| Titre | Beckett politique ? | |
|---|---|---|
| Auteur | Terry Eagleton | |
 |
Revue | Actuel Marx |
| Numéro | no 45, avril 2009 Arts et politiques | |
| Page | 80-87 | |
| Résumé anglais |
Political Beckett?
In September 1941, one of the twentieth century's most apparently non-political artists secretly
took up arms against fascism. Samuel Beckett, who with exquisite timing for a notorious pessimist
was born on Good Friday (and Friday the 13th) 1906, had been living in Paris since 1937, self-exiled from his native country in the manner of many an eminent Irish writer. The Irish, unlike
their erstwhile colonial proprietors, have always been a cosmopolitan nation, from the nomadic
monks of the Middle Ages to the corporate executives of the Celtic Tiger. If the oppressiveness of
colonial rule turned some of them into nationalists, it turned others into citizens of the world.
Joyce, Synge, Beckett and Thomas MacGreevy, men already caught between two or three cultures
and languages, were to flourish in the rootless, polyglot, ambience of high-modernist Europe,
rather as half a century later their compatriots were to embrace the European Union. It helped, in
signing up to a linguistically self-conscious modernism, to stem from a nation in which language,
as a political minefield, could never be taken for granted. Source : Éditeur (via Cairn.info) |
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| Article en ligne | http://www.cairn.info/article.php?ID_ARTICLE=AMX_045_0080 |
