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En respuesta a la crítica realizada por Caren Kaplan al exilio modernista, este artículo reutiliza la teoría bajtiniana como un instrumento para comprender el cruce de fronteras y la ruptura de barreras joyceanas como formas de centrifugalidad. El trabajo también cuestiona si un novelista al que Bajtín ignoró podría haber producido la máxima expresión de los propios ideales de representación novelística de su obra: dialógico, carnavalesco, multicronotópico, corpocéntrico y lingo-culturalmente interestratificado. Para avanzar en este argumento, el principal concepto bajtiniano de heteroglosia se expande más allá de su ámbito original, intranovelista, para describir tanto las energías como las tensas complejidades del exilio como motor del arte modernista. Una propuesta de eje teórico que vincula el exilio, la heteroglosia y el formalismo ruso conduce a una discusión sobre la obscenidad como un objeto centrífugo y estético para Joyce: la suciedad por amor al arte. Y esto a su vez conduce a un análisis de los distintos niveles de representación interestratificadas en Ulysses como una forma de heteroglosia cuyo poder depende tanto del elemento exílico como del elemento afectivo. Finalmente, este artículo demuestra que Ulysses, como un alejamiento radical del lenguaje estándar y centrípeto de sus primeras novelas, representa la quintaesencia de la heteroglosia novelística, no sólo en su estilo sino también en términos espaciales: los de las fuerzas centrífugas y mutantes representadas por sus viajes por el mundo y la imagen exílica de su creador.

Constantine Curran was a friend of James Joyce's from UCD and also knew the later Joyce in Paris. His memoir James Joyce Remembered (1968) contains two points of interest. One is the fact that Niall Montgomery translated a Latin poem for inclusion in the book. The second is the existence of a Radio Eireann broadcast about Joyce from 1938. This suggests an Irish culture more interested in Joyce than is commonly thought. It can only be speculated whether Brian O'Nolan and friends heard the broadcast, but we might consider further the role of radio in their imagination.

Esej wyrasta z namysłu nad totalnością literatury − i jej bezczasowością. Stanowi próbę odczytania na nowo Myśli ludzkiej Zbigniewa Morsztyna i zarazem krótkiego ustępu Portretu artysty z czasów młodości Jamesa Joyce’a. Znalezione w obu tekstach kosmografie okazują się nie tylko alegorycznymi mapami ludzkiej duszy − odpowiednio barokowej (geocentrycznej) i modernistycznej (egocentrycznej) − ale też negatywowymi kopiami samych siebie. Joyce i Morsztyn, tak jak św. Augustyn w dziesiątej księdze Wyznań, znaleźli w swoich duszach „wszystko”. Obaj, w sposób figuratywny, opisali mikroskopijną zawartość myślenia jako nieskończoną w Pascalowskim sensie tego pojęcia − jakkolwiek ich opisy, o dziwo, są względem siebie jakby symetrycznie odwrócone.

Abordamos, neste trabalho, a epistolografia amorosa do escritor irlandês James Joyce endereçada a sua mulher Nora Barnacle a partir das personas que o missivista desenvolve em suas cartas. Estas “personas epistolares” constituem figurações do artista moderno, tal como engendrado pelas estéticas romântico-simbolista, máscaras assumidas por Joyce no espaço cenográfico da carta. Assim, em um primeiro momento, privilegiamos uma perspectiva teórica da carta enquanto processo de performance, encenação e mascaramento do eu. A seguir, apresentamos a correspondência amorosa joyceana e o contexto em que foi produzida, para, por fim, analisar as personas que se expressam nessas cartas, em particular as figuras sociais e literárias do outsider e do dândi, com que Joyce reveste sua enunciação epistolar.

This article argues for an essential shift in the phenomenology of architectural representation and experience occurring between the nationally conversant fictions of James Joyce and Colm Tóibín. I examine the architectural figure of the threshold, demonstrating how their fiction proposes contrasting phenomenological engagements with the material and constructed environment. I focus on A Portrait of the Artist as a Young Man to describe Joyce's rhythmic thresholds as organising, unified, and repetitive punctuations within his architectural schema associated with the eternally recurring unidentified haunting figure. Joyce's embodied immanent perspective contrasts with Tóibín's comprehension of depths from a distant perspective. In his short fiction, Tóibín enacts what Jill Stoner calls a minor architecture, resisting structural power through the bodily refusal of architectural participation. This essay highlights a significant cultural contrast in literary aesthetics which indicates profound differences in the aestheticisation of perception. [ABSTRACT FROM AUTHOR]

This article investigates intertexts in Samuel Beckett’s late theatre as modes of authorial memory, while also paying attention to the role of the reader. Drawing on the recent digital genetic edition of Beckett’s Not I / Pas moi and That Time / Cette fois, it uses archival evidence to examine Beckett’s engagement with the works of William Shakespeare, Marcel Proust, and James Joyce in the composition of these plays. Since, in many cases, Beckett’s use of literary intertexts cannot be tied to material traces in the archive, the article proposes the term “memotext” to denote intertexts drawn from memory rather than from a particular edition, modelled on Julia Kristeva’s concepts of “genotext” and “phenotext.” [ABSTRACT FROM AUTHOR]

Cormac McCarthy’s novel The Road contains at least one heretofore unrecognized likely allusion to Joyce’s Ulysses: the father’s description of his son as a “firedrake,” which recalls Stephen Dedalus’s appellation for a bright celestial body that he (misleadingly) claims appeared in the sky at Shakespeare’s birth in the ninth episode of the novel, “Scylla and Charybdis,” an event that his “adopted” father Leopold Bloom attempts to describe in pseudoscientific language in the seventeenth episode of the novel, “Ithaca.” McCarthy has the boy’s father use this archaic word, which traditionally has meant “dragon,” to describe his son because he recognizes that his son is a spiritual shooting star and a potential future author who can narrate events morally as did Shakespeare and Joyce and even Stephen himself. Through apprehending his allusion to Joyce’s novel, we gain a sense of both the boy’s light-filled immanence in a line of sons going back to the original Son, Christ, and his emerging facility with narrative as author-in-the-making. [ABSTRACT FROM AUTHOR]

James Joyce draws the character of his protagonist Stephen Dedalus in the mould of an alienated artist. Throughout the novel Stephen struggles to forge amicable bond with people and places of his immediate surroundings. His inherent romanticism finds it difficult to come to terms with drab realities of life. Stephen explores various escape routes to emancipate himself from fetters of mundane reality. He takes refuge in the world of physical pleasure but finds no solace. He further turns to religion but feels disillusioned from it. He tries to find comfort in the family circle but feels even more isolated. In the present paper an attempt has been made to foreground tumult in Stephen's psyche in the face of burgeoning animosity of the outside world. Stephen's growth as an artist goes hand in hand with his alienation from his social, religious, and cultural milieu which gives rise to the eternal dilemma whether art is for art's sake only or it is for life. James Joyce delineates his theory of aestheticism through the character of Stephen who finds his true calling as an artist detached and disenchanted from his environs. [ABSTRACT FROM AUTHOR]

Copyright of ABEI Journal: The Brazilian Journal of Irish Studies is the property of Associacao Brasileira de Estudos Irlandeses and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This paper attempts to evaluate the legacy of James Joyce’s avant-gardism for the literary experimentation of Mark Amerika, Kenneth Goldsmith, and Mark Z. Danielewski, three contemporary American writers and artists, working a hundred years after the first of Joyce’s crucial four “shocks of the new” shook the foundations of fiction. In doing so, the paper attempts to bridge the divide between the historical avant-garde and the neo-avant-garde as defined by Renato Poggioli and Peter Bürger, and regarded disparagingly by critics like Robert Hughes. Positing a threefold legacy of Joyce’s “revolution of the word” in its treatment of writing as trace, forgery, and idiom, the paper discusses Amerika’s Grammatron, Goldsmith’s uncreative writing, and Danielewski’s House of Leaves as continuing in and expanding on the achievements of Ulysses and Finnegans Wake. This they achieve by pursuing what Marjorie Perloff has termed “differential poetics” and N. Katherine Hayles has rethought as “Assemblage” – two poetic strategies dominant at the beginning of the 21st century.

The article analyzes the content, sources, and contexts of Vyacheslav Ivanov’s essay “Forma Formans and Forma Formata” (1947). It discusses the concept of “formative” form in the aesthetics and philosophy of art in Plotinus, Proclus, Michelangelo, and Goethe. It also argues that E.V. Anichkov’s article “L’esthétique au Moyen Age” published in the Parisian newsletter Le Moyen Age in 1917 is Vyacheslav Ivanov’s source of reference when he quotes from the “Thomistic” treatise De Pulchro. Another important source of Ivanov’s essay is Erwin Panofsky’s “Idea” (1924), and this essay draws similarities between the latter and “Forma Formans.” It is shown that in “Forma formans,” Ivanov reproduces his own concepts developed in the years between 1908 and 1914, but now embeds them in historically and philosophically structured discourse. Without essentially changing his teaching marked by the notion of the dualism of spirit and matter (male and female origins), he now expounds it in the terms of Christian Neo-Platonism where such dualism is denied. The essay also highlights Ivanov’s acquaintance with Lucretius’ ideas and vocabulary and shows parallels between Ivanov’s “Forma Formans” and James Joyce’s Stephen Hero in relation to the Thomistic concepts of beauty and the notion of “epiphany.”

Bu makale, ünlü İrlandalı yazar James Joyce ve tüm zamanların en etkili filozoflarından olan Alman Friedrich Nietzsche tarafından ileri sürülen ideal kahraman ve kahramanlığın karşılaştırmalı bir analizini yapmayı amaçlamaktadır. Söz konusu yazarların çalışmalarında ideal kahraman tasvirlerindeki benzerlikler ve farklılıklar bu çalışmada karşılaştırmalı olarak incelenmiştir. Çalışmamızda bu yazarlar tarafından tanımlanan ve ön plana çıkarılan kahramanların oldukça dikkat çekici, sıra dışı ve farklı oldukları; ayrıca adı geçen yazarlara özgü oldukları sonucuna varılmıştır. Nietzsche kahraman figürüne daha derin bir felsefi anlam yüklerken Joyce’un ideal kahraman figürü sadece gelenek dışı olmakla kalmaz, aynı zamanda yazar yoğun bir edebi üslupla harmanlayarak karakterini karmaşık bir kişiliğe büründürür. Aslında, her iki yazarın kahraman figürleri, anti-kahraman tipoloji veya diğer bir deyişle modern kahraman türü ile aynı çizgidedir. Nietzsche ve Joyce birbirlerinden tamamen farklı ortamlarda resmedilen bu tür karakterlere karşı okurların sempatilerini kazanmayı başarırlar çünkü okurlar kendilerini bu tür karakterlere yakın hissederler. Her iki yazarın kahramanları ideal bir arayışa girerek mevcut sosyal değerleri kıyasıya eleştirirler.

The purpose of the present article is to problematize the current definitions of retranslation by discussing one of their constituent aspects: the limitation to the same target language into which a given source text has already been translated. What justifies the present paper is the lack of theoretical discussion about definitions of retranslation in academic works. Most studies take them for granted and obviate the need to escape the enticing stability that marks them. Our view is that retranslation also takes place outside the limits established by a single target language, and, because of this, it must be treated as a multilingual concept. We will illustrate our view with theoretical positions, mainly by Antoine Berman, and examples from retranslations of two literary works by James Joyce (1882-1941), Dubliners (1914) and Ulysses (1922), in French, German, Italian, Portuguese, and Spanish.

In this essay, Kazuo Ishiguro’s “Bewilderment Trilogy” is read as a series of Bildungsromane that test the limits of that genre. In these thematically unrelated novels, characters reach critical points in their lives when they are confronted with the ways in which their respective childhoods have shaped their grownup expectations and professional careers. In each, the protagonist has a successful career, whether as a musician (The Unconsoled), a detective (When We Were Orphans), or a carer (Never Let Me Go), but finds it difficult to overcome childhood trauma. Ishiguro’s treatment of childhood in these novels foregrounds the tension between individual subjectivity and the formal strictures and moral rigors of socialisation. In this respect, he comes close to modernist narratives of becoming, particularly James Joyce’s A Portrait of the Artist as a Young Man. Narrative strategies such as epiphanies and the control of distance and tropes such as boarding schools and journeys to foreign lands provide the analytical coordinates of my comparative study. While raising the customary questions of the Bildungsroman concerning socialisation and morality, I argue, Ishiguro manipulates narration very carefully in order to maintain a non-standard yet meaningful gap between his protagonists’ understanding of their lives and the reader’s.

The article deals with the сharacter and specific features in playing up the ancient myth in “Ulysses” by James Joyce and “Murphy” by Samuel Beckett. The schemes and techniques of playing up the mythological structures of “Ulysses” J. Joyce in “Murphy” S. Beckett are distinguished, the reminiscences in “Murphy”, related to the mythological characters of “Ulysses” are defined, the way and principles of parody the neomythological schemes of “Ulysses” in “Murphy” are explored. Ancient heroes are presented in “Murphy” through the prism of “Ulysses”. S. Beckett borrows the Odysseus`s myth and interpritates it in his way. Besides, the characters of Penelope, Circe, Polyphemus, Siren, other mythological characters, and also scenes and motifs, played up in the parodic way in both novels, are studied. And parody in “Murphy” is increased: Penelope-Molly Bloom is cheating her husband Odysseus-Leopold Bloom in “Ulysses”, in “Murphy” Penelope-Celia is working as a prostitute; Circe-Bella Cohen is the brothel-mistress in “Ulysses”, in “Murphy” Circe-Rosa is an old spinster. A scene with Sirens is inversed: Sirens in “Ulysses” are barmaids, in “Murphy” the main character, Murphy is a Siren and a waitress Vera is an object of his influence. The principles of Joyce world view, presented in “Ulysses”, aspiration for universalities, world`s epiphanity, idea of eternal returning are denied by S. Beckett according to his position about life as a vain, absurd and exhausting. The ways of playing up the neomythological structures of “Ulysses” in “Murphy” are: inversions, parodical reduction, reduction to absurd.

This essay analyses the representation of mental processes in James Joyce’s Ulysses in light of ‘scientific’ or ‘experimental’ psychology, whose impact on the composition of the novel has been quite underestimated. Since concepts such as ‘unconscious cerebration’ and ‘mental latency’, or the theorisation of a close connection between dreams and repression, regularly appeared in nineteenth-century psychological treatises along with discussions of insanity and deranged states of consciousness, these ideas are likely to have made inroads into the cultural milieu in which Ulysses was composed. By analysing the stratified representation of the characters’ minds, this essay attempts to read the novel through a focus on pre-Freudian conceptions of unconscious mental processes and latent memory, and to show that some of the ideas propounded by early psychologists may have provided the substance for Joyce’s understanding of the functioning of consciousness, the unconscious and memory portrayed in Ulysses.

This essay analyses the representation of mental processes in James Joyce's Ulysses in light of "scientific" or "experimental" psychology, whose impact on the composition of the novel has been quite underestimated. Since concepts such as "unconscious cerebration" and "mental latency", or the theorisation of a close connection between dreams and repression, regularly appeared in nineteenth-century psychological treatises along with discussions of insanity and deranged states of consciousness, these ideas are likely to have made inroads into the cultural milieu in which Ulysses was composed. By analysing the stratified representation of the characters' minds, this essay attempts to read the novel through a focus on pre-Freudian conceptions of unconscious mental processes and latent memory, and to show that some of the ideas propounded by early psychologists may have provided the substance for Joyce's understanding of the functioning of consciousness, the unconscious and memory portrayed in Ulysses. [ABSTRACT FROM AUTHOR]

From the onset of psychoanalysis, literature has been its common topic. The change in theoretical positions and ethical concerns from Sigmund Freud to Jacques Lacan led to the upgrading of literature from the symptom to the sinthome of the subject. Lacan theorized his literary criticism by analysing the "Joyce lesinthome", and hence the proposition of literature as the sinthome of the subject. On the one hand, literature enacts a break-away from the imaginary and the symbolic by way of writing, and represents the subject's jouissance of the unconscious by way of a resetting of letters through meaning reduction. On the other hand, the author enacts self-naming by way of writing, and then forms the fourth ring of the Borromean Knot in the form of sinthome, avoiding the collapse of the subject caused by its inability to be embedded in the imaginary and the symbolic. From the perspective of Lacanian psychoanalysis, literature and other types of artistic creation share the property of sinthome. They protect the human subjecthood with "the knowledge of doing" by keeping people away from the devouring of desire. [ABSTRACT FROM AUTHOR]

Copyright of Ilha do Desterro: A Journal of English Language, Literatures in English & Cultural Studies is the property of Universidade Federal de Santa Catarina, CCE Departamento de Pos-Graduacao em Lingua Englesa and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This essay examines cannibalism as used by Joyce and Mo Yan to allude to the Great Famines which the Irish and the Chinese suffered in common. The two authors suggest that not only structures of power but also individuals were responsible for the famines that caused a great number of deaths. [ABSTRACT FROM AUTHOR]

In 1996, Alan Sokal's (in)famous hoax impugned the credibility of social constructionism. He deceived Social Text into publishing his paper, a disjointed collage of continental philosophy and theoretical physics. Sokal's calculated choice of quantum gravity is an attack on contemporary philosophers' and literary critics' tendencies to see quantum physics as the scientific support for a new idealism. James Joyce's Finnegans Wake was embroiled in Sokal's hoax: on the one hand, the sneak attack Sokal waged against the humanities is evocative of Joyce's parody of the culture war between "Bitchson" and "Winestain" (Joyce 149.17-28); on the other hand, among Sokal's targets of ridicule are two articles on James Joyce and quantum physics. In retrospect, this paper proposes to re-read Finnegans Wake through the lens of quantum physics and re-evaluate the legitimacy of injecting idealism into the contemporary scientific theory of matter. This paper will trace the conceptual development of modern physics on the basis of Tim Maudlin's and John Polkinghorne's rigorous expositions, expose the epistemological and ontological crises of quantum theory, investigate the philosophical interpretations of subatomic ideality proposed by Elizabeth Grosz and Slavoj Žižek, and finally analyze how James Joyce has meticulously incorporated "quantum theory" and the "most tantumising state of affairs" into the mindscape of Finnegans Wake (149.35-36). [ABSTRACT FROM AUTHOR]

A obra Um retrato do artista quando jovem, escrita por James Joyce e publicada em 1916, é um dos marcos da prosa em língua inglesa do século XX, principalmente no campo do Bildungsroman. Acompanhando o desenvolvimento intelectual de seu protagonista, Stephen Dedalus – alter-ego de Joyce -, a narrativa se inicia com o personagem ainda criança, e termina quando Stephen alcança o início de sua maturidade, ou seja, quando descobre sua vocação de artista, ou, mais especificamente, de poeta. O presente trabalho, portanto, buscou analisar um dos símbolos identificados no romance, o do labirinto do inventor Dédalo, e como a referida figura mítica acaba por influenciar a própria estrutura da narrativa. Inicia-se com uma breve história da obra, para depois identificar a influência do poeta latino Ovídio – que cantou o mito ora em discussão na sua epopeia Metamorfoses – sobre escritores modernistas de expressão inglesa, limitando-se a abordar, além de Joyce, os poetas T.S. Eliot e Ezra Pound, como forma de contextualizar o uso do poema clássico no início do século XX. Por fim, analisa-se em que medida o símbolo do labirinto pode ser vislumbrado no romance, fazendo-se o uso, para tanto, de aparato crítico, como os estudos de Ellmann (1989), March (2015), Paris (1992), Parrinder (1984), Levin (1959), entre outros.

A obra analisada narra a história de Stephen Dedalus. A partir da perspectiva de evolução do personagem, propomos um estudo do romance enquanto gênero diferenciado no tratamento do tempo. Nosso objetivo: analisar como a linguagem cria uma camada para o desenvolvimento do personagem na estrutura temporal da obra, possibilitando o compartilhamento de uma experiência temporal pela linguagem. Por meio da comparação de trechos recortados do primeiro e do último capítulo, concluímos que para configurar o tempo na linguagem, o autor utiliza de recursos como os diálogos para desenvolver um “presente fictício” e modificações na linguagem representada dos personagens para criar uma atmosfera infantil e uma linguagem poética para Stephen. Assim, nos aproximamos de forma mais precisa da realidade da obra por meio de impressões subjetivas do personagem em diferentes momentos de sua vida – a saber, o desenvolvimento da narrativa da vida de Stephen segue pelo tempo em uma camada representada na própria estrutura linguística da obra.

This essay explores the depiction of bisexuality in James Joyce's 1916 novel A Portrait of the Artist as a Young Man. In contrast with a lack of sustained and serious consideration toward bisexuality as an adult identity at the turn of the twentieth-century, as well as in subsequent criticism, this piece reflects on how Joyce's interest in bisexuality as a representational device in A Portrait facilitated his critique of the disproportionate attention given to monosexual identities in sexual science. The essay argues that Joyce's aestheticization of bisexuality served two ideological aims. Firstly, I suggest that Joyce resisted the sexologist Henry Havelock Ellis's dismissal of bisexuality as a legitimate sexual identity within the ideological landscape of sexual modernism. Secondly, I consider how the representation of bisexuality in Joyce's fiction facilitated a rupturing of the socially constructed binary demarcating normative heterosexuality against a deviant mode of homosexuality. In doing these two things, the essay argues that the exploration of a bisexual psyche equipped Joyce with an aesthetic apparatus that could represent the less reductive and more complex experiences of polymorphous sexual desires, which fell outside of sexology's two-sex model of hetero- and homosexuality. My reading of Joyce's protagonist Stephen Dedalus as bisexual in A Portrait here deliberately dismantles the dialectic interplay between the licit and illicit or between the permitted and the forbidden, as Michel Foucault would describe this figurative boundary. The article does this to show how Joyce was significantly progressive in his move away from dualistic eroticism because he dared (perhaps more so than other canonical European male modernist writers) to activate two libidinal currents in one moment, rather than alternating between heterosexuality and sexual deviancy. [ABSTRACT FROM AUTHOR]

Copyright of Quaderns: Revista de Traducció is the property of Universitat Autonoma de Barcelona and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Prace Filologiczne. Literaturoznawstwo is the property of University of Warsaw and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article explores how nations such as Ireland interact with each other – and seek to understand themselves – by appropriating theatre-makers and other artists, using them to perform versions of that nation to the outside world. This topic is considered through an exploration of the Irish state's appropriation of Samuel Beckett as an icon that represents positive images of Irishness both within and beyond Ireland. This process is explored from shortly after Beckett's death in 1989 to the launch in 2012 of an Irish navy vessel named the LÉ Samuel Beckett. The treatment of Beckett during that period is considered in the context of a broader discussion of nation-branding in Ireland. This is presented in an outline history of the Irish state's performance of itself through its artists, which are discussed in relation to the appearance of Irish writers on banknotes during the twentieth century, among other brief examples related to the work of W. B. Yeats and James Joyce. The article concludes by considering some of the methodological challenges that arise in an investigation of national performance. [ABSTRACT FROM AUTHOR]

A fortuna crítica acerca da obra Finnegans Wake, de James Joyce, é muito rica e muito extensa, já desde a sua publicação. As perspectivas de análise da estrutura do livro, da narrativa da construção de personagens são vastas, uma delas, adotada aqui é uma leitura existencialista, já aplicada à produção anterior de Joyce, Ulysses (FLEMMING, 1952; JALIL&TERMINZI, 2012). Essa orientação se dá pelo fato de haver pouco material que explicite um possível diálogo entre Finnegans Wake e o Existencialismo. Este artigo pretende, portanto, sugerir os meios em que essa relação dialógica pode ser evidenciada, especialmente no sentido literatura-filosofia. Joyce estava, afinal, imerso no contexto que exalava ares existencialistas, embora a filosofia de Sartre venha a se concretizar apenas na década de 1960.

This article examines the textual and artistic strategies used by three female modernist writers—Mina Loy, Djuna Barnes, and Elsa von Freytag Loringhoven—to probe into the specificities of the female modernist obscene. In the works of these three authors, daring sexual and corporal images abound, creating a surprisingly precocious poetics of the obscene, which emerged around 1915, independently from the experiments of their male contemporaries. On the one hand, this poetics works against the repressive grip of the norms of propriety ruling bourgeois society. But on the other, Barnes’s and von Freytag-Loringhoven’s works also unsettle the canonical image of the female body as an object of desire, by using grotesque, repulsive, scatological, and androgynous images. Secondly, this article raises the question of how female modernists engaged with the most iconic experiments of male authors, by taking the example of the obscenity trial of Joyce’s Ulysses. While in their defense of Joyce’s novel the three authors engaged in an uncompromising collective modernist fight against censorship, Loy in particular suggests that the obscene fantasies of Joyce, D.H. Lawrence and other male modernists did not sufficiently represent the reality of female experience.

This article concerns the presence of obscene contents in Ulysses and the embarrassment that such material has caused among its readers. It dwells more specifically on the thirteenth episode of the novel, “Nausicaa”. After recapitulating the main arguments put forward by scholars in response to the most unpalatable and morally touchy aspects of the episode, I propose to concentrate on the internal contradictions elicited by the various discourses woven together in it. I argue that the narrative apparatus set up by the author forces one to occupy unstable positions and that this instability is what has led to the different critical receptions of Joyce’s text. By exposing the reader to contradictory imperatives, this narrative apparatus aims at conflating virtue and vice into a single entity.

The present paper claims that, in James Joyce’s short story “The Dead” (Dubliners, 1914), the verb “lie” – used both for the lying snow and the lying body of Michael Furey – and the noun “snow” are associated in a way that strengthen the recurring presence of death in the narrative. The aim of this paper is both to show how that association works for the creation of a sense of unity in the narrative and to discuss the translations of the pair lie-snow by Caetano Galindo (2013 and 2018).

Literary adaptation has been both intriguing and challenging for directors especially when it comes to complicated modernist writers like James Joyce (1882–1941) who is commonly considered unadaptable. First approached by John Huston (1906–1987), Joyce’s famous short story, “The Dead” (1914) came to Hollywood (1987). Unitizing the views of different scholars in the realm of adaptation studies, this paper reveals why the director has changed the emotional features of the main hero, Gabriel, in his last movie. The main gap in adaptation studies is mostly associated with analyzing the works in relation to their main sources rather than scrutinizing them individually. We try to fill this gap by focusing on the film and Huston’s personal life. It is concluded that Huston, the product of a troubled childhood and marital life, recreated Gabriel to portray his personal dilemmas.