Samuel Beckett's work is deeply concerned with physical contact - remembered, half-remembered, or imagined. Applying the philosophical writings of Jean-Luc Nancy and Maurice Merleau-Ponty that feature sensation, this study examines how Beckett's later work dramatizes moments of contact between self and self, self and world, and self and other.

Autorentext
Trish McTighe is a teaching assistant in the department of Drama Studies in the School of Creative Arts at Queen s University Belfast.

Inhalt
Introduction: Haptics, Aesthetics, Philosophy 1. Eye: Failing, Myopic, Grainy 2. Ear: Full of Relentless Echoes 3. Mouth: Trying to Tell it All, Failing 4. Skin, Space, Place 5. On the One Hand . . . (The One that Writes the Body) 6. On the Other Hand . . . (The One that Refuses to Touch) Conclusion: Departing Bodies, Between Doubting Thomas and Noli me Tangere ?