Abstract EN:

Repetition, from the verb repetere ("to fetch so as to recapture"), is characterized by the figures of reiteration, of variation, of echo and of refrain, in samuel beckett's work. The narrative keeps repeating at the level of syntaxical structures although the expression of the sameness can be found at different levels of the text. Impregnated with irish tradition, beckett lives, however, in the context of the after-war paris among writers of the "nouveau roman". The principles of ceaseless repetition in the work are centered around the notions of gap, of interval and of breath in the bosom of indecidability of the narrative voice. The work borrows a number of its references from painting and from the question of representation. It also favours the taste for figures and combinatory art that smooths the anguish of the beckettian narrator. The philosophical attitude of belacqua -dante's hero- and his lack of will constitute a rooting point of ceaseless repetition in the same way as the reference to the biblical text can be found all along the "topoi" of the work. In the musical variations and the rythm, a pathological repetition is expressed, compulsion for the subject to revew the meeting with traumatism or contiguity of a real birth -a good friday- and of a symbolic death. Doing so, beckett puts down his name in the work, by the peak of the parrot, in the gap of language opened by the space between words or the metalanguage that constitutes the use of irony. On the intertextual level, the tradition of dante, joyce, proust and of philosophers constitutes with the autoquotation the most powerful form of recapturing. Translator of his own work, beckett emphasizes so the initial purpose, the echos going along a voice, insistence that empties the work in search of the pure point of enunciation.