Abstract EN:

The critical discourse surrounding beckett's opus is, in reality, no more than a repetition of the meta-discourse of "failure" that the work develops within itself by means of its narrators. Thus the trilogy, contrary to general opinion, is a perfectly controlled and coherent construction in which the so-called failure achieves, through the diversity of its forms, an oppositional function that gives the text its dynamic. Conceived as an open structure, the work is open to reality : that of the writer, samuel beckett. A system of projection of narrators, possessing trans-textual knowledge, creates three levels of novelistic discourse ; each level is situated at one further remove from the author's reality. The trilogy is also open to fiction since its novelistic spaces are inter-linked via three writing programmes, activated in the english molloy, each of which coincides with one of the novels in the trilogy. These programmes are to be considered as three stages of a single identatory and scriptual goal belonging to one common narrator. Furthermore, they are contained within a larger programme, infinite in principal, and of which the trilogy itself is, in turn, only a stage. On the identatory level, there are two programmes that exist in ___oppositipn : one actualised but rejected, the other desired but considered inaccessible. These are the source of a textual dynamic, that is constantly renewed by a painful quest for the self, through the several hypostases of the m-character. The textual dynamic is equally created by the interdependence of the levels of signification, particularly in malone dies, which functions as an auto-analytical text.