Academic literature on the topic 'Joyce, James, 1882-1941. Finnegans wake'

Neste artigo, discutimos os desafios de se ler e traduzir Finnegans Wake (1939), deJames Joyce (1882-1941). A primeira parte lida com o apelo do próprio romance para que seadote um novo paradigma de tradução capaz de torná-la traduzível. A perspectiva de Joycesobre a tradução de Finnegans Wake também será explorada. A segunda parte prioriza otrabalho de quatro tradutores de Finnegans Wake para o português brasileiro: Augusto eHaroldo de Campos, Donaldo Schüler, Dirce Watrick do Amarante e Caetano Galindo. Astraduções de um curto excerto do texto de Joyce realizada pelos quatro tradutores são objetode análise. Suas visões sobre como traduzir a obra de Joyce também são levadas emconsideração.

This dissertation considers Finnegans Wake as a deconstructive writing that exemplifies many of the textual operations that the French critical theorist Jacques Derrida attempts to define through his use of such "undecidable" terms and "non-concepts" as "difference," "dissemination," "trace," and "grafting." It argues that the Wake operates much like the "bifurcated writing" and "grouped textual field" that Derrida identifies as the only possible site for a deconstructive engagement of the terms and concepts of the Western metaphysical tradition, the tradition that Derrida terms phallogocentrism. The Wake has been an important text in the critical formulations of many contemporary theorists, and, as Derrida has recently acknowledged, his own theories of dissemination and deconstruction have been considerably affected by the Wake during the twenty-five to thirty years that he has been learning to read it. In drawing on Derrida's theories to analyze the Wake, this dissertation utilizes Derrida's terms to "re-mark" in Joyce's text, the disseminative textual operations that Derrida has marked as operative in the texts of the history of philosophy and in "so-called literary" texts like Finnegan’s Wake. In a certain sense, it renders unto Joyce's text that which has always already belonged to it. Drawing on Derrida's investigation of speech and writing, the dissertation considers the Wake's identification of itself as a fusion of speech and writing that requires a "speechreading" on the part of its readers. It supports this consideration by employing Umberto Eco's semiotic methodology to trace the network of metonymic lexemes by which the Wake identifies itself as a writing for the ear as well as the eye. Next it analyzes the Wake's tenth chapter as a chapter that exploits the formula 1+2+3+4=10 and produces a writing that operates as an arithmetical textual machine which problematizes the traditional concepts of presence and being and which also works towards dislodging the phallogocentric organization of writing with such hierarchically organized binary terms as male/female and central/marginal. In order to illustrate how the Wake disseminatively disrupts the binary terms by which phallogocentrism dominates thought, speech, and writing, the dissertation also considers how Joyce's text functions in an Intertextual relationship with some of the writings of Blake and Shakespeare. It does this by analyzing how the Wake dismantles some of the philosophical paradigms operating in the Blake and Shakespeare texts and takes important signifiers from those texts in order to set them to work as signifiers of signifieds that are radically different from those in the texts of Blake and Shakespeare.<br>Arts, Faculty of<br>English, Department of<br>Graduate

The remarkable challenges Finnegans Wake offers to its readers and to the very process of reading are the results of an evolution of Nonsense literature. Despite the unduly "serious" framework of criticism which has been built up around it, Joyce's anomalous last work is a radical "hoax" upon interpretation. The regular confluences of linguistic deconstruction (via word association as well as recurring word and phrase matrices) and ontological metaphor, developed from authors such as Rabelais, Sterne, and Lewis Carroll, are offered by the Wake as tests to the reader's (qua reader) sensibilities. As Nonsense, Finnegans Wake departs from typified modernist modus operandi (metonymic allusion) and instead explores the limits of metaphor. The stakes of Joyce's hoax are of vital interest to the contemporary student of literature and culture, since the Wake dares the reader to find new meanings rather than to project old ones; to exult its eccentricities and its difference; and all the while to call into question (as the text itself does), its authenticity and authority.

Orientador: Nina Virginia de Araujo Leite<br>Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem<br>Made available in DSpace on 2018-07-28T16:43:21Z (GMT). No. of bitstreams: 1 Esteves_LenitaMariaRimoli_D.pdf: 7013581 bytes, checksum: eb6aeb18af9952fa63b616b07337be8c (MD5) Previous issue date: 1999<br>Resumo: Este trabalho parte de uma obra literária singular, Finnegans Wake, de James Joyce, para abordar várias questões relativas à linguagem e principalmente à tradução. Essa obra impõe uma leitura diferenciada, que se afaste do que normalmente julgamos ser a leitura e a interpretação de textos emgeral e também literários. A psicanálise, trazida principalmente por textos de Freud e Lacan, mostrou-se uma via ideal de abordagem dessa obra que, ao mesmo tempo, se assemelha e se diferencia de formações do inconsciente como o chiste e o sonho, da poesia - como a psicanálise a concebe - e das produções de sujeitos psicóticos. O primeiro capítulo faz um contraponto entre Finnegans Wake e essas formações, que evidenciamo inconsciente em ação na linguagem. o segundo capítulo vem ligar essa perspectiva da psicanálise à tradução, por meio da obra Letra a Letra, de Jean Allouch, onde o autor propõe, pela íopologia do nó borromeano, uma interdependência entre a tradução e duas outras operações, a transcrição e a transliteração. O terceiro capítulo trata de analisar a escrita de Joyce tendo como contraponto as três operações propostas por Allouch. Analisam-se também traduções de alguns excertos de Finnegans Wake para o português, com a identificação de pontos de impossibilidade.Procura-se demonstrar que se, como propõe Lacan, o sujeito James Joyce apresenta uma constituição psíquica singular, que o diferencia tanto de um psicótico quanto de um neurótico, essa singularidade deve se inscrever em sua própria obra e, justamente nesses pontos de inscrição, a tradução se torna impossível. A tese busca demonstrar que, se a tradução se depara com certos limites, esses limites são determinados pela incidência das duas outras operações, transcrição e transliteração. Em contrapartida, a tradução não pode ser considerada isoladamente, sendo sempre apoiada pelas duas outras operações. Se a tradução tem sido tradicionalmente teorizada com base na oposição forma/sentido, a tese se propõe a considerá-Ia num triplo, composto de forma/sentido/nãosentido<br>Abstract: The key motivation of this thesis was a singular literary work - Finnegans Wake, by James Joyce - and the several issues it raises related to language and especially to translation. Joyce's work imposes a different reading process, apart ITomwhat we generally consider to be reading and interpretation of texts in general, as well as literary texts. Psychoanalysis, represented mainlyby texts by Freud and Lacan, was considered an ideal way of approaching this text which, at the same time, is similar to and different ITomunconscious formations such as dreams and verbaljokes, poetry - as conceived by psychoanalysis- and the productions of psychotic subjetcs. The first chapter presents a comparison between Finnegans Wake and these formations, which put in evidencethe unconscious at work in language. The second chapter links this psychoanalytical perspective to translation, based on the book Letra a Letra, by Jean Allouch, in which the author proposes, by means of the topology of the Borromean rings, that there is an interdependence between translation and two other operations, transcription and transliteration. The third chapter analyses Joyce's writing in view of the three operations proposed by Allouch. Translations of some excerpts of Finnegans Wake into Portuguese are also analysed, aiming at indicating some points of impossibility.This analysis tries do show that if, according to what Lacan proposes, James Joyce has a singularpsychological make-up, which is neither that of a psychotic nor that of a neurotic, then this singularity must be inscribed in his own work and that, exactly in these points of inscription, translation becomes impossible. The thesis tries to show that, if translation faces some limits, these limits are determined by the incidence of the two other operations, transcription and transliteration. On the other hand, translation can not be considered in isolation, being always supported by the two other operations. If translation has been generally theorized based on the opposition form/sense, this work proposes to consider it in a triple, constituted by form/sense/non-sense<br>Doutorado<br>Doutor em Linguística

Proust et joyce souvent ete compares a einstein et leurs oeuvres rapprochees de la theorie de la relativite. Ce travail affirme la possibilite d'un tel rapprochement dans un contexte ou l'auto-definition "paradigmatique" des avant-gardes par rapport a la science, la mediatisation croissante de la science comme la litterature, les modifications profondes apportees par l'objet technique dans les conceptions de l'espace et du temps faisaient de la relativite un lieu commun, et un symbole a la fois d'une nouveaute revolutionnaire et d'une crise de la representation. Ainsi le theorie apparait chez proust et chez joyce comme moment de leur strategie litteraire et, dans leurs oeuvres, soit qu'elles la prefigure (proust) soit qu'elles la refigure (joyce) comme un modele de representations des paradoxes de l'espace et du temps - multiplicite, desynchronisations, omnitemporalite, simultaneite - et des deformations complexes du recit.

Toru Takemitsu (1930--96) composed several musical works which adopt as their titles quotations from James Joyce' s final and most revolutionary novel, Finnegans Wake. In this thesis I focus on one of these compositions, Far Calls. Coming, Far! (1981) for solo violin and orchestra. I explain the ways in which Takemitsu and Joyce possess similar philosophies and aesthetics, and examine their mutual interest in the phenomena of dreams. The Wake explores one night of a family's unconscious sleep activity and is heavily influenced by Freud's The Interpretation of Dreams. I argue that Takemitsu composes Far Calls. Coming, Far! as a "dreamwork" modelled after Joyce's similar literary endeavour. Accordingly, I categorize the analogous dream structures between Takemitsu's music and Joyce's text. These are: The Dreamer, Language, Time and Water, which I discuss in turn.

This study concerns itself with the phenomenon of literary encyclopaedism, as especially evident in James Joyce's Finnegans Wake, Philippe Sollers' Paradis and Ezra Pound's Cantos. The study focuses on developing the notion of an encyclopaedic literary mode and on establishing the existence of a genre of fictional encyclopaedias. It finds an encyclopaedic mode in literature to be one comprehending and imitating other literary modes, both mimetic and didactic. Further, the idea of a fictional encyclopaedia is developed through an understanding of the traits of the neighbouring forms of essay, Menippean satire and epic, and through an understanding of the paradoxes associated with the making of the non-fictional encyclopaedia. The fictional encyclopaedia thus comprehends and exceeds the following traits: 1. A tension, characteristic of the essay, between integrated autobiography and impersonal (and ultimately fragmented) exposition of the categories of knowledge. 2. A tension, characteristic of the Menippean satire, between tale and digression, between a single narrating subject and a multiplicity of transient narrating voices. The menippea also contributes a simultaneous preoccupation with the most sacred and the most profane subjects. 3. A totalizing drive characteristic of the epic, a desire--rivalling the urge to tell a story--to list or include all aspects of the culture in the epic past. The fictional encyclopaedia also translates into fiction the following paradoxes associated with the encyclopaedic enterprise: 1. The recognition, implicit in the drive to trace a complete and eternally-perfect circle of the arts and sciences, that encyclopaedic knowledge is always ultimately incomplete and obsolete. 2. The recognition, at the heart of the attempt to produce an objective and unmediated picture of the world, that encyclopaedic knowledge is ideologically shaped and textually mediated. The dominance of the encyclopaedic gesture in Finnegans Wake, Paradis and the Cantos allows us to account for the characteristic length, obscurity and "bookishness" of these works; they absorb the traits and tensions of essay, Menippean satire and epic while yet exceeding these traits in their fictional translation of the encyclopaedic paradoxes noted above. This translation manifests itself in each work as a characteristic parodic hesitation before the authority of totalizing predecessors; it manifests itself in the texts' fascination with images of a paradisiacal completion and timelessness, a tendency that is undercut by a repetitive, digressive or fragmented form which asserts the inevitability of time and incompletion. Further, the Wake, Paradis and the Cantos, in their overt and extensive intertextual activity, emphasize the textual boundaries of encyclopaedic knowledge. Nonetheless, in their foregrounding and valorization of speech rhythms, the works also repeat the challenge that the encyclopaedia brings to its own limited nature as written book.<br>Arts, Faculty of<br>English, Department of<br>Graduate

La thèse, intitulée « L’Avant-Postman: James Joyce, L’Avant-Garde et le Postmoderne », s’efforce de construire une généalogie littéraire post-joycienne, centrée sur les notions de l’avant-garde joycienne et de l’expérimentation littéraire, et prend les deux dernières œuvres de Joyce, Ulysses et Finnegans Wake, pour points de départ des avant-gardes d’après la seconde guerre mondiale, une époque généralement appelée « postmoderne », en Grande-Bretagne, aux États-Unis, et en France.L’Introduction identifie la notion d’une avant-garde joycienne à l'exploration, par Joyce, de la matérialité du langage et l’identification de sa dernière œuvre, le « Work in Progress », à la « Révolution du mot », défendue par Eugène Jolas dans sa revue transition. L’exploration joycienne de la matérialité du langage se comprend selon trois orientations : l'écriture conçue comme une trace physique, susceptible d’être distordue ou effacée ; le lan-gage littéraire compris comme une forgerie des mots des autres ; le projet de la création d’un idiome personnel, défini comme un langage « autonome », qui doit être caractéristique de la littérature vraiment moderne.La thèse est divisée en huit chapitres, deux pour la Grande-Bretagne (de B.S. Johnson, Brooke-Rose à Iain Sinclair), deux pour les États-Unis (de Burroughs et Gass à Acker et Sorrentino) et trois pour la France (le nouveau roman, l’Oulipo, et la groupe Tel Quel). Le Chapitre VIII retrace l’héritage joycien pour la littérature après 2000 dans ces trois espaces na-tionaux. La conclusion définit l’avant-garde joycienne, telle qu'elle est thématisée après la seconde guerre mondiale, comme un défi adressé à la notion de « postmoderne »<br>The thesis, entitled “The Avant-Postman: James Joyce, the Avant-Garde and Postmodern-ism,” attempts to construct a post-Joycean literary genealogy centred around the notions of a Joycean avant-garde and literary experimentation written in its wake. It considers the last two works by Joyce, Ulysses and Finnegans Wake, as points of departure for the post-war literary avant-gardes in Great Britain, the USA, and France, in a period generally called “postmodern.”The introduction bases the notion of a Joycean avant-garde upon Joyce’s sustained explora-tion of the materiality of language and upon the appropriation of his last work, his “Work in Progress,” for the cause of the “Revolution of the word” conducted by Eugene Jolas in his transition magazine. The Joycean exploration of the materiality of language is considered as comprising three stimuli: the conception of writing as physical trace, susceptible to distortion or effacement; the understanding of literary language as a forgery of the words of others; and the project of creating a personal idiom as an “autonomous” language for a truly modern literature.The material is divided into eight chapters, two for Great Britain (from B.S. Johnson via Brooke-Rose to Iain Sinclair), two for the U.S. (from Burroughs and Gass to Acker and Sorrentino) and three for France (the nouveau roman, Oulipo, and the Tel Quel group). Chapter Eight traces the Joycean heritage within the literature after 2000 of the three national literary spaces. The conclusion contextualises the theme of the Joycean post-war avant-garde as a challenge to the notion of “postmodernism.”