Reception and Translations of Beckett’s Bilingual Work

Ana Helena Souza


This essay deals with the characteristics of repetition in Beckett’s
works and how it constitutes an issue no translator of these works can ignore. It is pointed out that the kind of repetition employed by the author has a direct bearing on his decision to become the translator of most of his writings, thus creating a bilingual work. Both the features of his bilinguilism and the reception these bilingual works received in the French and Anglo-American world are commented here. By way of these comments, we argue that the beckettian translator should always consider the English and the French texts, as both integrate an oeuvre in which a sharp distinction between “original” and “translation” no longer holds.


Samuel Beckett; Translation; Bilinguilism.

Texto completo:

PDF (English)


Abbott, H. Porter. Beckett Writing Beckett: the author in the autograph. Ithaca and London: Cornell University Press, 1996.

Astbury, Helen. “How to Do Things with Syntax: Beckett’s Binary-Turned Sentences in French and their Translation into English”. Samuel Beckett Today/Aujourd’hui, 11 (1 March 2002): 446-453.

Badiou, Alain. “Ser, Existência, Pensamento: Prosa e Conceito”. In: Pequeno Manual de Inestética. Trad. Marina Appenzeller. São Paulo: Estação Liberdade, 2002. 117-162.

Beckett, Samuel. Comment C’est. Paris: Les Éditions de Minuit, 1975.

_____. Como é, trad. Ana Helena Souza. São Paulo: Iluminuras, 2003.

_____. How It Is. Translated from the French by the Author. London: John Calder, 1996.

_____. Molloy. Paris, Les Éditions de Minuit, 1982.

_____. Three Novels: Molloy, Malone Dies, The Unnamable. New York, Grove Weidenfeld, 1991.Cahier de L’Herne: Samuel Beckett. Eds. Tom Bishop, & Raymond Federman. Paris: Éditions de l’Herne, 1976.

Chamberlain, Lori. “‘The Same Old Stories’: Beckett’s Poetics of Translation”. Beckett Translating/ Translating Beckett. Eds. Alan Warren Friedman; Charles Rossman; Dina Sherzer. University Park and London: The Pennsylvania State University Press, 1987.

Cohn, Ruby. Samuel Beckett: The Comic Gamut. New Brunswick, New Jersey: Rutgers University Press, 1962.

Connor, Steven. Samuel Beckett: Repetition, Theory and Text. Oxford: Basil Blackwell, 1988.

Derrida, Jacques. “Des Tours de Babel”. Difference in Translation.Ed. Joseph E. Graham. Ithaca & London: Cornell University Press, 1985. 209-248.

Federman, Raymond. “The Writer as Self-Translator”.Eds. Alan Warren Friedman; Charles Rossman; Dina Sherzer. Beckett Translating/Translating Beckett. University Park and London: The Pennsylvania State University Press, 1987.

Fitch, Brian. Beckett and Babel: An Investigation into the Status of the Bilingual Work. Toronto: University of Toronto Press, 1988.

Fletcher, John. “Écrivain bilingue”. Eds. Tom Bishop, & Raymond Federman. Cahier de L’Herne:

Samuel Beckett. Paris: Éditions de l’Herne, 1976. 201-212.

Guillemin-Flescher, Jacqueline. Syntaxe comparée du français et de l’anglais. Paris, Éditions Ophrys, 1981, apud Lewis, Philip E., “The Measure of Translation Effects”. Difference in Translation. Ed. Joseph Graham. Ithaca/London: Cornell University Press, 1985.

Janvier, Ludovic. Pour Samuel Beckett. Paris: Les Éditions de Minuit, 1966.

Kenner, Hugh. “Beckett translating Beckett”. Historical Fictions. Hugh Kenner. Athens, London: The University of Georgia Press, 1995. 184-202.

_____. A Reader’s Guide to Samuel Beckett. London: Thames & Hudson, 1973.

_____. Samuel Beckett: a critical study. London: John Calder Publisher, 1961.

Lefevere, André. “Translation: Its Genealogy in the West”. Translation, History, and Culture. Eds. Susan Bassnett e André Lefevere. London: Biddles, 1990.

Perloff, Marjorie. “‘Une Voix pas la Mienne’: French/English Beckett and the French/English Reader”. Beckett Translating/Translating Beckett. Eds. Alan Warren Friedman; Charles Rossman; Dina Sherzer.

University Park and London: The Pennsylvania State University Press, 1987. 36-48.



  • Não há apontamentos.

Direitos autorais 2020 Ana Helena Souza

Licença Creative Commons
Esta obra está licenciada sob uma licença Creative Commons Atribuição 4.0 Internacional.