Showing papers in "James Joyce Quarterly in 2010"
TL;DR: In Ulysses and Finnegans Wake, Joyce turns to visual and gestural languages (film, hieroglyphics, and illuminated manuscripts) in an effort to subvert theories of an “Aryan” language and to imagine a more inclusive origin for all the world’s cultures in Egyptian hierophics as mentioned in this paper.
Abstract: This article situates Joyce’s work within a larger discourse about the problem of Babel or about how, in a newly globalized world, different cultures and language groups might best communicate with one another. The journal transition —in which Joyce’s work was serialized and whose editor, Eugene Jolas, he knew well—served as a clear-inghouse for ideas about how a new universalism might be forged: either through Joyce’s Wake se and other avant-garde experiments or through the philosopher C. K. Ogden’s Basic English. Fascinated by these theories of universal language and drawn to the anti-imperialist politics underlying them, Joyce, in Ulysses and Finnegans Wake , turns to visual and gestural languages—film, hieroglyphics, and illuminated manuscripts—in an effort to subvert theories of an “Aryan” language and to imagine a more inclusive origin for all the world’s cultures in Egyptian hieroglyphics. Ideas of linguistic or media “purity” are allied in Joyce with the danger of Nazi claims for racial purity. His emphasis on the commonality of writing and new media becomes a political gesture: a way of insisting on the unity of all races, cultures, and languages in a mythic past.
11 citations
TL;DR: This article examined the existential psychological nature of this haunting and the possibility (or impossibility) of mastering or transcending the situation in which Gretta and Gabriel find themselves at the tale's end.
Abstract: Although allusions to death, dying, and the deceased pervade the final tale in Dubliners , the most compelling and haunting element in “The Dead” is undoubtedly Gretta’s poignant memory of her teenage love, Michael Furey, and the effect that her tearful sharing of this recollection with her husband, Gabriel, has on the couple. Like most of Joyce’s stories, “The Dead” concludes with its protagonist feeling trapped in a situation seemingly beyond his control. Moreover, Gabriel’s sense of self has been severely shaken by the events of the evening and the climactic, disquieting, revenant otherness of his wife’s past love. In my essay, I examine the existential psychological nature of this haunting and the possibility (or impossibility) of mastering or transcending the situation in which Gretta and Gabriel find themselves at the tale’s end.
8 citations
TL;DR: In this paper, the authors make a comparison of two apparently incommensurable figures: James Joyce, the modernist author, and Eugen Sandow, the now-forgotten strongman-performer who flourished in Britain in the early twentieth century.
Abstract: With my chapter title here I mean to play a bit with the comparison of two apparently incommensurable figures: James Joyce, the modernist author, and Eugen Sandow, the now-forgotten strongman-performer who flourished in Britain in the early twentieth century. Here begins a gradual shift in my focus from texts to institutions, in that Sandow, who displayed a modernist mastery of advertising dispersed over the cultural spectrum, presented himself not only through language but preeminently through images—everything from postcards to staged spectacles. The present chapter deals both with Sandow as a broadly disseminated image that effectively interpellated consumers of the British Isles (and to a lesser extent those of Europe and American as well) and with the discourse of advertising upon which he depended and which effectively shaped him into a significant cultural nexus as well. As Vike Plock observes,
Physical culture, which had its heyday in the years between 1850 and 1918, became, at the turn of the century, practically synonymous with the name Eugen Sandow, whose publication Strength and How to Obtain It marked the zenith of a fitness craze relying on new media such as advertising and photography; growing degeneration paranoia, and resurfacing concepts of Hellenistic body aesthetics as a means for aesthetic dissemination. (Plock, 115)
8 citations
TL;DR: Wang et al. as mentioned in this paper translated the entire Finnegans Wake into Chinese and published Book I of it in 2006, followed by Book II of it this year, with the goal of translating Book III in 2019.
Abstract: Because more papers on Finnegans Wake appear regularly in China now, a Chinese translation of the whole work is in great demand. I began my Wake translation in 2006 and expect to publish Book I of it this year. Eventually I plan two translated versions—the first will include only one of the many possible meanings of words in the text, while the second will create new Chinese characters or words in a way similar to Joyce’s strategy in the Wake . Although the first one will be easier, there are still many inherent difficulties such as which meaning to choose and how to retain the uncertainty and multiplicity of the original text. Strict publishing requirements for academics in China make the act of translation more difficult, and, of course, translating the Wake is even more demanding. Fortunately, I have received much encouragement, and Wakean serendipitous coincidences have made it possible to continue.
7 citations
TL;DR: The Checklists are cumulated online in The James Joyce Checklist http://research.hrc. utexas.edu/jamesjoycechecklist/. as mentioned in this paper The Checklist is a collection of checklists for the Zurich James Joyce Foundation and its extraordinary library.
Abstract: Our gratitude goes first to Fritz Senn for encouraging a visit to the Zurich James Joyce Foundation and its extraordinary library. Thanks for other contributions to Tim Ahern, Vincent Golden, K. P. S. Jochum, Heather Kelley, Erika Mihálycsa, Federico Sabatini, Dan Schiff, and Andreas Weigel, and a special note of appreciation to Jim LeBlanc for spotting the Pasadena Star-News story that reported Joyceans to be “the punk rockers of academe.” Please send contributions to your bibliographer at W329 Pattee, Pennsylvania State University, University Park, PA 16802, or via e-mail to uxb5@psu.edu. The Checklists are cumulated online in The James Joyce Checklist http://research.hrc. utexas.edu/jamesjoycechecklist/.
6 citations
TL;DR: The field of Joyce translation studies has emerged as a discipline of its own and is a new area through which to study Joyce as mentioned in this paper, and a few recent compilations on the subject continue the work of Fritz Senn's seminal book, Dislocutions: Reading as Translation, and include the 2007 edition of Joyce Studies in Italy, entitled Joyce and/in Translation, and the 2010 issue of Scientia Traductionis with its multifaceted sections that range from translations of Joycean criticism into Portuguese to essays by Joycean translation scholars and a cross-section of five
Abstract: The field of Joyce translation studies has emerged as a discipline of its own and is a new area through which to study Joyce. A few recent compilations on the subject continue the work of Fritz Senn’s seminal book, Dislocutions: Reading as Translation, and include the 2007 edition of Joyce Studies in Italy , entitled Joyce and/in Translation , and the 2010 issue of Scientia Traductionis with its multifaceted sections that range from translations of Joycean criticism into Portuguese to essays by Joycean translation scholars and a cross-section of five Portuguese versions of selections from Ulysses . This issue of the JJQ joins the ranks by presenting the newest developments in translation studies that pertain to Joyce and determine the reception of his works outside the English language. Since writing-as-translation is very much at the heart of Joyce’s artistic endeavor, one that positioned the writer at the crossroads of European literary and linguistic traditions, the context of translation opens up the discipline of Joyce and Irish studies to include questions of ethics and the politics of language. Essays in this issue join the existing scholarship on Joyce and translation as well as the wider discipline of translation studies. General readers of Joyce, as they reflect on the vast array of dictionaries, lexicons, annotations, and encyclopedias that aid their “translation”-riddled activities, will also catch a glimpse of the workshop of the “outsiders”: readers-as-translators and readers-translators.
3 citations
TL;DR: For instance, the authors found evidence that Gerty MacDowell may have had an abortion, using the deliberately ambiguous rhetoric of advertising, seizing control of her body and reproductive health from a legal system that seeks to circumscribe her.
Abstract: Did Gerty MacDowell have an abortion? “Advertising Agency: Print Culture and Female Sexuality in ‘Nausicaa’” uncovers historical material long overlooked by Joyce scholars to indicate that she very well may have: Widow Welch’s Female Pills, a patent medication to which Gerty explicitly refers, was widely believed to have abortifacient properties during the nineteenth and early-twentieth centuries. This essay draws upon Joyce’s familiarity with the discourses of birth-control movements and turn-of-the-century advertising to argue that critics have too easily dismissed Gerty as an unthinking and passive consumer of the fashion, fiction, and fantasy offered by ladies’ magazines. Instead, this essay contends, Gerty, like her creator, employs the deliberately ambiguous rhetoric of advertising, seizing control of her body and reproductive health from a legal system that seeks to circumscribe her.
3 citations
TL;DR: This paper examined the 1904 Ascot Gold Cup race between Leopold Bloom and Blazes Boylan as a contrast of economic strategies and the location of human value within them, and found that Bloom's reading of experience within a capitalistic world leads to a simultaneous critique of modern urban world and an affirmation of the human response to it.
Abstract: The 1904 Ascot Gold Cup Race presents an opportunity to contrast two competing economic experiences inherent within a capitalist system: the gambler’s trust in luck and the investor’s trust in time. Using Walter Benjamin’s analysis of the effect of capitalistic industrialization on experience, this study examines the competition between Leopold Bloom and Blazes Boylan as a contrast of economic strategies and the location of human value within them. Thus, Joyce’s reading of experience within a capitalistic world leads to a simultaneous critique of the modern urban world and an affirmation of the human response to it.
3 citations
TL;DR: The authors provide an overview of translatorial strategies identified in the published excerpts of Krzysztof Bartnicki's newly completed translation of Finnegans Wake into Polish, including transplantation, phonetic equivalence, foreign-language substitution, proportional distortion, anticipatory reinforcement, and equivalent conceptual blending.
Abstract: This essay provides an overview of translatorial strategies identified in the published excerpts of Krzysztof Bartnicki’s newly completed translation of Finnegans Wake into Polish. His methodological premises include a conviction that inventing a counterpart of the multilingual “Wakese” idiom constitutes a kind of intralingual translation, a respect for the uniqueness of the book’s structure, and a dedication to the reconstruction of conceptual images evoked by the original. Several of Bartnicki’s translatorial strategies, including transplantation, phonetic equivalence, foreign-language substitution, proportional distortion, anticipatory reinforcement, and equivalent conceptual blending, are presented, illustrated by examples and followed by detailed analyses.
2 citations
TL;DR: In this article, Herring et al. present a collection of early drafts of Ulysses from the Buffalo Collection. But they do not discuss the treatment of the characters in the novel.
Abstract: 4 See “Circe Notesheet 18,” in Philip F. Herring, ed., Joyce’s Notes and Early Drafts for “Ulysses”: Selections from the Buffalo Collection (Charlottesville: Univ. of Virginia Press, 1977), p. 352. 5 See Sergei M. Eisenstein, “A Course in Treatment,” Film Form: Essays in Film Theory, ed. and trans. Jay Leyda (London: Dennis Dobson, 1963), p. 105. 6 Richard Abel, The Ciné Goes to Town: French Cinema 1896-1914 (Berkeley: Univ. of California Press, 1998), p. 65. 7 Paul Muldoon, To Ireland, I (Oxford: Oxford Univ. Press, 2000). 8 Godard, JLG/JLG Autoportrait de Décembre (France: Gaumont, 1995), DVD.
2 citations
TL;DR: The precession of the equinoxes and the myths that it has produced have been studied by George de Santillana and Hertha von Dechend in Hamlet's Mill and Thomas D. Worthen in The Myth of Replacement as discussed by the authors.
Abstract: The precession of the equinoxes and the myths that it has produced have been studied by George de Santillana and Hertha von Dechend in Hamlet’s Mill and Thomas D. Worthen in The Myth of Replacement . In this study, I examine its role in Finnegans Wake . The great year that corresponds to the precessional cycle and the myth of replacement that arises from the replacement of one pole star with another are, in the context of the Wake , another way of telling the story of generational conflict and cyclical return. I also analyze the appearance in the Wake of such authors as Plato, Cicero, Giordano Bruno, Madame H. P. Blavatsky, and W. B. Yeats whose representations of cyclical change drew on the mythology of the precession. Finally, I show how such heroes of the precession as Noah, Manu, and Arthur who survive the flood of chaos—the chaotic period between pole stars and between eras—become, in the Wake , avatars of HCE in his struggle to rear his kingdom on the ruins of time.
TL;DR: In this paper, the authors present a collection of essays from the authors of Our Exagmination Round his Factification for Incamination of Finnegans Wake, with a cover photograph of an egg-whisk next to fourteen eggs.
Abstract: A advised from a young age not to judge a book by its cover, I was favorably impressed, on receiving this one, by the intriguing black-and-white cover photograph of an egg-whisk next to fourteen eggs—a dozen chicken and two quail eggs—in reference to the twelve essays and two shorter letters of protest in the original Our Exagmination Round His Factification for Incamination of “Work in Progress,”1 to which this collection offers the responses of fourteen outstanding Joyce scholars. Having now broken open all their surprise eggs and whisked in my own opinion of the volume, I can confirm the wisdom of the old saying: the book is, in fact, even better than its cover—a truly tasty, haute-cuisine omelette of Joyce criticism. As Tim Conley underlines, the relationship between Finnegans Wake and the Exagmination is indeed “a chicken and egg problem for literary historians and critics” (xvii). The twelve apostles of Joyce’s “Work in Progress” produced their explanatory essays from limited, discrete chapters of a book that would only be completed ten years later, and they eventually found themselves mockingly drawn into the very matter of this book, as “the twelve deaferended dumbbawls of the whowl abovebeugled to be the contonuation through regeneration of the urutteration of the word in pregross” (FW 284.18-22). To those perfectly at ease with Finnegans Wake and the critical literature surrounding it, the need for a reappraisal of Our Exagmination was obvious.2 Those who are not completely at home in the hospitable house of Joyce’s last opus, however, may wonder whether a book of criticism about a book of criticism should be their priority in approaching the Wake. To them, I will say that Conley’s collection offers a stimulating introduction to the context that produced both the Exagmination and the Wake. Starting from Eugene Jolas’s transition journal where the chapters from “Work in Progress” were first published, as well as most of the essays in Our Exagmination, it situates Joyce’s aesthetic project in relation to the great literary, cultural, and political debates of late modernism. After Conley’s witty general introduction and presentation of the project, the collection opens with Jean-Michel Rabaté’s reading of Samuel Beckett’s “Dante... Bruno. Vico.. Joyce.”3 Interlacing brilliant close readings and informed contextualization, Rabaté examines Beckett’s weaving of the four great names in his title, revealing how this foreshadows the questions of his later work. In keeping with the food metaphor from the cover, and with Giordano Bruno’s coincidence of contraries, he succeeds in turning Beckett’s original image James Joyce Quarterly 48.1 2010
TL;DR: Kendi as discussed by the authors used a copy from the archives of the Palestine Land Development Corporation (L 18), stored at the Central Zionist Archives in Jerusalem, to read through all issues of the Triestine Jewish press of the Joyce years.
Abstract: Netaim passage. 3 Michael Hamburger, String of Beginnings: Intermittent Memoirs 1924-1954 (1973; London: Skoob Books, 1991). Further references will be cited parenthetically in the text. 4 See in the Berliner Adressbuch, 1908, “Uhlandstrasse 175,“ and 1909, “Bleibtreustrasse 34/35.“ 5 I rely here on Kendi‘s copy from the archives of the Palestine Land Development Corporation (L 18), stored at the Central Zionist Archives in Jerusalem. The other names listed are Leopold Kessler, Chaim Weizmann (whose activities were evidently significant), Norman Bentwich, Boaz Neumann, and Gideon Heymann. 6 In private correspondence dated 29 August 2007, Kendi said that he “read through all issues of the Triestine Jewish press of the Joyce years” but “did not find any reference to these specific projects and addresses.” On Moses Feuerstein Dlugacz and Joyce, see McCourt, The Years of Bloom: James Joyce in Trieste 1904-1920 (Dublin: Lilliput Press, 2000), pp. 235-36. 7 See my earlier JJQ essay for a more extensive consideration of such questions as how Joyce became aware of the Bleibtreustrasse address and how and when he learned of the Jewish plantation schemes (pp. 805-06).
TL;DR: The first issue of the James Joyce Online Notes edited by Harald Beck and John Simpson as mentioned in this paper was published in 2001 and focused on the people, the words, and other cultural references in Ulysses and the earlier works.
Abstract: We note the first issue of James Joyce Online Notes edited by Harald Beck and John Simpson: “JJON focuses on the people, the words, and other cultural references in Ulysses and the earlier works. It hopes to contribute to the reader’s task of learning to become Joyce’s contemporary.” Thanks this time to Michael Cunningham, Kazuhiro Doki, Nick Fargnoli, Judith Harrington, Arleen Ionescu, K. P. S. Jochum, Shin Kikkawa, Adrien Le Bihan, Bernard McGinlay, Friedhelm Rathjen, Federico Sabatini, Fritz Senn, Franz Stanzel, and Andreas Weigel. Please send contributions to your bibliographer at W329 Pattee, Pennsylvania State University, University Park, PA 16802, or via e-mail to uxb5@psu.edu. And please note that the URL for the online cumulation, The James Joyce Checklist, has changed to .
TL;DR: Marcella the midget queen was a popular performer in the mid-nineteenth century as discussed by the authors who was known as the smallest and prettiest vocalist in the world, and her name was Miss Elizabeth Paddock (see the cover image).
Abstract: S was, her card announced, “The Smallest Lady Vocalist in the World.” A lover of music and especially lady vocalists, Leopold Bloom likely saw her perform, since he refers to her place of business: “Marcella the midget queen. In those waxworks in Henry street” (U 16.850-51). Joyce, too, may have attended her show for she was as real as he was, and thoughts of her significantly recur in his work. Her name was Miss Elizabeth Paddock (see the cover image). Born in 1875 (?), she lived in Liverpool and commuted to Dublin, where she worked just where Bloom precisely remembers in “Ithaca”: “world’s fancy fair and waxwork exhibition at 30 Henry street, admission 2d, children 1d” (U 17.579-80). The “royal” stage name (presumably accompanied by highly refined manners and carriage) was routine for such diminutive performers.1 Among her accoutrements were a “dinky little carriage and pony.”2 The year before she signed a contract with Charles Augustus James, whose success as an impresario Bloom admires, “Her Royal Highness Marcella, Queen of Midgets, the Smallest and Prettiest Little Vocalist” gave exhibition shows in Dublin with “Miss Louie Howard, the Human Telephone” (also called “Prof. Howard”).3 The contract, dated 9 July 1894 (see Figure 1), reads:
TL;DR: Bergani as discussed by the authors found that Dubliners and A Portrait did not appear on the list of standard editions of the JJQ, and, while I could locate the Oxford Ulysses at a major research institution in the United States, Oxford Dubliners had to be ordered through interlibrary loan.
Abstract: Reference to His Life and Writings (Oxford: Oxford Univ. Press, 1995). 9 Tellingly, they fail to make an appearance on the list of standard editions of the JJQ—see the inside back cover—and, while I could locate the Oxford Ulysses at a major research institution in the United States, Oxford’s Dubliners and A Portrait had to be ordered through interlibrary loan. 10 See Leo Bersani, The Culture of Redemption (Cambridge: Harvard Univ. Press, 1990), p. 178.
TL;DR: In this paper, an extensive re-edition and partial re-translation of James Joyce's Ulysses into the Hungarian language is described, along with a small group of scholars.
Abstract: Along with a small group of scholars, I am working on an extensive re-edition and partial re-translation of James Joyce’s Ulysses into the Hungarian language. This essay is a brief account of the work performed and the theoretical and practical problems encountered by the group. After presenting the contradictory history of Joyce’s reception in Hungary, I address the theoretical problems of Weltriteratur and the possible strategies of translation in connection with Joyce’s work. My essay also sets up a system of categories for cases of untranslatability, showing the most typical errors committed (and some of the most brilliant and congenial solutions created) by previous translators. In conclusion, it raises some of the ethical issues of translation and presents the “ten commandments” for the translator of Joyce’s work.
TL;DR: The authors argues that James Joyce's Ulysses is preoccupied with the problem of mechanization, and that the electrical and steam-driven machines of the early twentieth century appear in the novel as instruments of tyrannical power.
Abstract: This essay argues that James Joyce’s Ulysses is preoccupied with the problem of mechanization. The electrical and steam-driven machines of the early twentieth century appear in the novel as instruments of tyrannical power—man-made monsters of social and political domination. Ulysses , however, resists the forms of mastery it depicts in its machines. Recognizing its implication in the processes of industrial modernity, it turns itself, formally, into a machine for the disruption of its own technological monsters. It becomes a utopian machine: a self-subverting, self-deconstructing machine built to resist the forces of instrumental domination.
TL;DR: The authors inspects some almost inevitable actions of translators in dealing with intricate, multiply refracted works of literature and highlights the issues of coordination and interpretation of Joyce's idiosyncratic episodes.
Abstract: This essay inspects some almost inevitable actions of translators in dealing with intricate, multiply refracted works of literature On the one hand, they tend to rectify minor oddities, possibly to facilitate understanding, but they may not notice ambiguities because the target languages do not allow for analogous departures from apparent norms Translations of Joyce’s works in general are more syntactically correct and slur over his textual ruptures On the other hand, the numerous links that hold the sprawling and dispersive Ulysses together are almost impossible to preserve The second French translation, entitled Ulysse and published in 2004, was undertaken by eight different translators, and it highlights these issues particularly well It makes sense to divide Joyce’s idiosyncratic episodes for a parallactic approach, but, conversely, the problems of coordination become overwhelming Moreover, almost automatically, interpretation comes into play, and translators frequently have to make decisions that are left to readers in the original
TL;DR: In the absence of evidence that forces us to do so, it seems absurd to introduce such astounding uncertainty into our reading as mentioned in this paper, and the unreconciled rival interpretations of Kenner and Ellmann comfort in comparison.
Abstract: gamble for the writer to take? If those two critics had chosen to be dentists, would the book be misread for another two generations? Or three? We would conclude that Joyce really bungled his literary project—that he was an utter failure. In the absence of evidence that forces us to do so, it seems absurd to introduce such astounding uncertainty into our reading. The unreconciled rival interpretations of Kenner and Ellmann comfort in comparison.
TL;DR: A female monologue in which the speaker attempts interminably to remove all covering garments, a monologue of exposure and unending and unbinding, a striptease "[d]ream dated 8 September 2006,” Molly Bloom's birthday and the Virgin Mary's (65) with a coda: "For a final attempt to be done with ending in body and soul with Beckett," as mentioned in this paper.
Abstract: with a coda: “For a final attempt to be done with ending in body and soul with Beckett,” a female monologue in which the speaker attempts interminably to remove all covering garments, a monologue of exposure and unending and unbinding, a striptease “[d]ream dated 8 September 2006,” Molly Bloom’s birthday and the Virgin Mary’s (65). Making an end with Beckett, removing as many garments as possible, tracing Beckett’s movement toward zero by moving away from Joyce turns out to be inseparable from moving toward Joyce. The to and fro is “[p]recious little” and more than satisfying.
TL;DR: Hayman has been a well-known name in Joyce studies for half a century and a survey of his work delineates the evolution of major critical approaches to Joyce writing and mirrors the epistemological changes that have shaped the way we now understand the canon.
Abstract: David Hayman has been a well-known name in Joyce studies for half a century. A survey of his work delineates the evolution of major critical approaches to Joyce’s writing and mirrors the epistemological changes that have shaped the way we now understand the canon. To a large degree, textual studies, now a central feature in interpretations of Joyce’s work, came into existence and certainly gained legitimacy through Hayman’s pioneering efforts. Many of the critical commonplaces that we take for granted as we discuss Joyce’s texts grew out of Hayman’s work. Hearing his descriptions of his development as a Joycean, a term with which he has a certain uneasy relationship, gives us a sense of the rich heritage that we enjoy, and it helps us understand how the work of critics like Hayman, Hugh Kenner, Fritz Senn, Edmund Epstein, and many others made possible the ongoing critical achievements of subsequent generations of Joyceans.
TL;DR: An Irishman and a Jew go into a pub was performed at the University of Melbourne's Open Stage Theatre on the afternoon of 16 June and the evening of 17 June as discussed by the authors.
Abstract: Since 1994, Bloomsday has been celebrated in Melbourne, Australia, by a group of friends and aficionados, directed by Dr. Frances DevlinGlass (see Figure 1). Readings and performances are located around the city, which thankfully preserves many Victorian and Edwardian sites. The group also performed an original play, Her Song be Sung, for the Dublin centennial “Re-Joyce 100 Festival” in 2004. This year, three performances of An Irishman and a Jew go into a Pub ... were presented at the University of Melbourne’s Open Stage Theatre on the afternoon of 16 June and the evening of 17 June. As in previous years, a script, based on one of the episodes from Ulysses, was prepared by a team of writers drawn from the
TL;DR: In this article, a cluster of instances from Joyce's early works (the student essays, Stephen Hero, and A Portrait of the Artist as a Young Man ) in which the author acts as the translator of phrases borrowed from Gustave Flaubert are analyzed.
Abstract: This essay begins by considering a cluster of instances from Joyce’s early works (the student essays, Stephen Hero , and A Portrait of the Artist as a Young Man ) in which the author acts as the translator of phrases borrowed from Gustave Flaubert. It goes on to analyze the ways in which those Joycean acts of translation have themselves been interpreted by his French translators. Joyce’s translations—particularly in A Portrait —deviate from their originals in ways that interrogate the traditional meaning of originality. The acts of translation staged in A Portrait —wherein they are delegated to Stephen Dedalus—reflect Joyce’s understanding of the potential for originality inherent in even that most intertextual of creative processes. This understanding would come to assume a central role in Joyce’s subsequent writing: his variations on Flaubert in his first published novel betray an insouciant and playful disrespect for the primacy of originals that adumbrates the more generalized and radical intertextuality of his later works. Whether subtle or flamboyant, Joyce’s departures from his source text pose problems for his translators: in its final stages, the essay examines how these snippets of text are rendered back into their original language and how the existing various translations shed light on Joyce’s own compositional choices.
TL;DR: In a text where "[m]istakes are everywhere and errors abound, 1 no error or mistake is so important in Finnegans Wake as humanity's fall, for nothing less than the death of a God could wipe it clean as mentioned in this paper.
Abstract: In a text where “[m]istakes are everywhere and errors abound,” 1 no error or mistake is so important in Finnegans Wake as humanity’s fall. The profundity of this error, a seemingly indelible stroke, is matched by the difficulty of its erasure, for nothing less than the death of a God could wipe it clean. The celebration of such a bestowal of divine grace upon an undeserving humanity is sung in the “Exultet” hymn of Holy Saturday in the Catholic Church, and the phrase “O felix culpa,” taken from it, forms an “energetic non-centre” of Finnegans Wake, according to Fritz Senn (164). More than just a phrase from the Mass or even a representation of the fall of humanity itself, “O felix culpa” also marks the influence of John Milton’s Paradise Lost upon the Wake and points to the murders of Chief Secretary Lord Frederick Cavendish and Under-Secretary Thomas Henry Burke in Phoenix Park, as well as to the exposure of Richard Pigott as a forger. After a brief survey of these references, I will show that the full importance of the felix culpa for Joyce is only encountered when the fall is understood as a fall into text (becoming a word of the flesh), that the fortuity of the fall is found in the act of writing itself, and that “felix culpa” marks the inter-penetration of divine and human creation in writing. I. In the Mass The “Exultet” hymn is the Praeconium to the Mass of Holy Saturday, Easter Eve. Holy Saturday forms the exact middle of the Easter vigil, between Christ’s crucifixion on Good Friday and his Easter resurrection. As such, it is a liminal moment between death and rebirth, not only in the life of Christ but in the life of the Christian congregation as well. Ildefonso Schuster’s annotation of the Sacramentary describes an ancient Easter tradition maintaining that the second coming of Christ was to occur on the anniversary of the night in which he rose from the tomb: “The faithful, therefore, assembled in the Church and kept watch in expectation of the parousia; but, when midnight had come and gone, and no one had appeared from heaven, they
TL;DR: The XXII North American James Joyce Conference as discussed by the authors opened with five concurrent sessions, the "Rock Reads Joyce" panel, a searching hour-and-a-quarter on versions, references, and echoes of the famous Dubliner in the voices of Syd Barrett, the lost singer and guitarist of Pink Floyd, memorialized in “Shine On You Crazy Diamond,” who actually recorded “Lean Out of the Window, Goldenhair” from Chamber Music; Van Morrison, who has included the name of his southern countryman in songs at least twice; and Bruce
Abstract: The XXII North American James Joyce Conference opened with, among five concurrent sessions, the “Rock Reads Joyce” panel, a searching hour-and-a-quarter on versions, references, and echoes of the famous Dubliner in the voices of Syd Barrett, the lost singer and guitarist of Pink Floyd, memorialized in “Shine On You Crazy Diamond,” who actually recorded “Lean Out of the Window, Goldenhair” from Chamber Music; Van Morrison, who has included the name of his southern countryman in songs at least twice; and Bruce Springsteen, whose “Thunder Road” bears comparison with “Araby” in terms of Mariolatry. Cheryl Herr led the exploration of the Syd Barrett connection, using sound and video to tantalizing effect, while Lauren Onkey, from the Rock and Roll Hall of Fame, unable to attend due to a family emergency, sent in her thought-provoking discourse on a video that included footage of the Belfast cowboy in performance, and I sang parts of “Thunder Road” interspersed with moments of reverie over Mangan’s sister. As if the proposed intersections could not get more spectral and fugitive, the next hour included a session in which the imagery of fellatio in “Lotus Eaters” was elaborated on by Anna Finn and the resonance of Benjamin Franklin among the “Irish heroes” of “Cyclops” was amplified by Thomas Jackson Rice. Suitably inspired conversation flowed over lunch at the Huntington mausoleum, and events gusted to a cosmic scale afterwards during a plenary talk by Jeffrey Drouin entitled “The Einstein of English Fiction.” Some participants carried on the dialogue at a more psychodramatic level in an hour devoted to the strange language of “Circe,” ably presided over by Alexander Starkweather Fobes and Tabatha Hibbs. That happy Monday ended with interested members of the public welcomed into the Huntington to hear the poets Eavan Boland, Sinead Morrissey, and Paul Muldoon read as part of the Arroyo Literary Festival. The involvement of the public engendered a congenial atmosphere pervading the Tuesday and Wednesday afternoons in the aptly named
TL;DR: The 100 Myles: The International Flann O'Brien Centenary Conference as discussed by the authors was held at the Vienna General Hospital in the Czech Republic from July 7-10, 2010. But the focus of the conference was not on Ireland, but on the Mylesians of seventeen countries.
Abstract: Brian O’Nolan, in his guise of Myles na gCopaleen, once wilfully mistranslated “Vienna,” that town of schnitzel and strudel, as Cathair na Féinne, otherwise a mountain peak in the Kerry MacGillycuddy’s Reeks. Myles, if not his flesh-and-blood counterpart, was no stranger to the city. In 1815, he attended the Congress of Vienna with Talleyrand. Something of a balletomane, he met Anna Pavlova there at the end of what must have been an especially long nineteenth century. And, though a graduate of the National University of Ireland, his student days were spent roving between Paris, Bonn, Bologna, and Vienna.1 However unlikely a résumé Myles might have amassed, late last July, the Mylesians and “Flanneurs” of seventeen countries found purchase on his Hiberno-Austrian footholds and, “following the wiening courses of this world” (FW 546.31), traveled to the capital on the Danube for “100 Myles: The International Flann O’Brien Centenary Conference.” Flights of Mylesian fancy aside, Vienna enjoys many more enduring connections with Ireland and Irishry, from the fiacre hackney carriages named for St. Fiacra to the oft-touted origin of “Wien” in a Celtic place name. Sir William Wilde and Oliver St. John Gogarty both completed postgraduate study at the Viennese Medical School so it felt entirely fitting that the conference took place in what were once the lying-in chambers of the Vienna General Hospital. The brainchild of Paul Fagan and Werner Huber (both at the University of Vienna) and Ruben Borg (Hebrew University of Jerusalem), the idea for a conference devoted to Brian O’Nolan was conceived at the International James Joyce Symposium in Prague last year and brought to term with the aid of the Vienna Centre for Irish Studies, the Irish Embassy in Austria, and the postgraduate community at the University of Vienna. Three days of first-rate panels were complemented by a robust arts program of performances, screenings, readings, and adaptations. This “Fringe Flann” began with “Myles Away From Illustration,” an exhibit of contemporary art that took wing from O’Nolan’s writing and continued into a screening of David O’Kane’s trilingual Babble (2008), a short film consisting entirely of quotations from O’Brien, Franz Kafka, and Jorge Luis Borges that pitted all three in impossible converse. Conference-goers then adjourned to Charlie P’s Irish Pub, Vienna’s answer to the Scotch House, for a two-hander based on “Cruiskeen Lawn” by Gerry Smyth and David Llewellyn and directed by Andrew Sherlock. That perennial sibJames Joyce Quarterly 48.1 2010
TL;DR: The authors re-read Rogues: Two Essays on Reason, trans. Pascale Anne Brault and Michael Naas (Stanford: Stanford Univ. Press, 2005).
Abstract: Polt (New Haven: Yale Univ. Press, 2000). In important ways, then, focusing on the “yes, yes” is always too reductive; one ought also perhaps re-read it in conjunction with those texts of Derrida’s that are concerned with ghosts, “l’avenir,” and “weak messianic force”—among many possible examples, see Derrida, Rogues: Two Essays on Reason, trans. Pascale-Anne Brault and Michael Naas (Stanford: Stanford Univ. Press, 2005). It is, nevertheless, difficult to periodize Derrida’s texts on the basis of the formulation of weak messianic force as John D. Caputo does in, for example, The Prayers and Tears of Jacques Derrida (Bloomington: Indiana Univ. Press, 1997). One can, for instance, already see such weak messianic force in the treatment of the X and Christ in Glas. 7 See Alan Roughley, James Joyce and Critical Theory: An Introduction (Ann Arbor: Univ. of Michigan Press, 1991). 8 Michael Groden, Martin Kreiswirth, and Imre Szeman, eds., Johns Hopkins Guide to Literary Theory & Criticism (Baltimore: Johns Hopkins Univ. Press, 2004).