Freedom and negativity in Beckett and Adorno: something or nothing

236 Pages·2017·14.552 MB·English

by  Adorno, Theodor W., Adorno, Theodor Wiesengrund, Beckett, Samuel, Leeder, Natalie

Freedom and Negativity in

Beckett and Adorno
FOUNDING CRITICAL THEORY
Series Editors:
Owen Hulatt, Teaching Fellow, Department of Philosophy, University of York
Darrow Schecter, Reader in Critical Theory, University of Sussex
Editorial Review Board:
Brian O’Connor, University College Dublin, Ireland
Gordon Finlayson, University of Sussex, UK
Werner Bonefeld, University of York, UK
Fred Rush, Notre Dame University, USA
Jay Bernstein, The New School, USA
Lambert Zuidervaart, Institute for Christian Studies, Canada
Deborah Cook, University of Windsor, Canada
Christoph Menke, Goethe Universitat, Germany
Andrew Arato, The New School, USA
This series publishes original research on prominent figures, texts and top-
ics in, and associated with, the first generation of Frankfurt School Critical
Theory. The series comprises specialized treatments of topics and thinkers
together with new translations of key texts from the period. Emphasis is
lent to Critical Theory as an on-g oing research project, and both its origi-
nal research and historical scholarship is articulated in these terms. Critical
Theory contains an intrinsic commitment to inter- disciplinary research, and
this series attempts to honour this commitment where possible.
The Aesthetic Ground of Critical Theory, edited by Nathan Ross.
Communication and Expression, by Philip Hogh, translated by Antonia Hofstätter
Freedom and Negativity in Beckett and Adorno, by Natalie Leeder
Freedom and Negativity

in Beckett and Adorno
Something or Nothing
Natalie Leeder
London • New York
Published by Rowman & Littlefield International Ltd
Unit A, Whitacre Mews, 26-34 Stannary Street, London SE11 4AB
www.rowmaninternational.com
Rowman & Littlefield International Ltd. is an affiliate of Rowman & Littlefield
4501 Forbes Boulevard, Suite 200, Lanham, Maryland 20706, USA
With additional offices in Boulder, New York, Toronto (Canada), and Plymouth (UK)
www.rowman.com
Copyright © 2017 Natalie Leeder
All rights reserved. No part of this book may be reproduced in any form or by any
electronic or mechanical means, including information storage and retrieval systems,
without written permission from the publisher, except by a reviewer who may quote
passages in a review.
British Library Cataloguing in Publication Data
A catalogue record for this book is available from the British Library
ISBN: HB 978-1-78660-319-7
Library of Congress Cataloging-i n- Publication Data
ISBN: 978-1-78660-319-7 (cloth : alk. paper)
ISBN: 978-1-78660-321-0 (electronic)
The paper used in this publication meets the minimum requirements of American
National Standard for Information Sciences—Permanence of Paper for Printed Library
Materials, ANSI/ NISO Z39.48- 1992.
Printed in the United States of America
Contents

Acknowledgements vii
Abbreviations ix
Introduction xiii
The Antinomies of Freedom
Adorno’s Beckett
1 Freedom and Its Limits 1
Murphy’s Metacritique of Philosophy
Eleuthromania
Failing Better
2 The Illusion of Freedom and the Freedom of Illusion 25
The Crisis of Schein
Ironic Figures in the Novellas
3 The Scars of Evil 55
Evil and Society
Endgame and Universal History
4 Virtual Freedom 89
The Natural Subject
Film’s Imageless Images
Interiors and Iconicity
5 Metaphysics 129
Imagining Immanence
Metaphysical Experience
Coda: Enough?
v
vi Contents
Epilogue 161
Where Is the Proletariat?
Beyond the Block
Negativity
Bibliography 169
Index 187
Acknowledgements

First and foremost, I would like to thank my PhD supervisor, Andrew Gibson,
without whose support and absolute faith I would not have survived the doc-
toral study that formed the basis of this book. His inspirational supervision
has developed my mind more than I can say. To Andrew Bowie, too, I owe a
great debt, not least for responding to my queries, both deep and superficial,
at all hours of the day and night – and always with great humour, kindness
and thought.
Since nurturing my burgeoning interest in Adorno during my master’s
study, Darrow Schecter has supported me with generosity and enthusiasm,
always believing in the project. I will ever be grateful to David Addyman
for introducing me to Beckett during my undergraduate years and for his
uniquely Beckettian brand of friendship. Rupert Gough and the Choir of
Royal Holloway deserve a special mention for accommodating my study
and providing me with a wonderful space of release and fulfilment. Grateful
acknowledgement is due to Royal Holloway for funding my doctoral
research. I have, furthermore, been constantly overwhelmed by the kindness
of friends, acquaintances and strangers, too innumerable to list, who have
helped to smooth the path.
My heartfelt thanks to Sam Hall, who was my first port of call for every
question, thought and fear. My mum, dad and brothers, Joseph and Simeon,
have provided unending support, for which I cannot thank them enough. Love
and thanks also to my nanny, eternally proud of her granddaughter, and my
grandad, who would have loved to have seen this book.
vii