“A matter of fundamental sounds”: sonic storytelling in Samuel Beckett's radio and television plays
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Bibliographic record
Abstract
In 1956, Samuel Beckett was approached by the BBC Third Programme to write a radio play; out of that commission emerged All That Fall.This first sortie into radio drama prompted Beckett's further exploration of sound in various media.This thesis tracks the chronological evolution of recorded sound in Beckett's radio, television, and adapted stage plays produced between 1957 and 1983.In each chapter, I describe the creation of Beckett's sounds, particularly those made in recording studios such as the Radiophonic Workshop at the BBC.I examine the historical and technical qualities of sound production in order to catalog and theorize the Beckettian soundscape with reference to sound studies.In all of his works, the concept of story or personal narrative is a recurring motif.In his radio and television plays in particular, characters can, for example, hear sounds in their heads and vocalize sound as stories.Beckett uses these sonic stories to explore the boundaries of recorded sound across his radio, television, and adapted works.Chapter 1 examines Beckett's radio plays, with attention paid to the gradual decline in the number and variety of recorded sound effects over time.Chapter 2, focused on Beckett's writing for television, explores his use of recorded sound paired with visual cues and camerawork.Chapter 3 looks at three filmed adaptations of Beckett's stage plays, with reference to the transformation of sound and image that he learned by working in other media.Beckett's recorded and filmed works emphasize the centrality of sound in all of his writing and reveal a complex relationship between recorded sound and audience.The repetition of storytelling offers an intimate sonic exchange with the listener.The sounds in Beckett's stories draw attention to the construction and strained nature of personal narrative, while deliberate use of silence makes listeners more aware of their act of listening as part of the soundscape and story. Brecht iv RsumEn 1956, Samuel Beckett fut approch par le BBC Third Programme pour crire une pice radiophonique et de cette commission est advenue All That Fall.Cette premire incursion dans le monde du feuilleton radiophonique a incit Beckett explorer l'utilisation du son dans divers mdias.Cette thse suit donc l'volution chronologique du son enregistr dans les oeuvres qu'il a produites pour la radio, la tlvision et le thtre entre 1957 et 1983.Dans chaque chapitre, je dcris la cration des sons de Beckett, spcifiquement ceux raliss dans des studios d'enregistrement comme le BBC Radiophonic Workshop.J'examine les qualits historiques et techniques de la production sonore pour cataloguer et thoriser le paysage sonore Beckettien, le tout inform par des tudes sur le son.Dans tous ses oeuvres, le concept du rcit ou de la narration personnelle est un motif rcurrent.Dans ses pices radiophoniques et tlvises en particulier, les personnages peuvent, par exemple, entendre des sons dans leur tte et articuler du son sous forme d'histoire.Beckett utilise ces histoires sonores pour explorer les frontires du son enregistr travers ses oeuvres radiophoniques, tlvises, et adaptes au thtre.Chapitre 1 examine les feuilletons radiophoniques de Beckett, avec une priorit donne au dclin progressif du nombre et de la varit des effets sonores enregistrs au fil des annes.Chapitre 2, ax sur les crits de Beckett pour la tlvision, explore son utilisation du son enregistr en combinaison avec des indices visuels et le travail de camra.Chapitre 3 examine trois adaptations filmes des pices de thtre de Beckett abordes sous l'angle de la transformation du son et de l'image qu'il a apprise en travaillant dans d'autres mdias.Les oeuvres enregistres et filmes de Beckett soulignent la centralit du son dans tous ses crits et rvlent une relation complexe entre le son enregistr et le public.La rptition narrative offre un change sonore intime avec l'couteur.Les sons dans les histoires de Beckett mettent en
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Full frame distilled prediction
Teacher imitationNot calibrated prevalence, not ground truth. Human validation pending. Learned from the 10,348 direct Codex labels and 10,348 direct Gemma labels. Candidate is the union of thresholded teacher heads; consensus is their intersection. These outputs are machine_predicted_unvalidated and are not human labels or direct frontier model labels.
Codex and Gemma teacher scores by category
| Category | Codex | Gemma |
|---|---|---|
| Metaresearch | 0.001 | 0.000 |
| Meta-epidemiology (narrow) | 0.001 | 0.000 |
| Meta-epidemiology (broad) | 0.001 | 0.000 |
| Bibliometrics | 0.000 | 0.000 |
| Science and technology studies | 0.000 | 0.000 |
| Scholarly communication | 0.000 | 0.000 |
| Open science | 0.000 | 0.000 |
| Research integrity | 0.001 | 0.001 |
| Insufficient payload (model declined to judge) | 0.001 | 0.000 |
Machine scores (provisional)
The two teacher heads of the student model, read on this work. A score orders the frame for review; it never asserts a category, and the validation status ships verbatim with every row.
Baseline scores from an immature model (maturity gate not passed, 7 training rounds). Scores rank; they never assert a category.
score_only:v0-immature-baseline · verbatim from the scoring run: score_only means the number may rank works, and no category label ships from it