This is the first study in English on the literary relation between Beckett and Dante. It is a clear and innovative reading of Samuel Beckett and Dante's works and a critical engagement with contemporary theories of intertextuality. Caselli gives an original intertextual reading of Beckett's work, detecting previously unknown quotations, allusions to, and parodies of Dante in Beckett's fiction and criticism.

By examining Djuna Barnes' work, this title raises questions about biography and feminist criticism, identity and authority, and modernist canon formation. It shows how throughout Barnes' corpus the repetition of texts forces us to rethink the relationship

Beckett's Dantes: Intertextuality in the fiction and criticism is the first study in English on the literary relation between Beckett and Dante. It is an innovative reading of Samuel Beckett and Dante's works and a critical engagement with contemporary theories of intertextuality. It is an informative intertextual reading of Beckett's work, detecting previously unknown quotations, allusions to, and parodies of Dante in Beckett's fiction and criticism. The volume interprets Dante in the original Italian (as it appears in Beckett), translating into English all Italian quotations. It benefits...

Beckett and nothing invites its readership to understand the complex ways in which the Beckett canon both suggests and resists turning nothing into something by looking at specific, sometimes almost invisible ways in which 'little nothings' pervade the Beckett canon.
The volume has two main functions: on the one hand, it looks at 'nothing' not only as a content but also a set of rhetorical strategies: to reconsider afresh classic Beckett problems such as Irishness, silence, value, marginality, politics and the relationships between modernism and postmodernism and absence and presence. On...

Beckett's reception was characterised in its early stages by a sustained attention to nothing as a philosophical concept. Theodor Adorno, however, was quick to argue that Beckett's plays resisted - unlike Sartre's - having their nothing transformed into something. This Beckettian nothing, moreover, is often invested with the aura of the genius, either for eulogical or dismissive purposes. This volume invites its readership to understand the complex ways in which the Beckett canon both suggests and resists turning nothing into something by looking at specific, sometimes almost invisible ways...