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Journal Article
Modern Language Quarterly (1967) 28 (1): 77–95.
Published: 01 March 1967
... aspects of the two character groups in the play, Didi-Gogo and
Pozzo-Lucky: first in Act I and then, with at least the possibility of
significant change in mind (a possibility too often assumed not to
exist), in the succeeding act.
Certainly, boredom is the mode of life of Didi and Gogo as we...
Journal Article
Modern Language Quarterly (1975) 36 (1): 100–102.
Published: 01 March 1975
....” Nor has the name Didi in kVaitingJor Godot any likely connection
EDITH KERN 101
with French dis. One must assume that Cohn considers.it to be a form of dire,
since she believes it to indicate Didi’s philosophical bent. But it is clearly...
Journal Article
Modern Language Quarterly (1970) 31 (2): 245–248.
Published: 01 June 1970
... upon
Willeford’s theme for himself we can see that Hardy is as big a fool as
Laurel, the equal he thinks inferior to himself; and it is abundantly evident
that the apparent sanity of Didi in Waitingfor Godot is as madly foolish as
the apparent stupidity of Gogo his opposite.
Fools...
Journal Article
Modern Language Quarterly (2016) 77 (2): 219–246.
Published: 01 June 2016
... . Derrida Jacques . 1978 . Writing and Difference , translated by Bass Alan . London : Routledge . Didi-Huberman Georges . 1990 . Devant l’image: Question posée aux fins d’une histoire de l’art . Paris : Minuit . Forestier Georges . 2003 . Passions tragiques et règles...
Journal Article
Modern Language Quarterly (1970) 31 (2): 248–250.
Published: 01 June 1970
... of absurdist drama as Jarry’s
prototype clown P&re Ubu, or Beckett’s clownish varieties as represented by
Didi, Gogo, Pozzo, and Lucky, or even the new working-class clown now
emerging in the recent farces of Henry Livings.
I am saying, in effect, that the story of the fool is not over, that drama...
Journal Article
Modern Language Quarterly (2009) 70 (2): 195–221.
Published: 01 June 2009
... emphatically asserted the passivity of
visual perception. Louis Marin, for example, focuses on the difference
between the passive reception of “aspects” and the active registering of
“prospects.”15 Georges Didi-Huberman similarly distinguishes the con-
ceptual knowledge grounded in the “visible...
Journal Article
Modern Language Quarterly (2009) 70 (1): 3–10.
Published: 01 March 2009
... over this conference is a sort of presumption, if not
Mof historical dimensions, about the substance of history. As Gogo
says in exasperation in Waiting for Godot, when Didi presses him to
explain where they are and how they got there (“At the very beginning.
The very beginning of WHAT “I’m...
Journal Article
Modern Language Quarterly (1966) 27 (3): 323–331.
Published: 01 September 1966
... it for
adaptation as a ballet. The drama of Samuel Beckett may take the form
of a nightmare, and the theater of the absurd may be an elaborate
game with the spectators, but Didi and Gogo, and Hamm and Clov,
are also to be seen as contemporary icons impelling their own brand
of pity and fear...
Journal Article
Modern Language Quarterly (2023) 84 (4): 413–442.
Published: 01 December 2023
..., Hensel 2011 and Sierek 2007 . The supposed affinity between Warburg’s thought and cinema has become a commonplace in recent years (see especially Didi-Huberman 2017 and Michaud 2004 ). For a skeptical take on this view, see Schwartz 2020 . Schwartz emphasizes, as I do in this essay, the dominant...
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Journal Article
Modern Language Quarterly (2020) 81 (3): 349–375.
Published: 01 September 2020
... calls the final tableau “touching”—but he insists that there is “absolutely no objection” to comic interference (351). This comic syncopation unends the play’s tragic completion, creating a sort of Verfremdungseffekt (alienation effect) that produces interrogation and reconsideration. 16 Didi...
