Pripovijedanje i prostor u romanima Samuela Becketta

master's thesis

• Title (english): Narration and Space in Samuel Beckett's Novels
• Author: Antonija Novaković
• Mentor: Luka Bekavac (mentor)
• Committee member: Maša Grdešić (predsjednik povjerenstva)
• Committee member: Branislav Oblučar (član povjerenstva)
• Committee member: Luka Bekavac (član povjerenstva)
• Granter: University of Zagreb; Faculty of Humanities and Social Sciences; (Department of Comparative literature); Zagreb
• Defense date and country: 2022-10-14, Croatia
• Scientific / art field, discipline and subdiscipline: HUMANISTIC SCIENCES; Philology; Theory and History of Literature

Abstract

Proza Samuela Becketta isprva je shvaćena kao prikaz egzistencijalističke problematike apsurda i besmisla postojanja, a potom u vidu strukturalizma i naratologije 1960-ih godina počinje se shvaćati kao iscrpni naratološki eksperiment sa formalnim značajkama pripovjednog teksta. Ovaj rad posvećen je Beckettovoj trilogiji romana: Molloy, Malone umire i Neimenjivi, a usput se osvrće i na Beckettovu kratku prozu istoga razdoblja stvaralaštva koja dijeli iste pripovjedne značajke. Baveći se pripovjedačem i njegovom pozicijom na pripovjednim razinama, prostorom i vremenom teksta te pitanjem subjektiviteta od tjelesnosti do pripovjednog glasa, Beckett postepeno razvija pripovjednu problematiku u svakom sljedećem romanu trilogije i na taj način pokazuje sve radikalnije pripovjedne mogućnosti književnog teksta. Rad je podijeljen na tri dijela, baveći se svakim romanom trilogije po redu. Prvi dio rada posvećen je romanu Molloy koji kroz pozicije dvaju nepouzdanih pripovjedača otvara problematiku preklapanja pripovjednih razina, a specifičnom strukturom romana i prostorno-vremenskom neodređenošću uvodi čitatelja u igru naratološkim odrednicama pripovjedne proze u sljedećim romanima. Drugi roman Malone umire strukturiran je tehnikom priče u priči, a naglašena fikcionalnost narativa omogućuje radikalniji pristup pripovjednim elementima književnog teksta. Prostorna ograničenost pripovjedača, materijalnost pripovijednog svijeta te postepena redukcija instancije pripovjedača od tijela prema glasu dovodi do vrhunca naratološkog eksperimenta u trećem romanu Neimenjivi. Napisan u obliku kontinuiranog unutarnjeg monologa posljednji roman opisuje apstraktni prostor pripovjednog glasa bez identiteta, otkrivajući ogoljenu strukturu pripovjednog teksta sastavljenog isključivo od pripovjednih elemenata i pisane riječi ostvarene bestjelesnim pripovjednim glasom, a njegov prostor obuhvaća sve prethodne romane trilogije te ujedno i cijeli Beckettov dotadašnji opus.

Abstract (english)

Samuel Beckett's prose was initially understood as a presentation of the existentialist problem of absurdity and meaninglessness of existence, and then, in the form of structuralism and narratology in the 1960s, it began to be understood as an exhaustive narratological experiment with the formal features of a narrative text. This work is dedicated to Beckett's trilogy of novels: Molloy, Malone Dies and The Unnameable and along the way looks at Beckett's short prose of the same creative period which shares the same narrative features. Dealing with the narrator and his position in narrative levels, the space and time of the text and the question of subjectivity from corporeality to the narrative voice, Beckett gradually develops the narrative problematic in each subsequent novel of the trilogy and in this way shows the increasingly radical narrative possibilities of the literary text. The work is divided into three parts, dealing with each novel of the trilogy in turn. The first part of the paper is dedicated to the novel Molloy, which through the positions of two unreliable narrators opens up the issue of overlapping narrative levels and with the novel's specific structure and spatio-temporal indeterminacy introduces the reader to the game of narratological determinants of narrative prose in the following novels. The second novel Malone Dies is structured using the story-within-a-story technique and the emphasized fictionality of the narrative enables a more radical approach to the narrative elements of the literary text. The spatial limitation of the narrator, the materiality of the narrative world, and the gradual reduction of the narrator's instantiation from the body to the voice lead to the climax of the narratological experiment in the third novel The Unnamable. Written in the form of a continuous internal monologue the last novel describes the abstract space of a narrative voice without identity, revealing the stripped-down structure of a narrative text composed exclusively of narrative elements and written words realized by a disembodied narrative voice and its space includes all the previous novels of the trilogy and, at the same time, Beckett's entire oeuvre to date.

• Keywords: Samuel Beckett; proza; roman; naratologija; pripovjedač; nepouzdani pripovjedač; pripovjedne razine; prostor teksta; vrijeme teksta; tjelesnost; materijalnost teksta; zapisivanje; subjektivitet; monolog; pripovjedni glas
• Keywords (english): Samuel Beckett; prose; novel; narratology; narrator; unreliable narrator; narrative levels; text space; text time; corporeality; text materiality; writing; subjectivity; monologue; narrative voice
• Language: croatian
• URN:NBN: urn:nbn:hr:131:939758
• Study programme: Title: Comparative Literature; Study programme type: university; Study level: graduate; Academic / professional title: magistar/magistra komparativne književnosti (magistar/magistra komparativne književnosti)
• Type of resource: Text
• File origin: Born digital
• Access conditions: Open access
• Created on: 2022-10-20 13:08:48