OOIR: Observatory of International Research

Papers

(The median citation count of Journal of Beckett Studies is 0. The table below lists those papers that are above that threshold based on CrossRef citation counts [max. 250 papers]. The publications cover those that have been published in the past four years, i.e., from 2021-10-01 to 2025-10-01.)

Article	Citations
Editorial	2
Vice is Perhaps the Heart of Man	2
Angela Moorjani, Beckett and Buddhism	2
‘Learn by heart’: Beckett’s Schoolboy Copy of Shakespeare’s Macbeth	1
Editorial	1
‘to hesitate to die to death’: Reading Augustine and the After-life in Echo’s Bones	1
Waiting with Beckett in the Anthropocene	1
Editorial	1
Performance Events at the Beckett at Reading 50^th Anniversary, University of Reading	1
Seeing Barbara Bray: Marek Kędzierski on Barbara Bray – Barbara Bray on Samuel Beckett	1
Concluding Paragraph of the Marquis of Sade’s Last Will and Testament	1
‘Pfft’: Samuel Beckett and the Ecology of Breathing in the Anthropocene	1
Beckett’s Early Image of Sade: Dream of Fair to middling Women, More Pricks Than Kicks, and Sadism	1
Exhausted Senses: Between the Eye and the Ear in ‘Long Observation of the Ray’ and ‘The Voice/Verbatim’	1
Notes on Contributors	1
Anita Rákóczy, Samuel Beckett's Endgame and Hungarian Opening Gambits	1
Notes on Contributors	1
Introduction: Beckett and Contemporary Aesthetic Form	0
Notes on Contributors	0
Insha ka Intezaar in Karachi, directed by Anwer Jafri	0
Before Play, With Play, After Play: The Shaping of ‘formal integrity’ in the Early Drafts of Play	0
Front matter	0
The Marquis of Sade and the Novel of Gloom	0
Corey Wakeling's Beckett’s Laboratory: Experiments in the Theatre Enclosure	0
Michael Coffey's Beckett's Children	0

Poetry’s Beckett	0
David Kleinberg-Levin, Beckett’s Words: The Promise of Happiness in a Time of Mourning	0
Peering out of the Deadlight	0
Introduction: The Anthropos in the Room – Beckett and the Anthropocene	0
Beckett's Room by Dead Centre: Beckettian Grafting in a Brown Canon	0
Editorial	0
Samuel Beckett and Translation, ed. José Francisco Fernández and Mar Garre Garcia, and Translating Samuel Beckett around the World, ed. José Francisco Fernández and Pascale Sardin	0
On Sade’s Sovereign Excess: Beckett Translating Blanchot and Bataille	0
A ‘Classic’ Revisited: May B, Compagnie Maguy Marin	0
James Little, Samuel Beckett in Confinement: The Politics of Closed Space	0
Back matter	0
Back matter	0
Toward a Politics of Vocal Expression: Beckett and Video Art	0
Notes on Contributors	0
Samuel Beckett’s Guidance on The Unnamable	0
Waiting for Godot in London, directed by James Macdonald	0
‘Consequences of this Climate’: Disabling Environmental Effects in Beckett's Late Work	0
Sade and the Problem of Evil	0
Introduction: Beckett’s Women Contemporaries	0
Front matter	0
Giacometti/Beckett: Rater encore. Rater mieux (Alberto Giacometti/Samuel Beckett: Fail again. Fail better)	0
‘I do, I undo, I redo’: Louise Bourgeois and Samuel Beckett	0
Embodied Pain and Disability Performance	0
Film, Vidéo, High Definition: Beckett Re-visioned through Rogosin, Lipman, Douglas and Friedkin	0
Vaguening Revenge: Beckett, Marston, and All That Fall	0
Happy Days in Porto, directed by Niall Henry, Blue Raincoat Theatre Company	0
Sade and the Sovereign Man	0
Happy Days, directed by Trevor Nunn	0
On Writing a Translator's Biography: Bringing Barbara Bray out of the Archives	0
Beckett and the Aesthetics of Black Inexpression	0
Notes on Contributors	0
Back matter	0
Unfathered Connections: Samuel Beckett and Djuna Barnes	0
Front matter	0
No Trace Anywhere of Life, Perhaps: Autology and Hauntology in Imagination Dead Imagine	0
How It Was in Silling: Comment c’est and Les 120 journées de Sodome – An Intertextual Case Study	0
We Wrote to Samuel Beckett	0
Introduction to the Dialogue entre un Prêtre et un Moribond	0
‘In Extremissimus’: The Dynamics of Rectification in Beckett's Malone Dies	0
Gare St Lazare Ireland’s Shades Through a Shade in Dublin, directed by Judy Hegarty Lovett	0
Andy Wimbush, Still: Samuel Beckett’s Quietism	0
Editorial	0
Front matter	0
Attunement Space and Eco-Deconstruction in Malone Dies	0
Waiting for Godot 2.0, online, directed by Chong Wang	0
Duras and Beckett: Close Encounters at a Distance	0
Barbara Bray and Samuel Beckett as ‘Translaborators’: The Beckett – Duras – Bray Connection	0
Beckett's afterlives, ed. Jonathan Bignell, Anna McMullan and Pim Verhulst	0
Editorial	0
Beckett sa Chreig: Laethanta Sona. Beckett in the Rock: Happy Days, directed by Sarah Jane Scaife (Company SJ & The Abbey Theatre Dublin)	0

‘Repeat play’: Musical Minimalism in the Processes of Samuel Beckett’s Late Drama	0
Front matter	0
Back matter	0
‘A kind of scanner’: Tracking the Work of the Forensic in John Gerrard's Bone Work (Gulf of Mexico)	0
Introduction The Lost Volume of Transition: Beckett, Duthuit, Sade	0
Influencing Beckett / Beckett Influencing, ed. Anita Rákóczy, Mariko Hori Tanaka and Nicholas E. Johnson	0
Suzanne: Fragments of Memories	0
‘The sounds that reach me’: On Deafness as Interface inThe Unnamable	0
Samuel Beckett and Technology, ed. Galina Kiryushina, Einat Adar and Mark Nixon	0
Happy Days International Beckett Festival	0
Notes on Contributors	0
Notes on Contributors	0
‘Viewless Forms’/ Form-of-Life: Death, Story and Poiēsis in Texts for Nothing	0
Back matter	0
Maria Irene Fornes and Samuel Beckett: ‘Different and the Same’	0
Pan Pan Theatre Company’s Endgame, directed by Gavin Quinn	0
Beckett's Counter-Anthropocentric Worlds: Dismantling Dominion	0
Editorial	0
Waiting for Godot in Porto, directed by Gábor Tompa	0
Some Recently Disovered Letters of Sade	0
‘The Young Fellow of Trinity College’: Beckett, Berkeley, and the Genesis of Murphy	0
Front matter	0
Back matter	0
From Residua to Offal: Beckett’s Counter-Anthropocene(s)	0
Front matter	0
Back matter	0