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"Beckett often made use of images from the visual arts and readapted them, staging them in his plays, or using them in his fiction. Anthony Uhlmann sets out to explain how an image differs from other terms, like 'metaphor’ or ‘representation’, and, in the process, to analyse Beckett’s use of images borrowed from philosophy and aesthetics.This is the first study of Beckett’s thoughts on the image in his literaryworks and of his extensive notes to the philosopher Arnold Geulincx.Uhlmann considers how images might allow one kind of interactionbetween philosophy and literature, and how Beckett makes use ofimages which are borrowed from, or drawn into dialogue with,philosophical images from Geulincx, Berkeley, Bergson and theAncient Stoics. Uhlmann’s reading of Beckett’s aesthetic and philosophicalinterests provides a revolutionary new reading of the importanceof the image in his work."

"In Modernism, Narrative and Humanism, Paul Sheehan attempts to redefine modernist narrative for the twenty-first century. For Sheehan modernism presents a major form of critique of the fundamental presumptions of humanism. By pairing key modernist writers with philosophical critics of the humanist tradition, he shows how modernistssought to discover humanism’s inhuman potential.Heexamines the development of narrative during the modernist period and sets it against, among others, the nineteenth-century philosophicalwritings of Schopenhauer, Darwin and Nietzsche. Focusing on the major novels and poetics of Conrad, Lawrence,Woolf and Beckett, Sheehan investigates these writers’ mistrust of humanist orthodoxyand their consequent transformations and disfigurations of narrative order. He reveals the crucial link between the modernist novel’snarrative concerns and its philosophical orientation in a book that will be of compelling interest to scholars of modernism and literarytheory."