Journal of Beckett Studies

(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 2020-06-01 to 2024-06-01.)
Samuel Beckett and Disability Performance4
Introduction The Lost Volume of Transition: Beckett, Duthuit, Sade2
Vice is Perhaps the Heart of Man2
Beckett, Rough for Theatre II and Endgame2
‘To have been always what I am – and so changed from what I was’: Beckett's Female Subject Formation and the Problem of Becoming1
Beckett's Present Moments1
Sade and the Sovereign Man1
‘Of her tenacious trace’: Samuel Beckett and Contemporary Art1
Seeing Barbara Bray: Marek Kędzierski on Barbara Bray – Barbara Bray on Samuel Beckett1
Introduction: Beckett’s Women Contemporaries1
The Marquis of Sade and the Novel of Gloom1
Concluding Paragraph of the Marquis of Sade’s Last Will and Testament1
How It Was in Silling: Comment c’est and Les 120 journées de Sodome – An Intertextual Case Study1
Happy Days, directed by Trevor Nunn1
Technostalgia, Nationalism, and the Extended Mind inKrapp's Last Tape0
Performance Events at the Beckett at Reading 50th Anniversary, University of Reading0
Before Play, With Play, After Play: The Shaping of ‘formal integrity’ in the Early Drafts of Play0
Narrative Disorientation and Beckett's Bureaucratic Space0
Front matter0
Joshua Powell, Samuel Beckett and Experimental Psychology: Perception, Attention, Imagery0
The Aged Radio Body: Corporeality and Old Age in Beckett'sAll That Fall0
Beckett sa Chreig: Laethanta Sona. Beckett in the Rock: Happy Days, directed by Sarah Jane Scaife (Company SJ & The Abbey Theatre Dublin)0
Front matter0
Pan Pan Theatre Company’s Endgame, directed by Gavin Quinn0
Happy Days International Beckett Festival0
Sade and the Problem of Evil0
Andy Wimbush, Still: Samuel Beckett’s Quietism0
‘The Young Fellow of Trinity College’: Beckett, Berkeley, and the Genesis of Murphy0
‘I use the words you taught me’: Beckett and Political Repetition0
‘to hesitate to die to death’: Reading Augustine and the After-life in Echo’s Bones0
An Interview with Professor John Oulton Wisdom0
Notes on Contributors0
Unfathered Connections: Samuel Beckett and Djuna Barnes0
No Trace Anywhere of Life, Perhaps: Autology and Hauntology in Imagination Dead Imagine0
From ‘Sourcing Aporetics’ to a Genealogy of Beckett's ‘Logoclasm’: A Review Essay of Samuel Beckett's ‘Philosophy Notes’, ed. Steven Matthews and Matthew Feldman0
Anita Rákóczy, Samuel Beckett's Endgame and Hungarian Opening Gambits0
Back matter0
Corey Wakeling's Beckett’s Laboratory: Experiments in the Theatre Enclosure0
Front matter0
Barbara Bray and Samuel Beckett as ‘Translaborators’: The Beckett – Duras – Bray Connection0
Notes on Contributors0
Michael Coffey,Samuel Beckett is Closed0
‘I do, I undo, I redo’: Louise Bourgeois and Samuel Beckett0
‘Viewless Forms’/ Form-of-Life: Death, Story and Poiēsis in Texts for Nothing0
Notes on Contributors0
At Home with Beckettians (Notes from the Lockdown)0
Some Recently Disovered Letters of Sade0
Duras and Beckett: Close Encounters at a Distance0
Influencing Beckett / Beckett Influencing, ed. Anita Rákóczy, Mariko Hori Tanaka and Nicholas E. Johnson0
Jonathan Boulter, Posthuman Space in Samuel Beckett's Short Prose0
Waiting for Godot in Porto, directed by Gábor Tompa0
An Interview with Lily Condell0
Giacometti/Beckett: Rater encore. Rater mieux (Alberto Giacometti/Samuel Beckett: Fail again. Fail better)0
Front matter0
Notes on Contributors0
Back matter0
David Kleinberg-Levin, Beckett’s Words: The Promise of Happiness in a Time of Mourning0
Happy Days in Porto, directed by Niall Henry, Blue Raincoat Theatre Company0
Samuel Beckett's The North0
Beckett in the Opera Realm: An Interview with Pierre Audi0
‘Till the whisper…You know…When you can't hear the words’: Narrated Memory and the ‘Fragmented’ Body in Samuel Beckett's Late Drama0
Back matter0
Trish McTighe reviewsBeckett and Trauma, ed. Mariko Hori Tanaka, Yoshiki Tajiri, and Michiko Tsushima0
Beckett, First Love, directed by JoAnne Akalaitis0
‘The sounds that reach me’: On Deafness as Interface inThe Unnamable0
Notes on Contributors0
‘lips move, uttering inaudibly’: The Female Voice in Samuel Beckett's…but the clouds …0
Beckett, Waiting for Godot0
Angela Moorjani, Beckett and Buddhism0
James Little, Samuel Beckett in Confinement: The Politics of Closed Space0
Beckett's Broken Circle: A Literary Fractal0
Back matter0
James McNaughton, Samuel Beckett and the Politics of Aftermath0
An Interview with Tim Parkinson0
Notes on Contributors0
Introduction to the Dialogue entre un Prêtre et un Moribond0
Back matter0
Endgame for Our Times? A Virtual Roundtable on Beckett, Celebrity, & Crisis0
Synecdoche's Obloquy: Beckett and the Performance of Indecency0
Front matter0
Exhausted Senses: Between the Eye and the Ear in ‘Long Observation of the Ray’ and ‘The Voice/Verbatim’0
On Sade’s Sovereign Excess: Beckett Translating Blanchot and Bataille0
Back matter0
A ‘Classic’ Revisited: May B, Compagnie Maguy Marin0
Beckett’s Early Image of Sade: Dream of Fair to middling Women, More Pricks Than Kicks, and Sadism0
Samuel Beckett and Technology, ed. Galina Kiryushina, Einat Adar and Mark Nixon0
Samuel Beckett’s Guidance on The Unnamable0
Back matter0
The Death of Moran's Bees: Beckett and Adorno on the Dialectic of Subject and Object0
Front matter0
We Wrote to Samuel Beckett0
Notes on Contributors0
‘Learn by heart’: Beckett’s Schoolboy Copy of Shakespeare’s Macbeth0
Introduction: Beckett in the Contemporary Political Moment0
Front matter0
Maria Irene Fornes and Samuel Beckett: ‘Different and the Same’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 Sardin0