de Filosofía y Letras. Universidad de Buenos Aires https://revistascientificas.filo.uba.ar/ojs/index.php/Beckettiana/article/view/13902/12668 Derechos de autor 2023 Beckettiana Beckettiana; Núm. 20 (2023) 2683-9679 0327-7550 . Markson, Beckett, intertextuality, repetition, poetic characteristics. Markson, Beckett, intertextualidad, repetición, poeticidad. De Samuel Beckett a David Markson: la representación de “lo que hay en la mente” info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion https://repositoriouba.sisbi.uba.ar/gsdl/cgi-bin/library.cgi?a=d&c=becke&d=13902_oai |
| institution |
Universidad de Buenos Aires |
| institution_str |
I-28 |
| repository_str |
R-145 |
| collection |
Repositorio Digital de la Universidad de Buenos Aires (UBA) |
| language |
Español |
| orig_language_str_mv |
spa |
| topic |
. Markson, Beckett, intertextuality, repetition, poetic characteristics. Markson, Beckett, intertextualidad, repetición, poeticidad. |
| spellingShingle |
. Markson, Beckett, intertextuality, repetition, poetic characteristics. Markson, Beckett, intertextualidad, repetición, poeticidad. Diab, Pabla De Samuel Beckett a David Markson: la representación de “lo que hay en la mente” |
| topic_facet |
. Markson, Beckett, intertextuality, repetition, poetic characteristics. Markson, Beckett, intertextualidad, repetición, poeticidad. |
| description |
The novel Wittgenstein’s Mistress (1988) by the American writer David Markson (1927-2010) introduces a work with representation and intertextuality that, later, in the named The Notecard Quartet ‒Reader’s Block (1996),This Is Not a Novel (2001), Vanishing Point (2004) and The Last Novel (2007) are taken to saturation: the set of quotes and allusions constitute both novels. Some recurrent techniques of Markson, like repetition and fragmentariness, have also been observed and analyzed in the Irish writer Samuel Beckett. In the same way, links between literature, painting and music. And to this could be added the work with intertextuality and reflection on translation and, obviously, language. Even though in an interview to Markson by Joseph Tabbi (1990) the writer rejects having so direct links with the Irish, the truth is that the particular case of Wittgenstein’s Mistress, with its narrator sitting in front of her typewriter hearing the sound of the keyboard and the scratch of the Scotch tape half peeled off from a broken glass allow to suggest correspondences -to stablish intertextual relationships- both with the novel Murphy (1938) and with the theater plays Endgame (1957) and Happy days (1961) by Samuel Beckett. In this article, from a comparative study of the mentioned works, we will analyze the recurrent technical devices of both writers and we will observe the way in which both Markson and Beckett give to their works a poetic character. |
| format |
Artículo publishedVersion |
| author |
Diab, Pabla |
| author_facet |
Diab, Pabla |
| author_sort |
Diab, Pabla |
| title |
De Samuel Beckett a David Markson: la representación de “lo que hay en la mente” |
| title_short |
De Samuel Beckett a David Markson: la representación de “lo que hay en la mente” |
| title_full |
De Samuel Beckett a David Markson: la representación de “lo que hay en la mente” |
| title_fullStr |
De Samuel Beckett a David Markson: la representación de “lo que hay en la mente” |
| title_full_unstemmed |
De Samuel Beckett a David Markson: la representación de “lo que hay en la mente” |
| title_sort |
de samuel beckett a david markson: la representación de “lo que hay en la mente” |
| publisher |
Facultad de Filosofía y Letras. Universidad de Buenos Aires |
| publishDate |
2023 |
| url |
https://revistascientificas.filo.uba.ar/ojs/index.php/Beckettiana/article/view/13902 https://repositoriouba.sisbi.uba.ar/gsdl/cgi-bin/library.cgi?a=d&c=becke&d=13902_oai |
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