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gogo

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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 (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 (1945) 6 (4): 381–387.
Published: 01 December 1945
... [ ] hat yt lordill alle wot tak y towit nesse [62v] )t walky slepoy or wathing y do in wele in worn joye ort heuenesse mijn hert ys wt yow gogo wey yt ye go This stanza is fairly intelligible, although lines 2 and 4 are in- complete. I emend it as follows...
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 (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 (2020) 81 (3): 349–375.
Published: 01 September 2020
... and Gogo shall endure, and during that time they shall think. Rather than relief, Beckett’s comedy offers critique. Schopenhauer, as a progenitor of the incongruity theory of laughter, again provides a model. He contends that concepts, as creations secondary to empirical reality, can unite objects only...