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 2022-06-01 to 2026-06-01.)

Article	Citations
Angela Moorjani, Beckett and Buddhism	4
Editorial	3
Editorial	2
Editorial	1
Exhausted Senses: Between the Eye and the Ear in ‘Long Observation of the Ray’ and ‘The Voice/Verbatim’	1
‘to hesitate to die to death’: Reading Augustine and the After-life in Echo’s Bones	1
‘Learn by heart’: Beckett’s Schoolboy Copy of Shakespeare’s Macbeth	1
Editorial	1
Front matter	1
‘Vicissitudes and Peripeteias’: The Proliferating Afterlives of Comment c’est / How It Is	1
Performance Events at the Beckett at Reading 50^th Anniversary, University of Reading	1
Back matter	1
Daniela Caselli, Insufferable: Beckett, Gender, and Sexuality	0
Notes on Contributors	0
Toward a Politics of Vocal Expression: Beckett and Video Art	0
Notes on Contributors	0
‘Consequences of this Climate’: Disabling Environmental Effects in Beckett's Late Work	0
Barbara Bray and Samuel Beckett as ‘Translaborators’: The Beckett – Duras – Bray Connection	0
Joel Smith's Ante Beckett in Sligo , directed by John Carty and produced by Exit Does Theatre	0
Back matter	0
Front matter	0
Introduction: The Anthropos in the Room – Beckett and the Anthropocene	0
Suzanne: Fragments of Memories	0
‘Repeat play’: Musical Minimalism in the Processes of Samuel Beckett’s Late Drama	0
Peering out of the Deadlight	0

Corey Wakeling's Beckett’s Laboratory: Experiments in the Theatre Enclosure	0
Beckett's Room by Dead Centre: Beckettian Grafting in a Brown Canon	0
Michael Coffey's Beckett's Children	0
Notes on Contributors	0
‘The sounds that reach me’: On Deafness as Interface inThe Unnamable	0
Waiting with Beckett in the Anthropocene	0
Notes on Contributors	0
The Travails of Barbara Bray	0
Back matter	0
Unpacking Beckett's Library	0
A ‘Classic’ Revisited: May B, Compagnie Maguy Marin	0
We Wrote to Samuel Beckett	0
Back matter	0
Beckett's Counter-Anthropocentric Worlds: Dismantling Dominion	0
From Residua to Offal: Beckett’s Counter-Anthropocene(s)	0
Before Play, With Play, After Play: The Shaping of ‘formal integrity’ in the Early Drafts of Play	0
Notes on Contributors	0
Beckett Above in Shanghai, directed by Stan Lai	0
Unfathered Connections: Samuel Beckett and Djuna Barnes	0
Happy Days, directed by Trevor Nunn	0
Waiting for Godot 2.0, online, directed by Chong Wang	0
Samuel Beckett’s Guidance on The Unnamable	0
Breath <Message Dial ver.> in Cologne, created by Yuta Hagiwara	0
Back matter	0
Not I in Edinburgh	0
Poetry’s Beckett	0
‘I do, I undo, I redo’: Louise Bourgeois and Samuel Beckett	0
Embodied Pain and Disability Performance	0
Introduction: Beckett and Contemporary Aesthetic Form	0
Happy Days International Beckett Festival	0
‘my most … unshatterable association’: Memories of the pre-Socratic ‘thing‘ in Krapp's Last Tape	0
Back matter	0
‘The Young Fellow of Trinity College’: Beckett, Berkeley, and the Genesis of Murphy	0
Zweispringerspott : the Chess Game in Murphy Adjudicated	0
Beckett and the Aesthetics of Black Inexpression	0
Seeing Barbara Bray: Marek Kędzierski on Barbara Bray – Barbara Bray on Samuel Beckett	0
Giacometti/Beckett: Rater encore. Rater mieux (Alberto Giacometti/Samuel Beckett: Fail again. Fail better)	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
‘Pfft’: Samuel Beckett and the Ecology of Breathing in the Anthropocene	0
Notes on Contributors	0
Front matter	0
Gare St Lazare Ireland’s Shades Through a Shade in Dublin, directed by Judy Hegarty Lovett	0
‘In Extremissimus’: The Dynamics of Rectification in Beckett's Malone Dies	0
‘Oh My Godot!’ Happy Days Enniskillen International Beckett Festival & Arts Over Borders Ireland, Enniskillen, Co. Fermanagh, Northern Ireland	0
Editorial	0
Andy Wimbush, Still: Samuel Beckett’s Quietism	0
Steven Matthews' Beckett and Cioran	0
Attunement Space and Eco-Deconstruction in Malone Dies	0
Waiting for Godot in Porto, directed by Gábor Tompa	0

Back matter	0
Editorial	0
Insha ka Intezaar in Karachi, directed by Anwer Jafri	0
Vaguening Revenge: Beckett, Marston, and All That Fall	0
Film, Vidéo, High Definition: Beckett Re-visioned through Rogosin, Lipman, Douglas and Friedkin	0
An Interview with Helfrid Foron	0
Beckett's afterlives, ed. Jonathan Bignell, Anna McMullan and Pim Verhulst	0
Notes on Contributors	0
‘A kind of scanner’: Tracking the Work of the Forensic in John Gerrard's Bone Work (Gulf of Mexico)	0
On Writing a Translator's Biography: Bringing Barbara Bray out of the Archives	0
Impure Naiveté: On Beckett’s Backward Modernism	0
Notes on Contributors	0
Introduction: Beckett’s Women Contemporaries	0
Editorial	0
Front matter	0
Front matter	0
Happy Days in Porto, directed by Niall Henry, Blue Raincoat Theatre Company	0
Anita Rákóczy, Samuel Beckett's Endgame and Hungarian Opening Gambits	0
Front matter	0
No Trace Anywhere of Life, Perhaps: Autology and Hauntology in Imagination Dead Imagine	0
Krapp's Last Tape , performed, directed and designed by Gary Oldman, York Theatre Royal	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
Maria Irene Fornes and Samuel Beckett: ‘Different and the Same’	0
Waiting for Godot in London, directed by James Macdonald	0
James Little, Samuel Beckett in Confinement: The Politics of Closed Space	0
Duras and Beckett: Close Encounters at a Distance	0
Front matter	0
Front matter	0
Back matter	0
Samuel Beckett and Technology, ed. Galina Kiryushina, Einat Adar and Mark Nixon	0