Samuel Beckettin oyunlarındaki "Writing Befpore the Letter"

This thesis aims to re-read the questions of language, subjectivity, and expression in selected short plays of Samuel Beckett. It explores the violence of writing in music in Words and Music and Cascando and the violence of writing in bodily/inner voice in Footfalls, Not I, and Rockaby. By revealing the problematics of the metaphysics of music, the metaphysics of voice, and "the logic of supplementarity" in the interpretations of these texts, it hopes to open them to a different reading, focusing on the Dionysian force of différance in these texts within which "expression" neither can be attached to an "origin" nor can be said to arrive at a telos, but rather deferred in an infinite "chain of supplementarity." This thesis offers "the complicity of origins" instead of "the myth of the simplicity of origin," the embracement of force instead of the effacement of it. It offers the possibility of reading the infinite movement—différance—as the aporia in language, subjectivity, and expression, that is, is the possibility and the impossibility of language, subjectivity, and expression.