De Samuel Beckett a David Markson: la representación de “lo que hay en la mente”

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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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Autor principal: Diab, Pabla
Formato: Artículo revista
Lenguaje:Español
Publicado: Facultad de Filosofía y Letras. Universidad de Buenos Aires 2023
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Markson, Beckett, intertextuality, repetition, poetic characteristics.
Markson, Beckett, intertextualidad, repetición, poeticidad.
Acceso en línea:http://revistascientificas.filo.uba.ar/index.php/Beckettiana/article/view/13902
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Beckettiana de Universidad de Buenos Aires
id I28-R244-article-13902
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spelling I28-R244-article-139022024-04-19T16:20:47Z De Samuel Beckett a David Markson: la representación de “lo que hay en la mente” Diab, Pabla . Markson, Beckett, intertextuality, repetition, poetic characteristics. Markson, Beckett, intertextualidad, repetición, poeticidad. 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. Facultad de Filosofía y Letras. Universidad de Buenos Aires 2023-12-27 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf http://revistascientificas.filo.uba.ar/index.php/Beckettiana/article/view/13902 10.34096/beckettiana.n20.13902 Beckettiana; Núm. 20 (2023) 2683-9679 0327-7550 spa http://revistascientificas.filo.uba.ar/index.php/Beckettiana/article/view/13902/12668 Derechos de autor 2023 Beckettiana https://creativecommons.org/licenses/by-sa/4.0
institution Universidad de Buenos Aires
institution_str I-28
repository_str R-244
container_title_str Beckettiana
language Español
format Artículo revista
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.
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”
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.
publisher Facultad de Filosofía y Letras. Universidad de Buenos Aires
publishDate 2023
url http://revistascientificas.filo.uba.ar/index.php/Beckettiana/article/view/13902
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first_indexed 2024-08-14T02:33:16Z
last_indexed 2024-08-14T02:33:16Z
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