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 2021-11-01 to 2025-11-01.)

Article	Citations
Editorial	2
Angela Moorjani, Beckett and Buddhism	2
Editorial	2
Vice is Perhaps the Heart of Man	1
Performance Events at the Beckett at Reading 50^th Anniversary, University of Reading	1
Seeing Barbara Bray: Marek Kędzierski on Barbara Bray – Barbara Bray on Samuel Beckett	1
Anita Rákóczy, Samuel Beckett's Endgame and Hungarian Opening Gambits	1
No Trace Anywhere of Life, Perhaps: Autology and Hauntology in Imagination Dead Imagine	1
Beckett’s Early Image of Sade: Dream of Fair to middling Women, More Pricks Than Kicks, and Sadism	1
Exhausted Senses: Between the Eye and the Ear in ‘Long Observation of the Ray’ and ‘The Voice/Verbatim’	1
Notes on Contributors	1
Concluding Paragraph of the Marquis of Sade’s Last Will and Testament	1
Notes on Contributors	1
‘Learn by heart’: Beckett’s Schoolboy Copy of Shakespeare’s Macbeth	1
Editorial	1
‘to hesitate to die to death’: Reading Augustine and the After-life in Echo’s Bones	1
Waiting with Beckett in the Anthropocene	1
Happy Days, directed by Trevor Nunn	0
On Writing a Translator's Biography: Bringing Barbara Bray out of the Archives	0
The Marquis of Sade and the Novel of Gloom	0
Michael Coffey's Beckett's Children	0
Back matter	0
Introduction The Lost Volume of Transition: Beckett, Duthuit, Sade	0
Notes on Contributors	0
Front matter	0

Unfathered Connections: Samuel Beckett and Djuna Barnes	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
Introduction to the Dialogue entre un Prêtre et un Moribond	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
Andy Wimbush, Still: Samuel Beckett’s Quietism	0
Happy Days International Beckett Festival	0
Front matter	0
Vaguening Revenge: Beckett, Marston, and All That Fall	0
Attunement Space and Eco-Deconstruction in Malone Dies	0
Duras and Beckett: Close Encounters at a Distance	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
Editorial	0
‘Repeat play’: Musical Minimalism in the Processes of Samuel Beckett’s Late Drama	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
‘A kind of scanner’: Tracking the Work of the Forensic in John Gerrard's Bone Work (Gulf of Mexico)	0
Back matter	0
Influencing Beckett / Beckett Influencing, ed. Anita Rákóczy, Mariko Hori Tanaka and Nicholas E. Johnson	0
Suzanne: Fragments of Memories	0
Beckett and the Aesthetics of Black Inexpression	0
Editorial	0
‘The sounds that reach me’: On Deafness as Interface inThe Unnamable	0
Samuel Beckett and Technology, ed. Galina Kiryushina, Einat Adar and Mark Nixon	0
How It Was in Silling: Comment c’est and Les 120 journées de Sodome – An Intertextual Case Study	0
Notes on Contributors	0
Back matter	0
‘Viewless Forms’/ Form-of-Life: Death, Story and Poiēsis in Texts for Nothing	0
Pan Pan Theatre Company’s Endgame, directed by Gavin Quinn	0
We Wrote to Samuel Beckett	0
Beckett's Counter-Anthropocentric Worlds: Dismantling Dominion	0
Notes on Contributors	0
Notes on Contributors	0
Some Recently Disovered Letters of Sade	0
‘The Young Fellow of Trinity College’: Beckett, Berkeley, and the Genesis of Murphy	0
Back matter	0
Film, Vidéo, High Definition: Beckett Re-visioned through Rogosin, Lipman, Douglas and Friedkin	0
From Residua to Offal: Beckett’s Counter-Anthropocene(s)	0
Back matter	0
Front matter	0
Sade and the Sovereign Man	0
Insha ka Intezaar in Karachi, directed by Anwer Jafri	0
Notes on Contributors	0
Corey Wakeling's Beckett’s Laboratory: Experiments in the Theatre Enclosure	0
Before Play, With Play, After Play: The Shaping of ‘formal integrity’ in the Early Drafts of Play	0
Introduction: Beckett and Contemporary Aesthetic Form	0
Front matter	0

Poetry’s Beckett	0
David Kleinberg-Levin, Beckett’s Words: The Promise of Happiness in a Time of Mourning	0
Happy Days in Porto, directed by Niall Henry, Blue Raincoat Theatre Company	0
Beckett's Room by Dead Centre: Beckettian Grafting in a Brown Canon	0
Peering out of the Deadlight	0
Introduction: The Anthropos in the Room – Beckett and the Anthropocene	0
Editorial	0
Editorial	0
A ‘Classic’ Revisited: May B, Compagnie Maguy Marin	0
On Sade’s Sovereign Excess: Beckett Translating Blanchot and Bataille	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
Back matter	0
Toward a Politics of Vocal Expression: Beckett and Video Art	0
Waiting for Godot in Porto, directed by Gábor Tompa	0
Back matter	0
Samuel Beckett’s Guidance on The Unnamable	0
‘Consequences of this Climate’: Disabling Environmental Effects in Beckett's Late Work	0
Introduction: Beckett’s Women Contemporaries	0
Sade and the Problem of Evil	0
Front matter	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
Embodied Pain and Disability Performance	0
Waiting for Godot 2.0, online, directed by Chong Wang	0
Front matter	0