James Joyce

In Joyce, the temporal dimension is very important. The first attempt to overcome the classical temporal coordinates, is evident, before then in Ulysses, in the Dubliners.

If we consider Eveline, we can easily underline the beginning of the process of disintegration of the temporal coordinate, with the mixed of past, present and future.
Eveline is sitting near the windows, looking the street below, and she begins to reflect. Her thoughts don't follow an ordinate iter: every external solicitation becomes a trampoline for a temporal and spatial jump.
All the story is built around Eveline's thoughts. When she thinks, in her mind memories of her past, when she played with other children, about her father, her mother..., and plans for the future, a new life with Frank in another country, are mixed and thought in the same time. While she thinks the time seems to freeze. To underline the importance of Eveline's mental activity, the objective descriptions about her physical actions are reduced to the minimum. When she physically acts, time is accelerated: while the fist pages describe the flux of thoughts in her minds, and the night comes slowly, in the second part, with a spatial and temporal jump, Eveline is at the station. She is leaving from Dublin, but the memory of the promise made to her mother obliged her to stay in Ireland.
The description of her thoughts is led by the use of the free indirect speech. There isn't the author's mediation: thoughts are expresses as they are thought. In sum an attempt to make Eveline's point of view coincident with reader's.

But Joyce's masterpiece is in Ulysses.
Ulysses tells about the story of a single day of life of Leopold Bloom, Stephen Dedalus and Molly Bloom. Only a single day, because a single day can faithfully represent the whole life of a man.
Even if the novel talks about a single day of life, in that day the memories of the past, the plans for the future and the present cohabit, thanks to the use of the stream of consciousness, a term coined by Wiliam James to describe the flux of thinks that crosses the human mind. The more evident example is the stream of consciousness of Molly Bloom. In this passage, different verbal time reveal as her jumps space in all the temporal spectrum.

In this final episode, Joyce reaches the complete temporal expansion in Molly's world, as it is measured in Molly's conscience. The rigid temporal dimension cannot be used to described the weft of her mind's activities: it's absolutely irrelevant asking when and where she has these thoughts. They are the endless re-writing of her life's story, that changes every time she thinks.
The metaphor of the flux isn't completely appropriate to describe this mental activity, because it suggests a regular flow in Molly's mind, while her mind whirl freely around her universe.
With the stream of consciousness, past and future are convoyed in a present temporally dilated as much as condensed: the present is the unique collocation of the experience.
Joyce became one of the main important author that followed this line of thought, that underlined the importance of the time in human conscience. He was in fact the discoverer of Svevo, whose novel La coscienza di Zeno became with the Ulysses one of the point of reference of the European literature of the nineteenth century.
S. Beckett

In Beckett, as in Joyce, the time isn't described as a succession of moments. The annihilation of the past and the future in the present becomes a denial of past and future.

Beckett thinks that the time is cyclical.
This conception of time is similar to Nietzsche's, even if there is a big different between them: Beckett's man is in an uneasiness situation, and he has no way out; for Nietzsche, the man can accept the doctrine of the return of the equal, transforming the place of necessity in the place of the maximum freedom.
This idea of time is evident in the behaviours of the main protagonists, Estragon and Vladimir. Both are obliged to repeat themselves, because they lost the perception of the passing of time. They don't know what they did yesterday, and they repeat the same question about the same things. Look at these example.

V. He said by the tree. Do you see any others?
E. What is it?
V. I don't know. A willow.

[the day after]

E. What is it?
V. It's a tree.
E. Yes, but what kind?
V. I don't konw. A willow.

Let's consider also this extract:

[...]
E. You're sure it was this evening?
V. What?
E. That we were to wait?.
V. He said Saturday. I think
E. You think.
V. I must have made a note of it.
E. But what Saturday? And is it Saturday? Is it not rather Sunday? Or        monday? Or Friday?
V. It's not possible!
E. Or Thursady?
V. What'll we do?

Not only they've forgotten what they said, but they don't know the day of the week, so they are lost in the time.
The wait for Godot, the hope for a salvation, becomes a mere illusion. The two protagonists, because of the loss of the time cognition, wait every day the arrival of Godot. They don't remember they were in the same place to wait for him the day before. Their uneasiness is without hope: they are force to repeat themselves. The same Godot, that is an ironic picture of God, sends his messenger to renew the hope in Estragon and Vladimir.
The unique sign of the time passing are the leaves, that appear on the tree. It isn't an important fact, because the protagonists don't consider this sign, and they don't remember how the tree was like the day before. In sum a completely loss in the time.

T.S.Eliot

In Eliot we can find a conception of time similar of Joyce's. In fact present, past and future are mixed in poems, as they are in the human conscience. An example of a this idea about time is in The Burial of the Dead.

The burial of the Dead

April is the cruellest month, breeding
Lilacs out of the dead land, mixing
memory and desire, stirring,
Dull roots with spring rain.
Winter kept us warm, covering
Earth in forgetful snow, feeding
A little life with dried tubers.
Summer surprised us, coming over the Starnbergersee
Witha shower of rain; we stopped in the colonnade,
And went on in sunlight, into Hofgarten,
And drank coffee, and talked for an hour.
Bin gar keine Russin, stamm'aus Litauen, echt deutsch.
And when we were children, staying at the arch-duke's,
My cousin's, he took me out on a sled,
And I was frightened. He said Marie,
Marie, hold on tight. And down we went.
In the mountains, there you feel free.
I read, much, of the night, and go south in the winter.

The conception of time is expressed in the second and the third line: "mixing memory (past) and desire (future)".
First of all, in the first lines, we can see the description of April,  a spring month, the description of the winter, and then the summer. There is no chronological order, the images become evident as they appear in the conscience of the protagonist. And so it is explained the strange order in which they appear. Also the connotation of the flash-backs in the past are both positive and negative, mixed together. For example in few lines, the memories of the past are positive, the summer on the lake, negative, because in that lake died a duke, and again positive, when the protagonist remember about her or his children life.
The last line expresses another temporal jump: the present, in which "I read, much, of the night", is replaced by "I go south in the winter", therefore and habits that took place in winter.
The use of verbs underlines these chronological jumps. For example, April is... Winter kept... you feel... I go.
Another example of the flux of time against the chronological order, is in What the thunder said.

[...]
Here is no water but only rock
Rock and no water and the sandy road
The road winding above among the mountains
Which are mountains of rock without water
If there were water we should stop and drink
Amongst the rock one cannot stop and think
Sweat is dry and feet are in the sand
I there were only water amongst the rock
Dead mountain mouth of carious teeth that cannot spit
Here one can neither stand nor lie nor sit
[...]

In this extract there is the description of two landscapes, one with the water, the other one without.
These different landscapes are described through the objective correlative: objects has to evoke the emotion, as Eliot said. So the rock, the water, the mountains are intense, so they aren't simple symbols, but the meaning rise from the physical density of these objects.
The land with water is only a hope for the future, but also a memory of an ancient past. These images are linked to the landscape of the present: a waste and sterile land. We can understand again that past, present and future are mixed together: there isn't a chronological order, but these categories are explained as they are thoughts in the conscience of the narrator.