| Summary: | 碩士 === 文化大學 === 西洋文學學系 === 81 === This thesis aims to explore, from the angle of Jean- Francois
Lyotard's narrative analysis in The Postmodern Condition,
how the institution and all the formerly unquestioning
rules make the artists devoid of action and thinking in
Beckett's Not I, That Time, and Footfalls. The dramatic figures
in the three plays, the outraged artists, suffer from their
obsessive painful memories in which they have been oppressed
with the institution and the allusions to the God-like
eternity. In the three plays, Beckett employs the
disembodied structure and fluid language to detach from a
center (the institution), to affirm the institution to be
simply an illusion of a coherent self, and to delegitimize
(to remove the over-legitimation of) the God-like eternity and
the institution. By virtue of the separate language games in
constant storytelling, the artists in the three plays have
arrived at consuming their painful memories, validated
their existence, and confirmed a self recognition which
is constantly transformed as time goes by. Beckett's
aesthetic assertions in "Three Dialogues" share some
traits of the language games in Not I, That Time and
Footfalls. This thesis intends to rethink, according to
Lyotard's remarks on art in The Postmodern Condition,
about Beckett's aesthetic conception in "Three Dialogues" and
its association with the three plays. The deconstruc- tion of
the totality and the affirmation of the free plays of language
games uphold the major premises this thesis acts on. The
purpose of this discussion is to emphasize the artists'
endless games of creative multiformity with language games
in order to widen the artist's inventive space.
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