OOIR: Observatory of International Research

Papers

(The TQCC 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 2020-05-01 to 2024-05-01.)

Article	Citations
Samuel Beckett and Disability Performance	4
Vice is Perhaps the Heart of Man	2
Beckett, Rough for Theatre II and Endgame	2
Introduction The Lost Volume of Transition: Beckett, Duthuit, Sade	2
The Marquis of Sade and the Novel of Gloom	1
Concluding Paragraph of the Marquis of Sade’s Last Will and Testament	1
‘To have been always what I am – and so changed from what I was’: Beckett's Female Subject Formation and the Problem of Becoming	1
Happy Days, directed by Trevor Nunn	1
Seeing Barbara Bray: Marek Kędzierski on Barbara Bray – Barbara Bray on Samuel Beckett	1
Beckett's Present Moments	1
Sade and the Sovereign Man	1
‘Of her tenacious trace’: Samuel Beckett and Contemporary Art	1
How It Was in Silling: Comment c’est and Les 120 journées de Sodome – An Intertextual Case Study	1
Introduction: Beckett’s Women Contemporaries	1
Notes on Contributors	0
‘The Young Fellow of Trinity College’: Beckett, Berkeley, and the Genesis of Murphy	0
Beckett, First Love, directed by JoAnne Akalaitis	0
Front matter	0
Notes on Contributors	0
#failbetter	0
An Interview with Professor John Oulton Wisdom	0
Editorial	0
Beckett, Waiting for Godot	0
Samuel Beckett’s Guidance on The Unnamable	0
Front matter	0

Angela Moorjani, Beckett and Buddhism	0
Front matter	0
James Little, Samuel Beckett in Confinement: The Politics of Closed Space	0
Beckett's Broken Circle: A Literary Fractal	0
James McNaughton, Samuel Beckett and the Politics of Aftermath	0
Happy Days International Beckett Festival	0
Back matter	0
Notes on Contributors	0
At Home with Beckettians (Notes from the Lockdown)	0
Endgame for Our Times? A Virtual Roundtable on Beckett, Celebrity, & Crisis	0
Influencing Beckett / Beckett Influencing, ed. Anita Rákóczy, Mariko Hori Tanaka and Nicholas E. Johnson	0
On Sade’s Sovereign Excess: Beckett Translating Blanchot and Bataille	0
Synecdoche's Obloquy: Beckett and the Performance of Indecency	0
Beckett’s Early Image of Sade: Dream of Fair to middling Women, More Pricks Than Kicks, and Sadism	0
Back matter	0
Back matter	0
‘to hesitate to die to death’: Reading Augustine and the After-life in Echo’s Bones	0
We Wrote to Samuel Beckett	0
A ‘Classic’ Revisited: May B, Compagnie Maguy Marin	0
Unfathered Connections: Samuel Beckett and Djuna Barnes	0
Duras and Beckett: Close Encounters at a Distance	0
‘lips move, uttering inaudibly’: The Female Voice in Samuel Beckett's…but the clouds …	0
‘Learn by heart’: Beckett’s Schoolboy Copy of Shakespeare’s Macbeth	0
Introduction to the Dialogue entre un Prêtre et un Moribond	0
Back matter	0
Introduction: Beckett in the Contemporary Political Moment	0
The Aged Radio Body: Corporeality and Old Age in Beckett'sAll That Fall	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
Maria Irene Fornes and Samuel Beckett: ‘Different and the Same’	0
No Trace Anywhere of Life, Perhaps: Autology and Hauntology in Imagination Dead Imagine	0
‘I do, I undo, I redo’: Louise Bourgeois and Samuel Beckett	0
Technostalgia, Nationalism, and the Extended Mind inKrapp's Last Tape	0
Anita Rákóczy, Samuel Beckett's Endgame and Hungarian Opening Gambits	0
Narrative Disorientation and Beckett's Bureaucratic Space	0
Performance Events at the Beckett at Reading 50^th Anniversary, University of Reading	0
Before Play, With Play, After Play: The Shaping of ‘formal integrity’ in the Early Drafts of Play	0
Editorial	0
Giacometti/Beckett: Rater encore. Rater mieux (Alberto Giacometti/Samuel Beckett: Fail again. Fail better)	0
Joshua Powell, Samuel Beckett and Experimental Psychology: Perception, Attention, Imagery	0
Front matter	0
An Interview with Tim Parkinson	0
Sade and the Problem of Evil	0
‘I use the words you taught me’: Beckett and Political Repetition	0
Editorial	0
Andy Wimbush, Still: Samuel Beckett’s Quietism	0
Notes on Contributors	0
‘Till the whisper…You know…When you can't hear the words’: Narrated Memory and the ‘Fragmented’ Body in Samuel Beckett's Late Drama	0
From ‘Sourcing Aporetics’ to a Genealogy of Beckett's ‘Logoclasm’: A Review Essay of Samuel Beckett's ‘Philosophy Notes’, ed. Steven Matthews and Matthew Feldman	0
Happy Days in Porto, directed by Niall Henry, Blue Raincoat Theatre Company	0
Editorial	0

Back matter	0
Editorial	0
An Interview with Lily Condell	0
Front matter	0
Corey Wakeling's Beckett’s Laboratory: Experiments in the Theatre Enclosure	0
Pan Pan Theatre Company’s Endgame, directed by Gavin Quinn	0
Front matter	0
Editorial	0
Samuel Beckett's The North	0
Notes on Contributors	0
Barbara Bray and Samuel Beckett as ‘Translaborators’: The Beckett – Duras – Bray Connection	0
Back matter	0
Editorial	0
Michael Coffey,Samuel Beckett is Closed	0
‘The sounds that reach me’: On Deafness as Interface inThe Unnamable	0
Notes on Contributors	0
Back matter	0
‘Viewless Forms’/ Form-of-Life: Death, Story and Poiēsis in Texts for Nothing	0
Some Recently Disovered Letters of Sade	0
Exhausted Senses: Between the Eye and the Ear in ‘Long Observation of the Ray’ and ‘The Voice/Verbatim’	0
Jonathan Boulter, Posthuman Space in Samuel Beckett's Short Prose	0
Beckett sa Chreig: Laethanta Sona. Beckett in the Rock: Happy Days, directed by Sarah Jane Scaife (Company SJ & The Abbey Theatre Dublin)	0
Front matter	0
Waiting for Godot in Porto, directed by Gábor Tompa	0
David Kleinberg-Levin, Beckett’s Words: The Promise of Happiness in a Time of Mourning	0
Notes on Contributors	0
Beckett in the Opera Realm: An Interview with Pierre Audi	0
The Death of Moran's Bees: Beckett and Adorno on the Dialectic of Subject and Object	0
Trish McTighe reviewsBeckett and Trauma, ed. Mariko Hori Tanaka, Yoshiki Tajiri, and Michiko Tsushima	0
Samuel Beckett and Technology, ed. Galina Kiryushina, Einat Adar and Mark Nixon	0