Aim of the paper is to investigate the affinities and differences with which Adorno and Anders address the theater of Samuel Beckett, identified as the only possible form of artwork after Auschwitz.

T.W. Adorno, G. Anders and the Representation of the End Time: Beckett in Auschwitz

Micaela Latini
2021

Abstract

Aim of the paper is to investigate the affinities and differences with which Adorno and Anders address the theater of Samuel Beckett, identified as the only possible form of artwork after Auschwitz.
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Utilizza questo identificativo per citare o creare un link a questo documento: http://hdl.handle.net/11383/2119312
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