What this book will hopefully contribute to the general canon of theatrical studies is its study of the Beckettian dramatic text not as a model of the absurd tradition but rather as a cultural product whose writers thinking can scarcely be dissociated from the cultural environment within which it took shape and whose deciphering requires the use of cultural codes and sub-codes that will undergo detailed examination in the course of analysis a study that we may so generically call a cultural semiotic study of Beckett.
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