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 2021-12-01 to 2025-12-01.)

Article	Citations
Editorial	2
Angela Moorjani, Beckett and Buddhism	2
Editorial	2
Exhausted Senses: Between the Eye and the Ear in ‘Long Observation of the Ray’ and ‘The Voice/Verbatim’	1
Back matter	1
Notes on Contributors	1
Performance Events at the Beckett at Reading 50^th Anniversary, University of Reading	1
‘Vicissitudes and Peripeteias’: The Proliferating Afterlives of Comment c’est / How It Is	1
Seeing Barbara Bray: Marek Kędzierski on Barbara Bray – Barbara Bray on Samuel Beckett	1
Notes on Contributors	1
Editorial	1
Beckett’s Early Image of Sade: Dream of Fair to middling Women, More Pricks Than Kicks, and Sadism	1
Editorial	1
Front matter	1
‘to hesitate to die to death’: Reading Augustine and the After-life in Echo’s Bones	1
Vice is Perhaps the Heart of Man	1
‘Learn by heart’: Beckett’s Schoolboy Copy of Shakespeare’s Macbeth	1
Back matter	0
Notes on Contributors	0
‘The Young Fellow of Trinity College’: Beckett, Berkeley, and the Genesis of Murphy	0
Beckett's Room by Dead Centre: Beckettian Grafting in a Brown Canon	0
From Residua to Offal: Beckett’s Counter-Anthropocene(s)	0
Vaguening Revenge: Beckett, Marston, and All That Fall	0
Front matter	0
Sade and the Sovereign Man	0

Beckett's afterlives, ed. Jonathan Bignell, Anna McMullan and Pim Verhulst	0
Barbara Bray and Samuel Beckett as ‘Translaborators’: The Beckett – Duras – Bray Connection	0
On Writing a Translator's Biography: Bringing Barbara Bray out of the Archives	0
Impure Naiveté: On Beckett’s Backward Modernism	0
Beckett sa Chreig: Laethanta Sona. Beckett in the Rock: Happy Days, directed by Sarah Jane Scaife (Company SJ & The Abbey Theatre Dublin)	0
Happy Days International Beckett Festival	0
Notes on Contributors	0
Film, Vidéo, High Definition: Beckett Re-visioned through Rogosin, Lipman, Douglas and Friedkin	0
Zweispringerspott : the Chess Game in Murphy Adjudicated	0
Introduction: Beckett and Contemporary Aesthetic Form	0
Toward a Politics of Vocal Expression: Beckett and Video Art	0
No Trace Anywhere of Life, Perhaps: Autology and Hauntology in Imagination Dead Imagine	0
Joel Smith's Ante Beckett in Sligo , directed by John Carty and produced by Exit Does Theatre	0
Happy Days, directed by Trevor Nunn	0
Introduction The Lost Volume of Transition: Beckett, Duthuit, Sade	0
Krapp's Last Tape , performed, directed and designed by Gary Oldman, York Theatre Royal	0
Notes on Contributors	0
Michael Coffey's Beckett's Children	0
On Sade’s Sovereign Excess: Beckett Translating Blanchot and Bataille	0
A ‘Classic’ Revisited: May B, Compagnie Maguy Marin	0
Unfathered Connections: Samuel Beckett and Djuna Barnes	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
Anita Rákóczy, Samuel Beckett's Endgame and Hungarian Opening Gambits	0
Andy Wimbush, Still: Samuel Beckett’s Quietism	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
Waiting for Godot in Porto, directed by Gábor Tompa	0
‘Consequences of this Climate’: Disabling Environmental Effects in Beckett's Late Work	0
‘Oh My Godot!’ Happy Days Enniskillen International Beckett Festival & Arts Over Borders Ireland, Enniskillen, Co. Fermanagh, Northern Ireland	0
Front matter	0
Beckett's Counter-Anthropocentric Worlds: Dismantling Dominion	0
Back matter	0
Front matter	0
Embodied Pain and Disability Performance	0
Back matter	0
Front matter	0
Suzanne: Fragments of Memories	0
‘Repeat play’: Musical Minimalism in the Processes of Samuel Beckett’s Late Drama	0
Notes on Contributors	0
Editorial	0
Insha ka Intezaar in Karachi, directed by Anwer Jafri	0
Front matter	0
Concluding Paragraph of the Marquis of Sade’s Last Will and Testament	0
How It Was in Silling: Comment c’est and Les 120 journées de Sodome – An Intertextual Case Study	0
The Marquis of Sade and the Novel of Gloom	0
Some Recently Disovered Letters of Sade	0
Editorial	0
Influencing Beckett / Beckett Influencing, ed. Anita Rákóczy, Mariko Hori Tanaka and Nicholas E. Johnson	0
Attunement Space and Eco-Deconstruction in Malone Dies	0
‘Pfft’: Samuel Beckett and the Ecology of Breathing in the Anthropocene	0

Notes on Contributors	0
Samuel Beckett and Technology, ed. Galina Kiryushina, Einat Adar and Mark Nixon	0
Happy Days in Porto, directed by Niall Henry, Blue Raincoat Theatre Company	0
Maria Irene Fornes and Samuel Beckett: ‘Different and the Same’	0
Introduction to the Dialogue entre un Prêtre et un Moribond	0
Back matter	0
Editorial	0
Waiting for Godot in London, directed by James Macdonald	0
Front matter	0
An Interview with Helfrid Foron	0
Front matter	0
Duras and Beckett: Close Encounters at a Distance	0
Waiting for Godot 2.0, online, directed by Chong Wang	0
Samuel Beckett’s Guidance on The Unnamable	0
Editorial	0
Introduction: Beckett’s Women Contemporaries	0
Sade and the Problem of Evil	0
Before Play, With Play, After Play: The Shaping of ‘formal integrity’ in the Early Drafts of Play	0
‘I do, I undo, I redo’: Louise Bourgeois and Samuel Beckett	0
Giacometti/Beckett: Rater encore. Rater mieux (Alberto Giacometti/Samuel Beckett: Fail again. Fail better)	0
David Kleinberg-Levin, Beckett’s Words: The Promise of Happiness in a Time of Mourning	0
‘my most … unshatterable association’: Memories of the pre-Socratic ‘thing‘ in Krapp's Last Tape	0
Peering out of the Deadlight	0
Back matter	0
Introduction: The Anthropos in the Room – Beckett and the Anthropocene	0
Back matter	0
Waiting with Beckett in the Anthropocene	0
Notes on Contributors	0
Corey Wakeling's Beckett’s Laboratory: Experiments in the Theatre Enclosure	0
‘The sounds that reach me’: On Deafness as Interface inThe Unnamable	0
Back matter	0
Poetry’s Beckett	0
Beckett and the Aesthetics of Black Inexpression	0
‘Viewless Forms’/ Form-of-Life: Death, Story and Poiēsis in Texts for Nothing	0
From Godot to Mabrouk: Beckett on the Moroccan Stage	0
‘A kind of scanner’: Tracking the Work of the Forensic in John Gerrard's Bone Work (Gulf of Mexico)	0
We Wrote to Samuel Beckett	0
Pan Pan Theatre Company’s Endgame, directed by Gavin Quinn	0
Steven Matthews' Beckett and Cioran	0
James Little, Samuel Beckett in Confinement: The Politics of Closed Space	0