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<![CDATA[ spiritual realization – he becomes impatient and winds the tape forward three separate times (21). And no meaning can be got from these details but they are just words next to each other that make sentence, not meaningful one. Krapp simply allows his storyless creations to define themselves on the basis of their own substance – words, empty words
Beckett continually dynamites the very infrastructure – language – of communication. Krapp, when recording these old tapes thirty years ago, says things like “I shall never forget this.” Yet Krapp, in the present, listening to the tapes, has obviously forgotten it completely. This happens again with a single word, “viduity,” for which he pauses his listening and retrieves a dictionary in order to look it up. And, like the word “spool,” Krapp revels in the word when he recalls its meaning (the state or condition of being or remaining a widow or widower.) Most of Krapp's last Tape consists of him sitting listening to this tape with only a few pause where he would stop to try and make sense of what the almost stranger like voice meant when he recorded the tape at thirty nine years of age. For example as Krapp of thirty-nine mentions his mother dying in the late autumn "after her long viduity", the present Krapp does not understand what was meant by this and had to refer to the dictionary to find the meaning of the word viduity. Again this could have been just old age catching up on him. But it was as if someone one else was talking, that he did not recognize as he has changed so much over the years, that maybe only for these recordings he would never have believed he was ever that man. For Krapp, language becomes more important than the meaning it is supposed to convey. He revels in words, but not in the fundamental ideas they represent.
Becoming silence can be seen through the language because silent refutes language. Language here is auto-reflexive, there is no meaning out of it and it is only sound and silence. Two kinds of language have been mentioned. First language as a social function which is supposed to convey the meaning in order to be informative; however, literary language is performative and auto-referential. Here language is not supposed to represent any meaning but language here is sound and phonetic aspect comes foreground and semantic aspect comes background. Auto-referential function affirmed sound and phonetic aspect first and content and semantic aspect represent as a second rank. As a matter of fact in this play, Krapp tries to catch a point through talking but he can’t, language is loss and it doesn’t come to any definite meaning. Sound and silence make language in this play. So through silence and sound no meaning can be got
Box . . . three . . . spool . . . five. Spool! (pause.) Spooool! Box . . . three . . . three . . . four . . . two . . . (with surprise) nine! good God! . . . seven . . . ah! the little rascal! Box three. (Spool . . .. . . five . . .. . . five . . . five . . . ah! the little scoundrel! Spool five. Box three, spool five. Spooool! (68).
No meaning in this play can be seen when Krapp faces some words that he said before and he can’t remember the meaning of that. This shows how language is in loss and he just play with words without conveying any meaning
Hm . . . Memorable . . . what? Equinox, memorable equinox. Memorable equinox? . . . or in another part “after her long viduity, and the–a-dying, after her long viduity, and the– Krapp (reading from dictionary). State–or condition of being–or remaining–a widow–or widower. (Looks up. Puzzled.) Being–or remaining? . . . (Pause. He peers again at dictionary. Reading.) “Deep weeds of viduity” . . . Also of an animal, especially a bird . . . the vidua or weaver bird . . . Black plumage of male . . . (He looks up. With relish.) The vidua0bird! (68).
Huge pauses and recording silence can be represented the loss in meaning through language, language in defeated to have specific meaning.
Moreover, Krapp’s Last Tape is not the story of an eccentric, or of a man with a peculiar neurosis. It is the story of humankind, separated from themselves by conscious awareness, by language, by memory (whether internal or external,) fighting to justify their lives and produce meaning out of the void, all the while falling to pieces in the physical real. It displays, without judgment, the pain and comfort of regret, the joy and shame of breaking self-imposed discipline, and the heartbreaking isolation of our unknowable inner selves.
In other words, that Krapp “puts [the tape] back” implies that he has lost that world of intellectual language, or at least that it is not the linguistic discourse he means to access or can even understand at his current age. By putting the tape back in its drawer, Krapp again foreshadows the play’s later action. While the tape still belongs to him, its discourse is no longer useful to him as anything but an element of nostalgia. He has replaced the intellectual, conceptual value of the tapes with a sappy, emotional value that ultimately makes a mockery of Krapp himself, and he no longer understands the language of his youth, having to stop and look up the word “viduity” after hearing it in his own tape. Even after finding the word in the dictionary, he finds far more excitement in thinking about “the vidua-bird”, a superficial, aesthetic object existing in stark contrast to the abstract, conception of viduity. Additionally, Krapp, who did not “sing as a boy,” or, in fact, “ever sing,” sings now as an old man. His linguistic discourse has changed, but the song is not of his boyhood, as Old Miss McGlome sings “of her girlhood”, instead it concerns only the bitter twilight, “night is drawing nigh” (۶۸). In fact, by singing at all, Krapp directly rebels against his youthful arrogance, which asserts that “no,” he would not “sing when [he was Old Miss McGlome’s] age”. Clearly Krapp no longer uses or even respects the tape language, it is not what he chooses to fill his mouth.
So far we have seen that Krapp began by taking on the tape-recording language, which communicates intellectually, but that he somehow lost his understanding and connection with that world. In addition, we’ve seen that Krapp now simply goes through the motions to sustain himself, using his new “lower” discourse not to see the world from a new outlook, but to bite down. Generally language in this play cannot transfer any meaning and they are just some words next to each other that Krapp through them wants to find his own identity. In fact, lots of pauses and hesitations can represent lack of meaning in the things that he is talking
The grain, now what I wonder do I mean by that, I mean . . . (hesitates) . . . I suppose I mean those things worth having when all the dust has–when all my dust has settled. I close my eyes and try and imagine them (69).
As a matter of fact, language is making sound; Language is silence language doesn’t convey any meaning. Besides, pronouncing spool on that way can represent that Krapp is trying to mock language through sound and that way can indicate the negation of meaning in Beckett’s language.
۲٫۴ Krapp’s Last Tape and Body Without Organ
Nomos seems to be the place where one is free to roam about, to travel. This space is a space in which nothing belongs to everyone. The necessary process for nomadism is represented in various conditions that one of these conditions is body without organ (BWO). First we need free ourselves of organs. The order and fixity are problems upon us. The body ruled by organization represents integrity and wholeness, which indicates stable and fixed selfhood. To get rid of this, we must strip ourselves of organs, to become naked and light enough to follow lines of flight. BWO is the beginning of desire. It’s massive flowing through values and vessels. Rejecting body represents rejecting identity. BWO opens the body to new connections, territories and distributions of intensiti
es. In fact, it’s against subjectification and organism. One can show through BWO the possibilities of desubjectification, the lines of flight and deteritorialization.
This reading of Krapp’s Last Tape attempts to follow the traces of nomadic transformation in figures. Aided by Deleuzean trajectories: BWO (Body Without Organ), smooth space of the old age opposed to the striated space of the young age in tapes. This play invites us to seek the variety of ways so as to remove ego doctrine. To do this, he puts forward new ways and new threshold to resist being either this or that in favor of becoming. In this play, we can see the body without voice in the old age represents his freedom from organ and the voice without body in the tape can indicate that he is in the beginning level of flight from his organs in order to be free and pave the way of becoming.
The process of depersonalization exercised on Krapp’s body which is now the beginning to free itself from organs. Repeating the word spool in its childish manner is used to abolish subjectification. In this way, an unfamiliar version of man comes up to show how body and language are interlocked. Krapp seems to order language by recording the tapes but he becomes a stranger and foreigner in his own language when he can’t remember the meaning of the words that he said before
Back on the year that is gone, with what I hope is perhaps a glint of the old eye to come, there is of course the house on the canal where mother lay a-dying, in the late autumn, after her long viduity (Krapp gives a start), and the–(Krapp switches off, winds back tape a little, bends his ear closer to the machine, switches on)–a-dying, after her long viduity, and the– Krapp switches off, raises his head, stares blankly before him. His lips move in the syllables of “viduity.” No sound. He gets up, goes back stage into darkness, comes back with an enormous dictionary, lays it on table, sits down and looks up the word.]]>