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The reading game: A theory of play ...

Bohman, Kimberly Susan.

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The reading game: A theory of play forms in O'Brien, Beckett, and Perec (Flann O'Brien, Samuel Beckett, Georges Perec, Ireland, France).

Record Type:	Electronic resources : Monograph/item
Title/Author:	The reading game: A theory of play forms in O'Brien, Beckett, and Perec (Flann O'Brien, Samuel Beckett, Georges Perec, Ireland, France)./
Author:	Bohman, Kimberly Susan.
Description:	256 p.
Notes:	Source: Dissertation Abstracts International, Volume: 64-10, Section: A, page: 3674.
Contained By:	Dissertation Abstracts International64-10A.
Subject:	Literature, Comparative. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3107867

The reading game: A theory of play forms in O'Brien, Beckett, and Perec (Flann O'Brien, Samuel Beckett, Georges Perec, Ireland, France).
Bohman, Kimberly Susan.

The reading game: A theory of play forms in O'Brien, Beckett, and Perec (Flann O'Brien, Samuel Beckett, Georges Perec, Ireland, France). - 256 p.

Source: Dissertation Abstracts International, Volume: 64-10, Section: A, page: 3674.

Thesis (Ph.D.)--Princeton University, 2004.

This dissertation identifies a unique subgenre of Modern and Postmodern Literature---a genre I call Play-Texts. Using Flann O'Brien's At Swim-Two-Birds, Samuel Beckett's Murphy and En attendant Godot, and Georges Perec's La Vie made d'emploi , and W ou le souvenir d'enfance as primary examples, I demonstrate that Play-texts are characterized by a highly self-conscious, rule-governed formal approach in which Play is a mode of writing that both impacts the text's structure and determines the thematic focus of the texts. Games appear at significant moments of character development or thematic revelation. Therefore, it is not merely episodes of game playing in these texts (for which there is no lack of literary precedent) that sets them apart, but the layered effect of Play simultaneously working at the levels of character, plot, metaphor, theme and structure. The self-conscious way in which these authors make the author-reader relationship the central aspect of the novels enables these texts to abet (or incite) critical commentary about the process of reading. The varying degrees of visibility of this central rhetorical device draw attention to the author's manipulation of the reader and invites a metacritical analysis of the device itself.Subjects--Topical Terms:

530051
Literature, Comparative.

The reading game: A theory of play forms in O'Brien, Beckett, and Perec (Flann O'Brien, Samuel Beckett, Georges Perec, Ireland, France).
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035 $a (UnM)AAI3107867
035 $a AAI3107867
040 $a UnM $c UnM
100 1 $a Bohman, Kimberly Susan. $3 1951197
245 1 4 $a The reading game: A theory of play forms in O'Brien, Beckett, and Perec (Flann O'Brien, Samuel Beckett, Georges Perec, Ireland, France).
300 $a 256 p.
500 $a Source: Dissertation Abstracts International, Volume: 64-10, Section: A, page: 3674.
500 $a Supervisor: Maria DiBattista.
502 $a Thesis (Ph.D.)--Princeton University, 2004.
520 $a This dissertation identifies a unique subgenre of Modern and Postmodern Literature---a genre I call Play-Texts. Using Flann O'Brien's At Swim-Two-Birds, Samuel Beckett's Murphy and En attendant Godot, and Georges Perec's La Vie made d'emploi , and W ou le souvenir d'enfance as primary examples, I demonstrate that Play-texts are characterized by a highly self-conscious, rule-governed formal approach in which Play is a mode of writing that both impacts the text's structure and determines the thematic focus of the texts. Games appear at significant moments of character development or thematic revelation. Therefore, it is not merely episodes of game playing in these texts (for which there is no lack of literary precedent) that sets them apart, but the layered effect of Play simultaneously working at the levels of character, plot, metaphor, theme and structure. The self-conscious way in which these authors make the author-reader relationship the central aspect of the novels enables these texts to abet (or incite) critical commentary about the process of reading. The varying degrees of visibility of this central rhetorical device draw attention to the author's manipulation of the reader and invites a metacritical analysis of the device itself.
520 $a Play-Texts thus emphasize form, but to ethical as well as aesthetic ends. How we play, why we play, and what we play become central thematic concerns of these works. Winning, losing, cheating, and opting out all have thematic consequences that confer moral meaning upon the text. Drawing on the typological models of Roger Caillois and former Harvard economist Thomas Schelling, the theories of Play presented by Johan Huizinga and Ludwig Wittgenstein, and the game theories and language theories of Anatol Rapoport, J. P. Seris and Mikhail Bakhtin, I propose a theory of Play Forms that accounts for their literary ethics as well as their imaginative playfulness and guile.
590 $a School code: 0181.
650 4 $a Literature, Comparative. $3 530051
650 4 $a Literature, English. $3 1017709
650 4 $a Literature, Romance. $3 1019014
650 4 $a Theater. $3 522973
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710 2 0 $a Princeton University. $3 645579
773 0 $t Dissertation Abstracts International $g 64-10A.
790 1 0 $a DiBattista, Maria, $e advisor
790 $a 0181
791 $a Ph.D.
792 $a 2004
856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3107867