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In the history of modernism, the year 1907, like 1922, represents an underappreciated annus mirabilis, a year of miracles. Among the many artistic events to occur that year, perhaps none is more significant than James Joyce's completion of what would become the final story in Dubliners (1914) and a work Richard Ellmann describes as ‘his first song of exile’, ‘The Dead’. ‘The Dead’ achieves the indispensable breakthrough of bringing to a close Joyce's initial project and inaugurates an unparalleled process of experimentation and invention that will extend through the rest of his career. At the heart of Joyce's experiment stands the figure of Gabriel Conroy, the story's prosperous and self-satisfied protagonist. Joyce diagnoses Gabriel's condition, and by extension that of all of Ireland's middle class at this crucial historical juncture, by staging a series of encounters that bear out Gabriel's failure to become a subject in all four of what Alain Badiou terms the conditions of truth—love, politics, science, and art. In this way, Joyce breaks through to a new mode of literary presentation, and hence an alternate pedagogy of desire—a form of the quintessential modernist operation the Russian Formalists name estrangement. A version of this practice is already at work in Gabriel's climactic realization of the full extent of his failure, and this paradoxically ends ‘The Dead’ on a cautious note of hope. Whether Gabriel achieves a remaking of his life beyond the story's conclusion, we have no way of knowing; however, we do know that in Joyce's case at least, it is precisely such a passage that enables him to become a subject, an artist, who continues to transform in unexpected ways our very sense of the possibilities of language. The approach I outline in this paper not only promises to transform how we understand Joyce's individual artistic development, but also, more generally, the trajectory of modernism, or, indeed, of any period of dramatic cultural change. [ABSTRACT FROM AUTHOR]

This article argues that aspects of Jacques Lacan's late seminar on James Joyce supplements his failed attempt to work with Gilles Deleuze. Lacan's Seminar XXIII (1975-76) was presented shortly after the publication of Deleuze and Felix Guattari's Anti-Oedipus (1972). and he asserts that Joyce's use of language, particularly in Finnegans Wake (1939), exemplifies how creative and potentially psychotic self-naming can operate as an Oedipal traversal, transforming the symptom into what Lacan terms the sinthome. This article argues that Lacan's theory of the sinthome significantly reconfigures his prior psychoanalytic frameworks due to engagement with concepts found in Anti-Oedipus. Critically fortifying this correlation provides the means for etching out a theoretical intersection between Deleuze, Guattari, and Lacan, and it consequently provides an innovative interpretation of Lacan's late work. [ABSTRACT FROM AUTHOR]

The article begins with addressing alleged similarities between Eimear McBride's debut novel A Girl Is a Half-Formed Thing and James Joyce's works to suggest that they cannot be systematically sustained. Her much praised, experimental style relies on the opposite of Joycean richness. Limited vocabulary, jumbled word order, and lexical and phrasal repetitions are one of the most salient features of her style. McBride applies rhetorical variants of conduplicatio to create an emotionally powerful idiom to narrate an anti-Bildungsroman about a loving sister and her dying brother, her sexual abuse by an uncle and final suicide. So despite some thematic parallels, and linguistic experimentation, A Girl bears only superficial resemblance to the modernist master, which is additionally evidenced by stylometric findings. [ABSTRACT FROM AUTHOR]

Despite his self-imposed exile in continental Europe, James Joyce’soeuvreis almost entirely set in Dublin. That paradox in itself reveals much about the psychological ramifications of diaspora in his life and writing. In their passing or more sustained encounters with migration, the characters ofDublinersare, like Joyce, subject to competing demands of personal, familial and national allegiance. The often subliminal presence of migration in their lives is especially manifest in their self-doubts, fantasies and obfuscations, as well as the conversations they have with themselves and others about it. In two stories in particular, “Eveline” and “A Little Cloud”, the focus is on characters who, while they both have aspirations to leave Ireland, decide to stay put. By addressingDublinersthrough the lens of Avtar Brah’s concept of “diaspora space”, this article highlights the psychological complexities of migrant experience for those who choose to stay as well as leave. By demonstrating how such complexities are mediated through fiction, it contributes to a still under-researched aspect of Joyce scholarship, but equally, by putting diaspora space to the test of the narrative prerogatives and specificities of prose literature, it challenges and enriches our understanding of the concept and of diasporic Irishness more generally. [ABSTRACT FROM PUBLISHER]

As a New York writer, Maeve Brennan forges a relationship with Ireland as home that speaks to the separation and imaginative return so strongly associated with James Joyce while at the same time putting a careful distance between her work and Joyce’s formidable influence. Drawing on archival material at the University of Delaware and the New York Public Library, which amplifies our understanding of some of the intentions and motivations in Brennan’s work, this essay examines how Brennan transforms Joycean modes and motifs in her careful mapping and writing of New York in her essays forThe New Yorker. Written under the pseudonym “The Long-Winded Lady”, Brennan’s essays for the magazine break imaginative ground in the city that she lived in for most of her life and expand outwards from the self-contained domestic world of Cherryfield Avenue so central to her Dublin stories. The main concern here is with Brennan’s adaptation of Joycean motifs and the different ways in which she positions herself in a direct line of inheritance to Joyce as she negotiates her position as a transatlantic writer in the middle of the twentieth century. [ABSTRACT FROM PUBLISHER]

For all the differences between their literary projects, James Joyce and Jorge Luis Borges are connected not only through Borges's sustained interest in Joyce's work, but also through a shared concern with total systems of knowledge. Both authors are skeptical of such systems; yet both also betray a deeply ingrained fascination with the idea. This is particularly apparent in scenes from their work featuring acts of reading, such as the discussion about Shakespeare or the apparition of Rudy's ghost in Ulysses , or several of Borges's short narratives. Both Joyce and Borges insist on the uncanny attraction that totality has even for wary readers, as well as on totality's self-defeating aspects, which introduce into the process of reading a certain sense of loss in a manner reminiscent of Derrida's thinking on spectrality. [ABSTRACT FROM AUTHOR]

Critics have increasingly argued that Joyce used formal tactics to promote political ends. None, however, have provided an in depth analysis of Joyce's thinking about lyric form's social function-thinking which was profoundly influenced by the argument of Shelley's 'Defence of Poetry.' Joyce was both attracted to and skeptical of that argument. He adapted and revised it throughout his career, first in his 1902 essay on James Clarence Mangan, and then through his depictions of Stephen and other poets in subsequent works. But he also always subjected it to a critique inspired by late-Victorian condemnations of Shelley. When read through the lens of his skeptical engagement with Shelley, the lyrical 'fine moments' that conclude his major works revise our understanding of the relationship between his aesthetic practices and politics. Those moments suggest that his art required a sense of its own political potency. [ABSTRACT FROM AUTHOR]

Joyce/ Shakespeare is a well-chosen collection of essays, ranging from the familiar Hamlet/Stephen interface that is developed in the ninth chapter of Ulysses to a re-evaluation of the place of Johann Wolfgang von Goethe and Sir Philip Sydney in Joyce's creation of that chapter. In addition to an examination of Joyce's Trieste Years during which Joyce gave the Hamlet lectures that were the basis of the chapter, there are also studies which emphasize the importance of Othello, Richard II, Troilus and Cressida, and The Tempest. Insofar as the collection concludes with an essay on radical contextual potentiality in a Hamlet/Wake connection, the endless fertility of this old subject is affirmed and demonstrated. [ABSTRACT FROM AUTHOR]

This article reflects on the relation between Fritz Mauthner and James Joyce, of whom we know that he read Mauthner's Beiträge zu einer Kritik der Sprache and quotes sections of it in his monumental last work, FinnegansWake. It will focus on the complex multilingual environments in which Joyce and Mauthner grew up and consider the ways in which these shaped how they thought about language. [ABSTRACT FROM AUTHOR]

This article draws out ecological aspects convergent on the first page of James Joyce's Finnegans Wake (1939) and explores them through Žižek's theoretical perspectives on humanity today and its relation to the waste and chaos that underpins the state of nature that it is reliant on; that is in relation to the Lacanian category of the Real. It does so in an attempt to bring together Joyce and Žižek (who has tended to reject the writer in his work) so as to demonstrate the theoretical possibilities that can arise out of their synthesis. The essay's methodology is tripartite, working through a theoretical part - utilising, as well as Žižek's ecology, Lacanian psychoanalysis and the ecosophical thought of Félix Guattari - a textual part, drawing on Joyce scholarship pertinent to the first section of the Wake, and towards a practical part, which aims to condense the work of the essay and outline a route to a possible praxis, which takes into account the real of nature. [ABSTRACT FROM AUTHOR]

How did Joseph Beuys read James Joyce's work? Beuys' annotated copy of Finnegans Wake, as well as 'Ulysses Extension' drawings provide close insight into the artist's thinking. Beuys' work expands or 'furthers' Joyce in sculptural substances, language and by social means. Beuys used Joyce, especially Finnegans Wake, as a reference point of extraordinary suggestive power for the duration of his artistic career. Beuys' current reappraisal lets us better understand his importance in pioneering ecological practices, in conceiving of art as an eco-system that sustains discursive and societal 'force fields'-- and, through this, glimpse possibilities for grasping Joyce's ideal, indirect efficacy today. [ABSTRACT FROM AUTHOR]

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This article examines the French translations and illustrations of James Joyce's children's story The Cat and the Devil. The story itself is an act of translation, as Joyce heard it in his travels through France and, writing it in a letter to his grandson Stephen, adapts the tale to bring in Irish elements; nonetheless, Joyce keeps all the dialogue in the story in French, and adds a further language by signing the letter in Italian. This polylingualism is expressive of the international nature of modernism, and provides a challenge to the work's many translators. In particular, the translation of the story "back" into French complicates conventional distinctions of domestication and foreignization: what was originally domestication becomes foreignization, and Joyce's Irish remaking of the tale risks being overlooked. To avoid this, Joyce's French translators estrange what would naturally be domestic, were it a French story: the French language itself. In contrast to these translation decisions, the new French illustrator of the book, Roger Blachon, bridges differences by making links between source and target cultures, through their shared history of Catholicism. Where the French translated texts strain domestications into foreignizations, Blachon's art opens the way for a middle ground between these two. [ABSTRACT FROM AUTHOR]

Copyright of Domínios de Lingu@gem is the property of Dominios de Lingu@gem 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.)

En este artículo se expone cómo, a pesar de pertenecer a épocas y cosmovisiones distintas, tanto Ovidio en sus Metamorfosis como James Joyce en su Retrato del artista adolescente utilizan el mito del laberinto de Dédalo como metáfora de la forma de sus respectivas obras y ven en el mito de Ícaro el símbolo del artista vanguardista: aquel que debe alejarse del orden establecido en pos de la novedad.

De acuerdo con la intención manifiesta de Joyce de escribir los cuentos de Dublineses “en un estilo de escrupulosa mezquindad”, este artículo aborda la colección tomando en cuenta el contexto histórico que explica el deterioro de Dublín —patente en las descripciones de la ciudad— a partir del Acta de la Unión de 1801 y el desastre humano que significó la gran hambruna de mediados del siglo XIX. En este contexto de depresión urbana y económica —agravada por la obsesión que tiene el irlandés de emigrar, “de huir de la ‘isla condenada que se moría de hambre’ y encontrar un refugio en otra parte”— se analiza, en un primer momento, la temática general de los cuentos, para luego particularizar el análisis en algunos de ellos —“Las hermanas”, “Una nubecilla” y “Los muertos”. Destaca en el análisis no sólo la “escrupulosa mezquindad” del estilo, el cual podría considerarse como la marca del sobrio realismo de los cuentos, sino la vertiente simbólica que reside en lo no dicho, en la historia virtual, aquella que por la técnica narrativa de la indirección no ha sido contada, la historia ausente (gnomon) que proyecta su sombra o irradia su luz en la epifanía típicamente joyceana; todo aquello, en fin, que constituye la dimensión poética y simbólica de los relatos de Dublineses.

This article draws out ecological aspects convergent on the first page of James Joyce’s Finnegans Wake (1939) and explores them through the philosopher Slavoj Žižek’s theoretical perspectives on humanity today and its relation to the waste and chaos that underpins the state of nature that it is reliant on; that is, in relation to the Lacanian category of the Real. It does so in an attempt to bring together Joyce and Žižek (who has tended to reject the writer in his work) so as to demonstrate the theoretical possibilities that can arise out of their synthesis. The essay’s methodology is tripartite, working through a theoretical part—utilising, as well as Žižek’s ecology, Lacanian psychoanalysis and the ecosophical thought of Félix Guattari—a textual part, drawing on Joyce scholarship pertinent to the first section of the Wake, and towards a practical part, which aims to condense the work of the essay and outline a route to a possible praxis, which takes into account the real of nature.

Two chapters, "Scylla and Charybdis" and "Penelope," in James Joyce's Ulysses are crucial to an understanding of the novel as a whole. "Scylla and Charybdis" stands midway in the novel, the ninth of eighteen chapters, and is designed to serve as a kind of exegesis of the writer's methods and intentions. An analysis of that chapter helps to explain the meaning of the controversial final chapter, "Penelope," and to clarify its thematic and stylistic relation to the text as a whole. Ulysses is the story of a quest, actually of many quests that all coalesce into a single goal: the search for value in a modern world that is somehow diminished and constructed in comparison with the Homeric world where mortals strode the universe in company with gods and goddesses. How, in this dwarfed setting, can men and women redefine heroism in secular humanistic terms relevant to twentieth-century life? Almost by definition a quest narrative culminates in the attainment of the goal or in the potential for its attainment; Joyce's Ulysses affirms this possibility in "Penelope."

This article focuses on how the second Swedish translation of James Joyce’s novel Ulysses (2012) was received by Swedish critics. The discussion of the translation is limited to a number of paratextual features that are present in the translation, including a lengthy postscript, and to the translation’s reviews in the daily press. The release of the second Swedish translation was a major literary event and was widely covered in national and local press. Literary critics unanimously welcomed the retranslation; praising the translator’s raw, vulgar and physical language, his humour, and the musicality of his expression. Regarding its layout, title, and style, the new translation is closer to the original than the first translation from 1946 (revised in 1993). The postscript above all emphasizes the humanistic value of Joyce’s novel and its praise of the ordinary. It also addresses postcolonial perspectives and stresses the novel’s treatment of love and pacifism. These aspects were also positively received by the reviewers. For many reviewers, the main merit of the novel is found in its tribute to sensuality and the author’s joyful play with words. Negative comments tended to relate to the novel’s well-known reputation of being difficult to read. One reviewer, however, strongly questioned the current value of the experimental nature of the novel. Opinions also diverged on whether the retranslation replaces or merely supplements the first Swedish translation.