Freedom and negativity in Beckett and Adorno: something or nothing PDF
Preview Freedom and negativity in Beckett and Adorno: something or nothing
Freedom and Negativity in Beckett and Adorno FOUNDING CRITICAL THEORY Series Editors: Owen Hulatt, Teaching Fellow, Department of Philosophy, University of York Darrow Schecter, Reader in Critical Theory, University of Sussex Editorial Review Board: Brian O’Connor, University College Dublin, Ireland Gordon Finlayson, University of Sussex, UK Werner Bonefeld, University of York, UK Fred Rush, Notre Dame University, USA Jay Bernstein, The New School, USA Lambert Zuidervaart, Institute for Christian Studies, Canada Deborah Cook, University of Windsor, Canada Christoph Menke, Goethe Universitat, Germany Andrew Arato, The New School, USA This series publishes original research on prominent figures, texts and top- ics in, and associated with, the first generation of Frankfurt School Critical Theory. The series comprises specialized treatments of topics and thinkers together with new translations of key texts from the period. Emphasis is lent to Critical Theory as an on-g oing research project, and both its origi- nal research and historical scholarship is articulated in these terms. Critical Theory contains an intrinsic commitment to inter- disciplinary research, and this series attempts to honour this commitment where possible. The Aesthetic Ground of Critical Theory, edited by Nathan Ross. Communication and Expression, by Philip Hogh, translated by Antonia Hofstätter Freedom and Negativity in Beckett and Adorno, by Natalie Leeder Freedom and Negativity in Beckett and Adorno Something or Nothing Natalie Leeder London • New York Published by Rowman & Littlefield International Ltd Unit A, Whitacre Mews, 26-34 Stannary Street, London SE11 4AB www.rowmaninternational.com Rowman & Littlefield International Ltd. is an affiliate of Rowman & Littlefield 4501 Forbes Boulevard, Suite 200, Lanham, Maryland 20706, USA With additional offices in Boulder, New York, Toronto (Canada), and Plymouth (UK) www.rowman.com Copyright © 2017 Natalie Leeder All rights reserved. No part of this book may be reproduced in any form or by any electronic or mechanical means, including information storage and retrieval systems, without written permission from the publisher, except by a reviewer who may quote passages in a review. British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library ISBN: HB 978-1-78660-319-7 Library of Congress Cataloging-i n- Publication Data ISBN: 978-1-78660-319-7 (cloth : alk. paper) ISBN: 978-1-78660-321-0 (electronic) The paper used in this publication meets the minimum requirements of American National Standard for Information Sciences—Permanence of Paper for Printed Library Materials, ANSI/ NISO Z39.48- 1992. Printed in the United States of America Contents Acknowledgements vii Abbreviations ix Introduction xiii The Antinomies of Freedom Adorno’s Beckett 1 Freedom and Its Limits 1 Murphy’s Metacritique of Philosophy Eleuthromania Failing Better 2 The Illusion of Freedom and the Freedom of Illusion 25 The Crisis of Schein Ironic Figures in the Novellas 3 The Scars of Evil 55 Evil and Society Endgame and Universal History 4 Virtual Freedom 89 The Natural Subject Film’s Imageless Images Interiors and Iconicity 5 Metaphysics 129 Imagining Immanence Metaphysical Experience Coda: Enough? v vi Contents Epilogue 161 Where Is the Proletariat? Beyond the Block Negativity Bibliography 169 Index 187 Acknowledgements First and foremost, I would like to thank my PhD supervisor, Andrew Gibson, without whose support and absolute faith I would not have survived the doc- toral study that formed the basis of this book. His inspirational supervision has developed my mind more than I can say. To Andrew Bowie, too, I owe a great debt, not least for responding to my queries, both deep and superficial, at all hours of the day and night – and always with great humour, kindness and thought. Since nurturing my burgeoning interest in Adorno during my master’s study, Darrow Schecter has supported me with generosity and enthusiasm, always believing in the project. I will ever be grateful to David Addyman for introducing me to Beckett during my undergraduate years and for his uniquely Beckettian brand of friendship. Rupert Gough and the Choir of Royal Holloway deserve a special mention for accommodating my study and providing me with a wonderful space of release and fulfilment. Grateful acknowledgement is due to Royal Holloway for funding my doctoral research. I have, furthermore, been constantly overwhelmed by the kindness of friends, acquaintances and strangers, too innumerable to list, who have helped to smooth the path. My heartfelt thanks to Sam Hall, who was my first port of call for every question, thought and fear. My mum, dad and brothers, Joseph and Simeon, have provided unending support, for which I cannot thank them enough. Love and thanks also to my nanny, eternally proud of her granddaughter, and my grandad, who would have loved to have seen this book. vii
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