Introduction

Graver, Lawrence – Federman, Raymond (eds.): Samuel Beckett: The Critical Heritage, London and New York, Routledge, 1999 [1979].

Juganaru, Rebecca: The Increasing Influence of the Word “Influencer,” Oxford Dictionaries, https://blog.oxforddictionaries.com/2018/05/09/the-increasing-influence-of-the-word-influencer/.

Kirschen, Robert M.: The Influences of and on Samuel Beckett, Journal of Modern Literature Vol. 31, No. 2 (2008), 143–148. DOI: https://doi.org/10.2979/JML.2008.31.2.143

Rákóczy, Anita: The Godots that Arrived in Hungary, Samuel Beckett Today / Aujourd’hui, Vol. 29, No. 2 (2017), 285–297. DOI: https://doi.org/10.1163/18757405-02902006

Teresa Rosell Nicolás: IN SEARCH OF LOST IMAGE

Ackerley, Chris: The Past in Monochrome: (In)voluntary Memory in Samuel Beckett’s Krapp’s Last Tape, in D. Guardamagna – R. M. Sebellin (eds.): The Tragic Comedy of Samuel Beckett. “Beckett in Rome” 17–19 April 2008, Università degli Studi di Roma «Tor Vergata» Gius. Laterza & Figgie, 2009, 277–291.

Albérès, René M.: Métamorphoses du roman, Paris, Éditions Albin Michel, 1972.

Beckett, Samuel: Proust, London, Chatto and Windus, 1931.

Beckett, Samuel: Proust in Pieces, in Ruby Cohn (ed.): Disjecta, New York, Grove, 1984, 63–65.

Beckett, Samuel: L’image, Paris, Les Éditions de Minuit, 1988.

Beckett, Samuel: The Image (trans. Edith Fournier), in S. E. Gontarski (ed.): The Complete Short Prose, 1929–1989, New York, Grove, 1995.

Beckett, Samuel: Krapp’s Last Tape, The Complete Dramatic Works, London, Faber and Faber, 1990, 213–223.

Beckett, Samuel: Three Novels, New York, Grove, 2009.

Caselli, Daniela: Beckett’s Dantes: Intertextuality in the Fiction and Criticism, Manchester, Manchester University, 2005.

Fehsenfeld, Martha D. – Overbeck, Lois M. (eds.): The Letters of Samuel Beckett, 1929–1940, Vol. 1, Cambridge, Cambridge University, 2009.

Godeau, Florence: Image première, image dernière, Marcel Proust, Europe, Revue littéraire mensuelle 1012–1013 (September 2013), 155–163.

Gontarski, S. E.: Beckett’s Happy Days: A Manuscript Study, Ohio, Ohio State University Libraries, 1977.

Harvey, Lawrence E.: Samuel Beckett: Poet and Critic, Princeton, Princeton University, 1970.

Kawashima, Takeshi: Conjunction of the Essential and the Incidental: Fragmentation and Juxtaposition; or Samuel Beckett’s Critical Writings in the 1930s, in A. Uhlmann – S. Houppermans – B. Clément (eds.): After Beckett / D’après Beckett, Samuel Beckett Today / Aujourd’hui 14 (2004), 471–473. DOI: https://doi.org/10.1163/18757405-90000205

Kenner, Hugh: Samuel Beckett: A Critical Study, New York, Grove, 1961.

Lee, Vera G.: Beckett on Proust, Romanic Review 69 (May 1978), 196–206.

Maude, Ulrika: Pavlov’s Dogs and Other Animals in Samuel Beckett, in M. Bryden (ed.): Beckett and Animals, Cambridge, Cambridge University, 2013, 82–93.

Pothast, Ulrich: The Metaphysical Vision. Arthur Schopenhauer’s Philosophy of Art and Life and Samuel Beckett’s Own Way to Make Use of It, New York, Peter Lang, 2008.

Van Hulle, Dirk – Nixon, Mark: Samuel Beckett’s Library, Cambridge and New York, Cambridge University, 2013.

Laurens De Vos: THE THEATRICALIZATION OF ENDGAME AS THE PAINTERLY WORLD OF BRAM AND GEER VAN VELDE: CHANGING PERSPECTIVES IN THE POETICS OF CUBISM AND SARTRE’S PHENOMENOLOGY

Beckett, Samuel: Disjecta: Miscellaneous Writings and a Dramatic Fragment, New York, Grove, 1984.

Beckett, Samuel: Dramatic Works: The Grove Centenary Edition, Vol. III, New York, Grove, 2006.

Beckett, Samuel: The Letters of Samuel Beckett, 1941–1956, Vol. 2, eds. George Craig, Martha Dow Fehsenfeld, Dan Gunn and Lois More Overbeck, Cambridge, Cambridge University, 2011.

Jay, Martin: Downcast Eyes: The Denigration of Vision in Twentieth-Century French Thought, Berkeley, University of California, 1993. DOI: https://doi.org/10.1525/9780520915381

Juliet, Charles: Conversations with Samuel Beckett and Bram van Velde, Leiden, Academic Press Leiden, 1995.

Knowlson, James: Damned to Fame: The Life of Samuel Beckett, London, Bloomsbury, 1996.

Robbe-Grillet, Alain: Samuel Beckett, or ‘Presence’ in the Theatre, in Martin Esslin (ed.), Samuel Beckett: A Collection of Critical Essays, New Jersey, Englewood Cliffs, 1965, 108–116.

Sartre, Jean-Paul: Being and Nothingness: An Essay on Phenomenological Ontology, trans. Hazel E. Barnes, New York, Philosophical Library, 1956.

Patrick Armstrong: SAMUEL BECKETT AND THE SINIC WORLD

Asmus, W. D.: Rehearsal notes for the German premiere of Beckett’s That Time and Footfalls at the Schiller-Theatre Werkstatt, Berlin (directed by Beckett), trans. Helen Watanabe, Journal of Beckett Studies 2 (1977), 83–95.

Beckett, Samuel: The Complete Dramatic Works, London, Faber and Faber, 1986.

Beckett, Samuel: Disjecta: Miscellaneous Writings and a Dramatic Fragment, ed. Ruby Cohn, London, John Calder, 1983.

Beckett, Samuel: Dream Notebook, ed. John Pilling, Reading, Beckett International Foundation, 1999.

Beckett, Samuel: Dream of Fair to Middling Women, ed. Eoin O’Brien and Edith Fournier, Dublin, The Black Cat, 1992.

Beckett, Samuel: Echo’s Bones, ed. Mark Nixon, London, Faber and Faber, 2014.

Beckett, Samuel: The Letters of Samuel Beckett, Vols. 1–3, eds. George Craig et al., Cambridge, Cambridge University, 2009–2014.

Beckett, Samuel: More Pricks Than Kicks, ed. Cassandra Nelson, London, Faber and Faber, 2010.

Beckett, Samuel: Murphy, London, John Calder, 1963.

Beckett, Samuel: That Time, MS 1477/1–10, Beckett Manuscript Collection at the University of Reading, 1974.

Beckett, Samuel: The Theatrical Notebooks of Samuel Beckett, Volume IV, The Shorter Plays, ed. S.E. Gontarski, New York, Grove, 1999.

Beckett, Samuel: Worstward Ho, London, John Calder, 1983.

Bolin, John: Beckett and the Modern Novel, Cambridge, Cambridge University, 2013.

Cushman, Robert: In a Hellish Half Light, Observer, 23 May 1976.

Dauer, Dorothea: Schopenhauer as Transmitter of Buddhist Ideas, Berne, Lang, 1969.

Davies, Paul: Womb of the Great Mother Emptiness: Beckett, the Buddha and the Goddess, Samuel Beckett Today / Aujourd’hui 9 (2000), 119–132.

Fenollosa, Ernest – Pound, Ezra: The Chinese Written Character as a Medium for Poetry: A Critical Edition, eds. Haun Saussy, Jonathan Stalling, and Lucas Klein, New York, Fordham University, 2008. DOI: https://doi.org/10.1515/9780823238347

Foster, Paul: Beckett and Zen, Somerville, Wisdom Publications, 1989.

Giles, Herbert A.: Chuang-Tzu: Mystic, Moralist, and Social Reformer, London, Bernard Quaritch, 1889.

Giles, Herbert A.: The Civilisation of China, Los Angeles, Indo-European Publishing, 2010.

Kanze, Hisao: Writings of Hisao Kanze Vol. 4: Surroundings of Noh Actors (Kanze Hisao Chosaku-shu 4: Noh Yakusha no Shuhen), Tokyo, Heibonsha, 1981.

Knowlson, James: Damned to Fame: The Life of Samuel Beckett, London, Bloomsbury, 1996.

Knowlson, James – Pilling, John: Frescoes of the Skull: The Later Prose and Drama of Samuel Beckett, London, John Calder, 1979.

Kundert-Gibbs, John: No-Thing is Left to Tell: Zen/Chaos Theory in the Dramatic Art of Samuel Beckett, Madison, N. J., Fairleigh Dickinson UP, 1999.

Laloy, Louis: La Musique Chinoise, trans. Laura D. Hawley, Hollywood, W. M. Hawley Publications, 1993.

Lane, Richard: Beckett and Philosophy, Basingstoke, Palgrave, 2002.

Laws, Catherine: Beckett and Unheard Sound, in Daniela Caselli (ed.): Beckett and Nothing, Manchester, Manchester University, 2010, 176–192.

Libera, Antoni: Reading That Time, in Robin J. David and Lance St. J. Butler (eds.): Make Sense Who May, Gerrards Cross, Colin Smythe Limited, 1988, 91–107.

Lin, Lidan: Chinese Music as a Narrative Model: The Aesthetics of Liu Liu and Metafiction in Samuel Beckett’s Dream of Fair to Middling Women, English Studies 91 (2010), 289–302. DOI: https://doi.org/10.1080/00138381003647608

Lin, Lidan: Samuel Beckett’s Encounter with the East, English Studies, Vol. 91, No. 6 (2010), 623–642. DOI: https://doi.org/10.1080/0013838X.2010.488844

McCormack, Joshua: From Chinese Wisdom to Irish Wit: Zhuangzi and Oscar Wilde, Irish University Review, Vol. 37, Nr. 2 (Autumn – Winter, 2007), 302–321.

Nixon, Mark – Van Hulle, Dirk (eds.): Samuel Beckett’s Library, New York, Cambridge University, 2013.

Pilling, John: Samuel Beckett, London, Routledge & Kegan Paul, 1976.

Plümacher, Olga: Der Pessimismus in Vergangenheit und Gegenwart: Geschichtliches und Kritisches, Heidelberg, Georg Weiss Verlag, 1888.

Schopenhauer, Arthur: The World as Will and Idea, 3 vols., trans. R. B. Haldane and J. Kemp, London, Trubner, 1883.

Tajiri, Yoshiki – Mariko Hori Tanaka: Beckett’s Reception in Japan, in M. Nixon– M. Feldman (eds.): The International Reception of Samuel Beckett, London, Continuum, 2009.

Takahashi, Yasunari: On “Mindlessness”: Beckett, Japan, and the Twentieth Century, in Angela B. Moorjani and Carola Veit (eds.): Samuel Beckett: Endlessness in the Year 2000, Amsterdam, Rodopi, 2001, 38–42.

Thomas, Joseph: The Universal Dictionary of Biography and Mythology, Vol. 3, New York, Cosimo, [1887] 2013.

Wilde, Oscar: A Chinese Sage, in Hesketh Pearson (ed.): Essays by Oscar Wilde, London, Methuen & co. Ltd, 1950, 286–296.

Wimbush, Andy: Humility, Self-Awareness, and Religious Ambivalence: Another look at Beckett’s “Humanistic Quietism,” The Journal of Beckett Studies, Vol. 23, No. 2 (2014), 202–221. DOI: https://doi.org/10.3366/jobs.2014.0104

Jonathan Bignell: “RANDOM DOTTINESS”: SAMUEL BECKETT AND THE RECEPTION OF HAROLD PINTER’S EARLY DRAMAS

Anon.: The Birthday Party, Cambridge Review, 28 April 1958, http://www.haroldpinter.org/plays/plays_bdayparty.shtml.

Audience Research Report on Waiting for Godot, 26 June 1961, BBC Written Archives Centre, R/9/7/52.

Audience Research Report on Molloy and From an Abandoned Work, 14 January 1958, Caversham, BBC Written Archives Centre, R/9/7/37.

Bignell, Jonathan: Beckett on Screen: The Television Plays, Manchester, Manchester University, 2009.

Billington, Michael: Harold Pinter, London, Faber, 2007.

Billington, Michael: Fighting Talk, The Guardian, Books section, 3 May 2008, https://www.theguardian.com/books/2008/may/03/theatre.stage.

Chignell, Hugh: British Radio Drama and the Avant-garde in the 1950s, Historical Journal of Film, Radio and Television, Vol. 37, No. 4, 649–664. DOI: https://doi.org/10.1080/01439685.2016.1258841

Darlington, William A.: Mad Meg and Lodger, The Daily Telegraph, 20 May 1958, 10.

Ellis, Samantha: The Birthday Party, London 1958, The Guardian, 2 April 2003, 4, https://www.theguardian.com/stage/2003/apr/02/theatre.samanthaellis.

Esslin, Martin: The Theatre of the Absurd, Harmondsworth, Penguin, 1961.

Frost, Everett: Fundamental Sounds: Recording Samuel Beckett’s Radio Plays, Theatre Journal, Vol. 43, No. 3 (1991), 361–376. DOI: https://doi.org/10.2307/3207590

Gordon, Richard: Doctor in the House, London, Joseph, 1952.

Granger, Derek: Puzzling Surrealism of The Birthday Party, Financial Times, 20 May 1958, 3.

Hobson, Harold: The Screw Turns Again, Sunday Times, 25 May 1958, 11.

Hoggart, Richard: The Uses of Literacy, London, Chatto & Windus, 1957.

Kalb, Jonathan: The Mediated Quixote: The Radio and Television Plays and Film, in J. Pilling (ed.): The Cambridge Companion to Beckett, Cambridge, Cambridge University, 1994, 124–144. DOI: https://doi.org/10.1017/CCOL0521413664.007

McWhinnie, Donald: The Art of Radio, London, Faber, 1959.

MWW: The Birthday Party, The Guardian, 21 May 1958, 5.

Rebellato, Dan: 1956 and All That: The Making of Modern British Drama, London, Routledge, 1999.

Shulman, Milton: Sorry Mr Pinter, You’re Just Not Funny Enough, Evening Standard, 20 May 1958, 6.

Simon, Ernest, Baron Withenshaw: The BBC from Within, London, Victor Gollancz, 1953.

Taylor, Lib: Early Stages: Women Dramatists 1958–68, in T. Griffiths – M. Llewellyn-Jones (eds.): British and Irish Women Dramatists since 1958, Buckingham, Open University, 1993, 9–25.

Whitehead, Kate: The Third Programme: A Literary History, Oxford, Clarendon, 1989.

Williams, Raymond: Television, Technology and Cultural Form, London, Fontana, 1974.

Mariko Hori Tanaka: SAMUEL BECKETT’S LEGACIES IN CARYL CHURCHILL’S LATER PLAYS

Adorno, Theodor W.: Towards an Understanding of Endgame, in Bell Gale Chevigny (ed.): Twentieth Century Interpretations of Endgame: A Collection of Critical Essays, Englewood Cliffs, New Jersey, Prentice-Hall, 1958, 82–114.

Allfree, Claire: Escaped Alone, Royal Court, review: ‘terrific cast with nowhere to go’, The Telegraph, 29 January 2016, https://www.telegraph.co.uk/theatre/what-to-see/escaped-alone-royal-court-review-terrific-cast-with-nowhere-to-go/.

Aston, Elaine: Caryl Churchill’s “Dark Ecology,” in Carl Lavery – Clare Finburgh (eds.): Rethinking the Theatre of the Absurd: Ecology, the Environment and the Greening of the Modern Stage, London, Bloomsbury, 2015, 59–76. DOI: https://doi.org/10.5040/9781472511072.0006

Churchill, Caryl: Escaped Alone, London, Nick Hern Books, 2016. DOI: https://doi.org/10.5040/9781784603595.00000002

Churchill, Caryl: Here We Go, London, Nick Hern Books, 2015. DOI: https://doi.org/10.5040/9781784603755.00000002

Churchill, Caryl: Love and Information, London, Nick Hern Books, 2012. DOI: https://doi.org/10.5040/9781784602482.00000002

Churchill, Caryl: Drunk Enough To Say I Love You?, London, Nick Hern Books, 2006. DOI: https://doi.org/10.5040/9781784602451.00000003

Churchill, Caryl: Far Away, New York, Theatre Communication Group, 2000. DOI: https://doi.org/10.5040/9781784602420.00000003

Churchill, Caryl: The Skriker, London, Nick Hern Books, 1994. DOI: https://doi.org/10.5040/9781784602376.00000004

Clapp, Susannah: Escaped Alone review – small talk and everyday terror from Caryl Churchill, The Guardian, 31 January 2016, https://www.theguardian.com/stage/2016/jan/31/escaped-alone-caryl-churchill-review-royal-court.

Diamond, Elin: Beckett and Caryl Churchill along the Möbius Strip, in Linda Ben-Zvi and Angela Moorjani (eds.): Beckett at 100: Revolving It All, Oxford, Oxford University, 2008, 285–298.

Dowden, Neil: Review: Escaped Alone brews storm in a teacup, Londonist, 3 February 2016, https://londonist.com/2016/02/review-escaped-alone-brews-storm-in-a-teacup.

Hassan, Ihab: The Literature of Silence: Henry Miller & Samuel Beckett, New York, Alfred A. Knopf, 1967.

Kermode, Frank: The Sense of an Ending: Studies in the Theory of Fiction with a New Epilogue, Oxford, Oxford University, 2000.

Loveridge, Lizzie: A CurtainUp London Review Escaped Alone, CurtainUp, 21 January 2016, www.curtainup.com/escapedalonelon16.html.

McMillan, Dougald – Knowlson, James (eds.): The Theatrical Notebooks of Samuel Beckett: Waiting for Godot, New York, Grove, 1993.

Melville, Herman: Moby Dick, in Harrison Hayford and Hershel Parker (eds.): Moby-Dick: An Authoritative Text Reviews and Letters by Melville Analogues and Sources Criticism, New York, W.W. Norton & Company, 1967.

Saint-Amour, Paul K.: Tense Future: Modernism, Total War, Encyclopedic Form, Oxford, Oxford University, 2015. DOI: https://doi.org/10.1093/acprof:oso/9780190200947.001.0001

Taylor, Paul: Escaped Alone, Royal Court Theatre, Review: The performance is a rich birthday present, The Independent, 29 January 2016, https://my.independent.co.uk/arts-entertainment/theatre-dance/reviews/escaped-alone-royal-court-theatre-review-the-performance-is-a-rich-birthday-present-a6841546.html.

Wiegand, Chris: Sunshine and terrible rage: Linda Bassett on Caryl Churchill’s Escaped Alone, The Guardian, 10 February 2016, https://www.theguardian.com/stage/2016/feb/10/linda-bassett-caryl-churchill-escaped-alone-royal-court.

Žižek, Slavoj: Living in the End Times, London – New York, Verso, 2011.

Anita Rákóczy: SHOES THAT ARE LEFT BEHIND: GÁBOR TOMPA’S BECKETT HERITAGE

Beckett, Samuel: The Complete Dramatic Works, London, Faber and Faber, 1990.

Bíró, Zsófia: Play Beckett, Criticai Lapok, April 2004, https://www.criticailapok.hu/25-2003/33940-play%20beckett.

Bóta, Gábor: A magyarországi színjátszás elveszett lelke, Magyar Hírlap, 1 February 2003, 24.

Gontarski, S. E. (ed.): The Theatrical Notebooks of Samuel Beckett, Volume II, Endgame, London, Faber and Faber, 1992.

Ichim, Florica: Tompa Gábor. Beszélgetések hat felvonásban, Csíkszereda, Pallas-Akadémia Könyvkiadó, 2004.

Kerékgyártó, György: Egy színházi előadás nem ad válaszokat, Népszava, 3 February 2003, 12.

Keresztes, Franciska: Interview with the Director Gábor Tompa, Theatre Programme of A játszma vége, National Theatre, Târgu-Mureş, 13 May 2016.

Metz, Katalin: Birkózás léttel is idővel, Magyar Nemzet, 8 May 2006.

Metz, Katalin: Holtszerelmesek holtidézéssel, Magyar Nemzet, 24 November 2003.

Nagy, András: Beckett – Múlt időben, Színház, July 2003, 8.

Rákóczy, Anita: A játszma vége (Fin de partie), National Theatre, Târgu-Mureş, Romania 2016, Journal of Beckett Studies, Edinburgh University, 27/1 (2018), 150–153. DOI: https://doi.org/10.3366/jobs.2018.0229

Visky, András: Art Vital. The Theatre of Prophet Ezekiel, Conference paper delivered on 8 May 2015, Religion and Art Conference, Károli Gáspár University of the Reformed Church in Hungary.

Zsehránszky, István: Bohóc az egész világ, Erdélyi Riport, 2 February 2006, 11.

Zsigmond, Andrea: Zárt formák rendje. Beszélgetés Tompa Gábor színházi rendezővel, a Kolozsvári Állami Magyar Színház igazgatójával, Székelyföld X/1. (January 2006), 113.

Llewellyn Brown: BODY, THE GAZE, AND ABSTRACTION: FROM SAMUEL BECKETT TO BRUCE NAUMAN

Ackerley, Chris – Gontarski, S. E. (eds.): The Grove Companion to Samuel Beckett, New York, Grove, 2004.

Ackerley, Chris – Brown, Llewellyn: Samuel Beckett, “Textes pour rien” / “Texts for Nothing”: annotations, Paris, Lettres modernes Minard, La Revue des Lettres modernes; Série Samuel Beckett, no. 5, 2018. DOI: https://doi.org/10.1163/18757405-03001001

Albera, François: Nauman cinématique, in Nauman Bruce: image/texte, 1966–1996, Paris, Centre Georges-Pompidou, 1997, 50–59.

Assche, Christine Van (ed.): Nauman Bruce : image/texte, 1966–1996, Paris, Centre Georges-Pompidou, 1997.

Beckett, Samuel: The Complete Dramatic Works, London, Faber & Faber, 2006.

Beckett, Samuel: The Complete Short Prose: 1929–1989, New York, Grove, 1995.

Beckett, Samuel: Disjecta, London, John Calder, 1983.

Beckett, Samuel: Quad […] suivi de L’Épuisé par Gilles Deleuze. Paris, Minuit, 1992.

Beckett, Samuel: Theatre Workbook 1: Samuel Beckett, Krapp’s Last Tape, James Knowlson (ed.), London, Brutus Books, 1980.

Beckett, Samuel: Watt, New York, Grove, 1953.

Brown, Llewellyn: The Monad and the Cut in Samuel Beckett’s Endgame, Sanglap, Arka Chattopadhyay, Arunava Banerjee and Dipanjan Maitra (ed.), Sanglap Vol. 4, No. 2 (January–February 2018), 55–79, http://sanglap-journal.in/index.php/sanglap/article/view/39.

Bruggen, Coosje van: Bruce Nauman, Rizzoli, First Edition edition, 1988.

Burgon, Ruth: Pacing the Cell: Walking and Productivity in the Work of Bruce Nauman, Tate Papers, no. 26 (Autumn 2016), http://www.tate.org.uk/research/publications/tate-papers/26/pacing-the-cell.

Chiong, Kathryn: Nauman’s Beckett Walk, October 86 (Autumn 1998), 63–81. DOI: https://doi.org/10.2307/779108

Connor, Steven: Shifting Ground, http://stevenconnor.com/beckettnauman.html.

Damisch, Hubert: L’Origine de la perspective, Paris, Flammarion, Champs; art, 1987.

Deleuze, Gilles: L’Épuisé, in Samuel Beckett, Quad […] suivi de L’Épuisé par Gilles Deleuze. Paris, Minuit, 1992.

Driver, Tom: Beckett by the Madeleine, in Columbia University Forum IV (Summer 1961), 21–25.

Eble, Bruno: Le Miroir sans reflet: considérations autour de l’oeuvre de Bruce Nauman, Paris, L’Harmattan, Ouverture philosophique, 2001.

Gontarski, S. E.: The Intent of Undoing in Samuel Beckett’s Dramatic Texts, Bloomington, Indiana University, 1985.

Grammatikopoulou, Christina: Repetitive actions, mumbled whispers: Some notes on Bruce Nauman, http://interartive.org/2012/10/bruce-nauman-repetition.

Geneste, Bruno: Samuel Beckett, l’“entre” vivifiant de lalangue et l’hiatus sinthomatique: contrer ces vérités du Surmoi, in Llewellyn Brown (ed.), La Violence dans l’oeuvre de Samuel Beckett, Paris, Lettres modernes Minard; Série Samuel Beckett, no 4, 2017, 89–116.

Harmon, Maurice (ed.): No Author Better Served: The Correspondence of Samuel Beckett and Alan Schneider, Cambridge [Mass.], Harvard University, 1998.

Juliet, Charles: Rencontres avec Samuel Beckett, Rencontres avec Samuel Beckett, Paris, P.O.L., 2007.

Kalb, Jonathan: Beckett in Performance, Cambridge University, 1989. DOI: https://doi.org/10.1017/CBO9780511554216

Kraynak, Janet (ed.): Please pay attention please: Bruce Nauman’s Words, Cambridge [Mass.], MIT, 2003, 1–45.

Lacan, Jacques: Écrits, Paris, Seuil, Le Champ freudien, 1966.

Lacan, Jacques: Le Séminaire, Livre VII, L’Éthique de la psychanalyse, Paris, Seuil, Champ freudien, 1986.

Lacan, Jacques: Le Séminaire, Livre VIII, Le Transfert, Paris, Seuil, Champ freudien, 1991.

Lacan, Jacques: Le Séminaire, Livre X, L’Angoisse, Paris, Seuil, Champ freudien, 2004.

Lacan, Jacques: Le Séminaire, Livre XI, Les Quatre concepts fondamentaux de la psychanalyse, Paris, Seuil, Le Champ freudien, 1973.

Milner, Jean-Claude: The Tell-Tale Constellations, trans. Christian R. Gelder, S: Journal of the Circle for Lacanian Ideology Critique 9 (2016), 31–38.

Sfez, Géraldine: Bruce Nauman, Samuel Beckett: le corps mis à l’épreuve de la répétition, Limit(e) Beckett: Beckett at the Limit(e), vol. 0 (Spring 2010), 82–103.

Storr, Robert: An Incantation of Our Time, in Bruce Nauman [exposition, Fondation Cartier pour l’art contemporain, Paris, du 14 mars au 21 juin 2015], Paris, Fondation Cartier pour l’art contemporain, 2015, 71–73.

Tuyl, Gijs van: Condition humaine/corps humain: Bruce Nauman et Samuel Beckett, in Christine Van Assche (ed.): Nauman Bruce: image/texte, 1966–1996, Paris, Centre Georges-Pompidou, 1997, 60–75.

Wajcman, Gérard: Fenêtre: chroniques du regard et de l’intime, Lagrasse, Verdier, Philia, 2004.

Wajcman, Gérard: Mother Fuckers, Élucidation 3 (2002), 13–15.

Wajcman, Gérard: L’Objet du siècle, Lagrasse, Verdier, Philia, 1998.

Whitelaw, Billie: Billie Whitelaw… Who He? New York, St. Martin’s, 1996.

Yoshiko Takebe: TRANSLATING SILENCE: CORRELATIONS BETWEEN BECKETT, CHEKHOV, AND HIRATA

Beckett, Samuel: The Complete Dramatic Works, London, Faber and Faber Limited, 1986.

Beckett, Samuel: Waiting for Godot, New York, Grove, 1954.

Beckett, Samuel: Come and Go, Dir. Jonah Salz, Perf. Kagari Asukai, Trans. Yasunari Takahashi, Kyoto, Oe Noh Theatre, January 2004.

Bryden, Mary: Samuel Beckett and the Idea of God, London, Macmillan, 1998. DOI: https://doi.org/10.1007/978-1-349-26538-1

Chekhov, Anton: The Three Sisters, In Chekhov: The Major Plays, A New Translation by Ann Dunnigan with a foreword by Robert Brustein, New York, Penguin, 1982.

Hirata, Oriza: From Misunderstanding: What is Communication?, Tokyo, Kodansha, 2012.

Hirata, Oriza: Post-Performance Talk 2 in The Three Sisters, Dir. Oriza Hirata, Perf. Hiroko Matsuda, Mizuho Nojima, Minako Inoue, DVD, Theatre Television, 2013.

Inoue, Minako: Special Talk in The Three Sisters, Dir. Oriza Hirata, Perf. Hiroko Matsuda, Mizuho Nojima, Minako Inoue, DVD, Theatre Television, 2013.

Ishiguro, Hiroshi: Multimodal Analysis on Android Drama of The Three Sisters: How Humans Interact with Android, in The Journal of The Japan Association for Artificial Intelligence Studies, Vol. 29, No. 1 (2014), 60–68. DOI: https://doi.org/10.1527/tjsai.29.60

Jakobson, Roman: On Linguistic Aspects of Translation, in Lawrence Venuti (ed.), The Translation Studies Reader, Second Edition, New York, Routledge, [1959] 2004, 138–143.

Knowlson, James: Damned to Fame: The Life of Samuel Beckett, London, Bloomsbury, 1996.

Matsuda, Hiroko: Cast Interview in The Three Sisters, Dir. Oriza Hirata, Perf. Hiroko Matsuda, Mizuho Nojima, Minako Inoue, DVD, Theatre Television, 2013.

McMullan, Anna: Theatre on Trial: Samuel Beckett’s Later Drama, London, Routledge, 1993.

Mooney, Sinéad: Foreign Bodies in A Tongue Not Mine: Beckett and Translation, Oxford, Oxford UP, 2011.

Nojima, Mizuho, Cast Interview in The Three Sisters, Dir. Oriza Hirata, Perf. Hiroko Matsuda, Mizuho Nojima, Minako Inoue, DVD, Theatre Television, 2013.

Nornes, Abe Mark: For An Abusive Subtitling, in Lawrence Venuti (ed.): The Translation Studies Reader, 2nd Edition, New York, Routledge, 1999/2004, 447–469.

Takahashi, Yasunari: Qu’est-ce qui arrive? Some Structural Comparisons of Beckett’s Plays and Noh, in Morris Beja, S. E. Gontarski, and Pierre Astier (eds.), Samuel Beckett: Humanistic Perspectives, Columbus, Ohio State University, 1983, 99–106.

Takebe, Yoshiko: Analysis of Beckettian Noh for Contemporary Performing Art, in Shujitsu English Studies 30 (2014), 229–243.

Takebe, Yoshiko: Potentialities of Non-linguistic Modalities in Adaptations of Western Drama, in Invitation to Translation Studies Vol. 14 (2015), Tokyo, The Journal of the Japan Association for Interpreting and Translation Studies, 107–118.

The Three Sisters, Dir. Oriza Hirata, Perf. Hiroko Matsuda, Mizuho Nojima, Minako Inoue, DVD, Theatre Television, 2013.

Yamamoto, Kunihiko: Adventures of Twentieth Century Theatre Challenging the Poetics by Aristotle – Samuel Beckett, Terayama Shuji, Bertold Brecht, in Annual Bulleting of Research and Education at Nara Women’s University Department of Literature 1 (2005), 89–99.

Yamanouchi, Tomio: Dramaturgy, Tokyo, Kinokuniya, 1979.

Yamanouchi, Tomio: Vision of Drama, Tokyo, Hakuosha, 1997.

Márton Mesterházi: HOW WE MADE THE HUNGARIAN VERSION OF SAMUEL BECKETT’S ALL THAT FALL

Beckett, Samuel: Collected Shorter Plays, London, Faber and Faber, 1984.

Mesterházi, Márton: Introduction to All That Fall on Hungarian Radio News, 11 January 1968.

Gábor Romhányi Török: MY WAY WITH THE WORK OF SAMUEL BECKETT

Beckett, Samuel: Disjecta, London, John Calder, 1983.

Beckett, Samuel: Hogy is van ez (Comment c’est), Budapest, Holnap, 2007.

Beckett, Samuel: Ill Seen Ill Said, London, Calder, 1982.

Beckett, Samuel: Krapp’s Last Tape and Embers, London, Faber and Faber, 1959.

Beckett, Samuel: Mercier és Camier (Mercier et Camier), trans. Gábor Romhányi Török, Budapest, Holnap, 1993.

Beckett, Samuel: Meglehetősen jó nőkről álmodom (Dream of Fair to Middling Women), trans. Gábor Romhányi Török, Budapest, Orfeusz Könyvek, 2001.

Beckett, Samuel: Molloy, trans. Gábor Romhányi Török, Szeged, Szukits, 1998.

Beckett, Samuel: Molloy – Malone meghal – A Megnevezhetetlen (Molloy – Malone meurt – L’Innommable), trans. Gábor Romhányi Török, Budapest, Magvető, 1987.

Beckett, Samuel: Molloy – Malone meghal – A Megnevezhetetlen, trans. Gábor Romhányi Török, Budapest, Európa, 2006.

Beckett, Samuel: Rosszul látom, rosszul mondom (Mal Vu Mal Dit), trans. Gábor Romhányi Török, Budapest, Nagyvilág, 10/1982.

Beckett, Samuel: Three Novels (Molloy – Malone Dies – The Unnamable), London, Picador Ed., 1979.

Calder, John: Samuel Beckett filozófiája (The Philosophy of Samuel Beckett), trans. Gábor Romhányi Török, Budapest, Európa, 2006.

Connor, Steven: Beckett, Modernism and the Material Imagination, Cambridge, Cambridge University, 2014. DOI: https://doi.org/10.1017/CBO9781107444393

Dukes, Gerry: How It Is With Bouncing Bel, Dublin, Irish Times, 31 Oct., 1992, in James Knowlson: Damned to Fame: The Life of Samuel Beckett, London, Bloomsbury, 1996.

Harvey, Lawrence E.: Samuel Beckett Poet & Critic, Princeton, Princeton University, 1970.

Kenner, Hugh: Flaubert, Joyce és Beckett: a sztoikus komédiások (Flaubert, Joyce and Beckett: The Stoic Comedians), trans. Gábor Romhányi Török, Budapest, Kráter, 2006.

Kenner, Hugh: A Reader’s Guide to Samuel Beckett, London, Thames and Hudson, 1973.

Mercier, Vivian: Beckett/Beckett, Oxford, Oxford University, 1979.

Nicholas E. Johnson, Néill O’Dwyer, and Enda Bates: SAMUEL BECKETT’S PLAY IN DIGITAL CULTURE: TECHNOLOGIES OF INFLUENCE

Beckett, Samuel: The Letters of Samuel Beckett, 1957–1965, Vol. 3, George Craig – Martha Dow Fehsenfeld – Dan Gunn – Lois More Overbeck (eds.), Cambridge, Cambridge University, 2014.

Benjamin, Walter: The Work of Art in the Age of Mechanical Reproduction, in H. Arendt (ed.) and H. Zohn (trans.): Illuminations, New York, Schocken, 2007 [1955], 217–251.

Cadena, Richard: Automated Lighting: The Art and Science of Moving Light in Theatre, Live Performance, and Entertainment, 2nd edition, Burlington, MA, Focal, 2013. DOI: https://doi.org/10.4324/9780080959740

Knowlson, James – Pilling, John: Frescoes of the Skull: The Later Prose and Drama of Samuel Beckett, London, John Calder, 1979

O’Dwyer, Néill: Death and Ecstasy: Reflections on a Technological Sublime, Proceedings of the European Society of Aesthetics 8 (2016), 354–376.

O’Dwyer, Néill – Johnson, Nicholas: Exploring Volumetric Video and Narrative through Samuel Beckett’s Play, International Journal of Performance Arts and Digital Media, Vol. 15, No.1 (2019), 53–69. DOI: https://doi.org/10.1080/14794713.2019.1567243