James Joyce's Ulysses Research Papers (original) (raw)

16 giugno 2020 - Edizione on-line del festival joyciano - causa pandemia, naturalmente - incentrata sul 14° episodio di "Ulisse" intitolato "Oxen of the Sun" ("I buoi/le mandrie/gli armenti del sole" a seconda delle traduzioni) che, per... more

16 giugno 2020 - Edizione on-line del festival joyciano - causa pandemia, naturalmente - incentrata sul 14° episodio di "Ulisse" intitolato "Oxen of the Sun" ("I buoi/le mandrie/gli armenti del sole" a seconda delle traduzioni) che, per caso ma noncasualmente, è ambientato in un ospedale.

The essays in Retranslating Joyce for the 21st-Century straddle the disciplines of Joyce studies, translation studies, and translation theory. The newest scholarly developments in these fields are well reflected in recent retranslations... more

The essays in Retranslating Joyce for the 21st-Century straddle the disciplines of Joyce studies, translation studies, and translation theory. The newest scholarly developments in these fields are well reflected in recent retranslations of Joyce’s works into Italian, Portuguese, French, Hungarian,
Dutch, Turkish, German, South Slavic, and many other languages. Joyce critics and Joyce translators offer multi-angled critical attention to the issues of translation and retranslation, enhanced by their diverse linguistic and cultural backgrounds and innovative methodologies. Because retranslations of Joyce have also exerted significant influence on target language cultures, students and readers of Joyce and, more broadly, of modernist and world literature, will find this book highly relevant to their appreciation of literature in translation.

Since its release in 1922, James Joyce’s Ulysses has been a matter of controversy. In the last fifty years the critical reception of the novel has changed considerably. Even though Ulysses was named the best English-language book of the... more

Since its release in 1922, James Joyce’s Ulysses has been a matter of controversy. In the last fifty years the critical reception of the novel has changed considerably. Even though Ulysses was named the best English-language book of the 20th century by the Modern Library, its initial reviews were mostly lukewarm. Inspired by Homer’s The Odyssey, Joyce’s text was seen as vulgar and badly written. Yuri Andrukhovych’s second novel The Moscoviad also caused controversy when it was published in Ukraine in 1994 in a popular literary magazine “Chetver.” The Moscoviad was perceived as scandalous, boring and unoriginal. However, when the novel was translated into other languages its critical reception was very positive; the protagonist named Otto von F. was compared to some of the classical literary protagonists, such as Dante and Odysseus. Although James Joyce’s and Yuri Andrukhovych’s novels show one-day journeys of typical everymen — a Soviet Ukrainian man in the heart of the empire and an Irish Jew in Dublin — they both heavily rely on Odysseus’ heroic adventures. In my paper I show the similarities and differences between the novels by comparing them to the classical myth of Odysseus. Homer’s The Odyssey is treated as a source of the universal theme of homo viator, a constantly travelling man, in European literature. Moreover, by comparing Joyce’s Dublin to Andrukhovych’s Moscow I prove that the unusual depiction of both capital cities is caused by the need to demythologize the Soviet Union and the British Empire.

Notes on organizing readings of "Ulysses" for Bloomsday in Genoa, Italy (since 2005). A reading of the text facilitates understanding the shifts from narrative to interior monologue. Molly Bloom's memories of Gibraltar compared with Ezra... more

Notes on organizing readings of "Ulysses" for Bloomsday in Genoa, Italy (since 2005). A reading of the text facilitates understanding the shifts from narrative to interior monologue. Molly Bloom's memories of Gibraltar compared with Ezra Pound's as recorded in "The Cantos". Differences between an actual stream of consciousness (as in "The Cantos") and a constructed one (as in "Ulysses").

By positing that translation is the main manifestation of “interliterarity” (in D. Ďurišin’s conceptualization) that brings to the fore the meta-creational capacities of the target literature, the present article attempts (1) to study a... more

By positing that translation is the main manifestation of “interliterarity” (in D. Ďurišin’s conceptualization) that brings to the fore the meta-creational capacities of the target literature, the present article attempts (1) to study a translatability potential of a hypertext as based on the Ukrainian translation of James Joyce’s novel-hypertext Ulysses, and (2) to justify the role of its reception in the Ukrainian literary field as a force for language and culture development. The synthesis of a “verbal music” with a mosaic of texts and narratives – imitated, playfully transformed or directly quoted – is claimed to be a key source of hypertextuality in Ulysses. In this line of reasoning, the paper particularly focuses on (1) the role of both overcoming cultural barriers and leaving a space for reader’s co-creativity while transferring of intertexts; (2) the approaches to interpretation of parody and pastiche as forms of writing-as- translation practice; (3) J. Wawrzycka’s concept regarding translation of musicalized fiction as trans-semantification, i. e. attending to literariness of the text; (4) the idea of translator’s visibility attributed to the Ukrainian re-languaging of musicalized fiction.

This paper intends to focus on the Circe episode of James Joyce’s Ulysses, exploring how the carnivalesque portrayal of ghosts impacts our understanding of the term “ghost”. Circe is unlike any other episode in Ulysses because it uses the... more

This paper intends to focus on the Circe episode of James Joyce’s Ulysses, exploring how the carnivalesque portrayal of ghosts impacts our understanding of the term “ghost”. Circe is unlike any other episode in Ulysses because it uses the form of a play as a masquerade in which various ghosts appear with much fanfare. This unique feature of the text, however, has been ignored by much of the criticism on Ulysses that reads the ghosts in the episode as neurotic fantasies of Stephen and Bloom. This reading, however, is predicated on the assumption that the ghosts in Circe are no different from ghosts in other novels that present ghosts as uncanny apparitions, and fits text to theory instead of recognizing the potential of the text to interrogate theoretical notions. In this paper, therefore, I will focus on how the vitality and exuberance of the ghosts in Circe put into question the authoritative and limiting understanding of the ghosts in Derridean texts like Spectres of Marx, Mes Chances and Envois. In these texts, the concept of ghosts is bounded by the understanding of them as enigmatic and diaphanous in their presence-absence. This understanding of ghosts can be seen as a conceptual boundary that sets the living apart from the dead. This boundary, however, is broken down in the textual strategies of Circe, which conflate its ghosts with its living: for instance, the multiple and vivid incarnations of Bloom suggest that he is no different from the phantoms that occur in the episode. Through this portrayal, the text suggests that ghosts have characters of their own and are heterogeneous, taking into account the heterogeneity and multiplicity of ghosts in the hauntology that Derrida outlines.
Thus, the notion of the carnival becomes particularly apt in reading the chapter, as the contestation of authority present in the notion of carnival allows for a theoretical accounting of the text’s effacing of differences between the living and the dead by taking into account the different characters of the ghosts and correspondingly, how one reacts to them. By focusing on the carnivalesque portrayal of ghosts as opposed to limiting them to psychoanalytical theory, the paper opens up an alternate theoretical space “beyond the opposition of presence and non-presence” that not only “unlocks the possibility of [an address to ghosts]” but takes into account the heterogeneity and multiplicity of ghosts (Spectres of Marx 13).

The stream of consciousness mode is a key feature of James Joyce’s Ulysses, but Xiao Qian and Wen Jieruo have turned a blind eye on this as they followed a more socio-political strategy to drop Joyce’s psychological modes altogether from... more

The stream of consciousness mode is a key feature of James Joyce’s Ulysses, but Xiao Qian and Wen Jieruo have turned a blind eye on this as they followed a more socio-political strategy to drop Joyce’s psychological modes altogether from their translation. Xiao and Wen have a reason for choosing said strategy despite Xiao’s familiarity with the technique. Several factors forced them to drop the stream of consciousness mode in favor of a politically-correct format. After all, historical developments did not allow literary Modernism to thrive and Ulysses to be accepted in 20th–century China. The quarrel between the leftists and the rightists among men of literature contributed to this negative atmosphere. Then, the rise of communism made things even worse with the state’s subsequent coercion of writers and translators to toe the official line. But perhaps the single most determining factor was the Cultural Revolution and its attendant atrocities. Xiao was labeled a rightist, purged by Mao’s Red Guards, banished to a Chinese gulag, and was forbidden from writing after his release. Political persecution made him extra cautious, and their decision to jettison Joyce’s stream of consciousness mode is understandable. In Translation and Conflict, Mona Baker brings forward the concept of “selective appropriation,” which she argues to be evident in patterns of omission and addition that are traceable in the target text itself. Relevant historical events, personal accounts from Xiao and Wen, as well as more recent studies by PRC scholars show that their strategy of purging the stream of consciousness technique altogether from their translation is a classic example of selective appropriation resulting from self-censorship, of adopting a translation strategy in consideration of political reality. This paper examines Xiao and Wen’s translation strategy by comparing sample excerpts, and provides a historical account of decisive historical events.

""Counterpoint is a structural form in music which, in the high modernist era was mapped onto literature with differing degrees of success. It has also been the basis for a model of theoretical criticism, as critics such as Bakhtin and... more

""Counterpoint is a structural form in music which, in the high modernist era was mapped onto literature with differing degrees of success. It has also been the basis for a model of theoretical criticism, as critics such as Bakhtin and Said have sought to read literature and culture in a polyphonic or polyvocal manner. Both attempts to transpose contrapuntalism are problematised by the difficulty of reconstructing the experience of simultaneity in forms that are encountered serially.
James Joyce, who was a talented amateur singer with a significant interest in music, attempted to incorporate contrapuntal methodology in The Sirens episode of Ulysses, and revisited the experiment in Finnegans Wake. Anthony Burgess, a late Modernist and an accomplished composer, was heavily influenced by Joyce in his fiction-writing, and has repeatedly sought to transpose musical forms into his novels.
Burgess's earliest fiction draws extensively from musical form, and in his novels he developed literary structures that seek to emulate the passacaglia, the suite and the symphony. However, the challenge of constructing a literary counterpoint was one that he repeatedly revisited, exploring ways to create the form verbally, linguistically, typographically and even televisually.
In this paper, I intend to examine the extent to which Burgess's contrapuntal experiments in fiction draw upon and extend beyond those of Joyce. I also hope to explore whether the form of counterpoint can be considered beyond the level of mere metaphor in literature or in criticism, and what, if anything contrapuntal criticism and contrapuntal literature have to say to each other.""

This article explores the ways in which the text of James Joyce’s Ulysses developed in its transition from serialization in the US periodical, the Little Review (1918–1920), to the finished book edition published in Paris in 1922. It... more

This article explores the ways in which the text of James Joyce’s Ulysses developed in its transition from serialization in the US periodical, the Little Review (1918–1920), to the finished book edition published in Paris in 1922. It explores the scope of Joyce’s revisions to the text, and shows how Joyce revised some episodes of the text far more heavily than others. It argues that the serial text of Ulysses is worthy of sustained critical attention, and points to the way in which Joyce’s intentions for the final work were modified in response to the changing conditions under which Ulysses was being written, published, and read.

Traduction 2004 révisée: Jacques Aubert (Télémaque), Pascal Bataillard (Protée, Lotophages, Eumée), Michel Cusin (Nestor), Sylvie Doizelet (Charybde et Scylla), Patrick Drevet (Hadès, Nausicaa), Bernard Hoepffner (Eole, Circé,... more

The significance of the maritime and aquatic dimension in James Joyce's work undoubtedly holds a central relevance from a symbolic and a narrative point of view. The subject has been investigated extensively, yet little attention has been... more

The significance of the maritime and aquatic dimension in James Joyce's work undoubtedly holds a central relevance from a symbolic and a narrative point of view. The subject has been investigated extensively, yet little attention has been paid to the specific function that the maritime dimension fulfils in determining the impossibility for Joyce's young and adolescent characters to grow up and develop into mature adults. In numerous Joycean texts that feature young protagonists, the intrinsically mutable and ever-changing nature of the adolescent is effectively symbolised in, and determined by, the particular relationship of the main characters with the dimension of the sea and/or with the element of water in general. This relationship is mostly one of aversion and incompatibility, and the figure of Stephen Dedalus, the “hydrophobe” (U 17.237), represents the quintessential expression of this condition.
Throughout the evolution of Joyce's utterly original style, the maritime dimension always maintains its determinant role in defining the condition of “arrested development” (Esty, 2012) for his young protagonists. Starting with Dubliners, this is surely the case for the two schoolboys of “An Encounter” as well as for the protagonist of “Eveline.” Nevertheless, as mentioned, it is with regard to Stephen Dedalus that this function of the sea is particularly put in evidence. My analysis focusses on selected scenes from A Portrait of the Artist as a Young Man and on some passages from the “Telemachus” and “Proteus” episodes of Ulysses. The aim of my analysis is to highlight how Joyce's use of the language reflects the fluidity and the constant transformation that is intrinsic of adolescence, and which is aptly symbolised and reflected in the relationship that Stephen has with the aquatic element. While, from the first to the last chapter of Portrait the style undergoes substantial transformations in line with Stephen's intellectual, spiritual and artistic growth, a closer reading also shows how the use of the language in the novel actually follows a non-linear development, characterised by repetitions and sudden stylistic changes, very much in accordance with the actual development of Stephen into a “young man.” Crucially, many of the significant episodes in his growth are connected with his understanding/experience of language, and most of these moments are strictly connected to the marine dimension and to its constitutive elements.

This paper compares and contrasts James Joyce's Ulysses (1922) with Virginia Woolf's To The Lighthouse (1927). It examines the way both writers developed a revolutionary and seminal mode for rendering the flux of experience and its... more

This paper compares and contrasts James Joyce's Ulysses (1922) with Virginia Woolf's To The Lighthouse (1927). It examines the way both writers developed a revolutionary and seminal mode for rendering the flux of experience and its impressions on the mind in these two novels. I argue that both Woolf's and Joyce's narrative technique are capable of producing, in sharply distinctive manner, an expansion of the character's (and arguably of the authors') subjective boundaries, particularly as an effect of free indirect speech and of modulations of genre, mode and form. My overarching point is that this destabilization of the subject that occurs in both novels makes the self continuously permeated by, or imbued with otherness. It also saturates it with incessantly transient, fleeting impressions of external worldly, day-to-day events so that the consciousness of the characters blurs into everything that surrounds them. And finally I discuss the way in which both Woolf and Joyce inscribe their ambitious authorial voices inconspicuously in the narrative of both novels.

Borrowed from optics, the concept of parallax identifies the apparently relative position of objects according to the lines of sight determined by the viewer's standpoint. This concept proves particularly useful in opening new insights... more

Borrowed from optics, the concept of parallax identifies the apparently relative position of objects according to the lines of sight determined by the viewer's standpoint. This concept proves particularly useful in opening new insights into the work of two major authors of Modernist literature: although coincidentally born and deceased in the same years (1882-1941), James Joyce and Virginia Woolf are seldom the object of a joint outlook. Such a watertight separation is witnessed by the scarcity of scholarly works concerned with the relationship between two authors who, on the other hand, often feature together in studies and anthologies on Modernism. Parallaxes fills this void by tackling the many implications of Woolf and Joyce’s difficult—if not failed—encounter, and provides new perspectives on the connections between their work. The essays in the volume investigate the works of the two writers—seven decades after their death—from a variety of angles, both singularly and jointly, stimulating dialogue between scholars in both Woolf and Joyce studies.

Esta edición definitiva de los escritos críticos de James Joyce –compilados, traducidos y comentados por Pablo Ingberg–, ofrece algunas novedades con respecto a las ediciones anteriores. Por un lado, Ensayos críticos y afines incluye... more

Esta edición definitiva de los escritos críticos de James Joyce –compilados, traducidos y comentados por Pablo Ingberg–, ofrece algunas novedades con respecto a las ediciones anteriores. Por un lado, Ensayos críticos y afines incluye todos los textos en prosa ensayística escritos por Joyce que hasta el momento se conocen. El lector encontrará artículos que escribió durante su época de estudiante universitario; otros que realizó por encargo cuando trataba de ganarse la vida como reseñista en París; por último, colaboraciones para revistas, conferencias, cartas y anotaciones varias. Como sugiere el prologuista, este libro puede leerse como una “autobiografía colateral del pensamiento de Joyce, un balcón desde donde tenemos la oportunidad de atisbar el desarrollo de varias de sus inquietudes principales y aledañas, y también como un campo de pruebas para su prosa ensayística que irá haciéndose un lugar en el corazón de sus narraciones”.
La otra gran novedad de esta edición es que todos los textos que Joyce escribió en Italia y fueron publicados durante su residencia en Trieste, han sido traducidos directo del italiano –y no del inglés, criterio adoptado en otras ediciones–, con la particularidad de que ahora también se trasladan al español los presuntos errores o rarezas que el autor de Dublineses pudo haber cometido al redactar en un idioma con el que no estaba lo suficientemente familiarizado.

Nesta comunicação iremos tratar alguns aspetos da premiada obra de Gonçalo M. Tavares Uma Viagem à Índia (2010), considerada por muitos inovadora, desafiante e mesmo polémica. Após a sua publicação surgiu de imediato um debate... more

Nesta comunicação iremos tratar alguns aspetos da premiada obra de Gonçalo M. Tavares Uma Viagem à Índia (2010), considerada por muitos inovadora, desafiante e mesmo polémica. Após a sua publicação surgiu de imediato um debate sobre o género do texto e sobre a sua interrelação com Os Lusíadas, a epopeia camoniana esteio fundacional da cultura portuguesa. Os primeiros comentários foram no sentido de considerar que se tratava de uma recuperação pós-moderna, no século XXI, do modelo da epopeia camoniana. No entanto, à medida que avançamos na leitura e análise da epopeia/romance rapidamente nos apercebemos de que existe mais do que uma mera reinvenção da viagem narrada por Camões e que Bloom, o protagonista, traça um percurso inédito, de entre muitos outros possíveis, realizados ou por realizar, num tempo e num espaço de múltiplos sentidos na procura de “perceber qual o chão do nosso século” (Tavares, 2010a: 9).

En el horizonte de una investigación amplia acerca de las solidaridades entre configuraciones de lenguaje –especialmente formas poéticas de significación– y maneras de concebir lo real o habitar el mundo –incluida la experiencia de la... more

En el horizonte de una investigación amplia acerca de las solidaridades entre configuraciones de lenguaje –especialmente formas poéticas de significación– y maneras de concebir lo real o habitar el mundo –incluida la experiencia de la temporalidad– se interrogarán las formas de articulación y comprensión históricas en la poética del modernismo angloamericano, concentrándose en la lectura de obras literarias y críticas de T. S. Eliot, Ezra Pound y James Joyce. Considerando la conciencia aguda que muestran estos autores de las relaciones entre sus formas de experimentación lingüística radical y modos de conocimiento, el seminario gravitará en torno a una serie de estrategias poéticas, a menudo superpuestas, que pueden ser agrupadas bajo tres rúbricas principales: ‘ironía’ (escepticismo y entusiasmo, negación y superación crítica, aufhebung), ‘montaje’ (fragmentación y discontinuidad, método mítico y sincronización temporal), y ‘traducción’ (sobrevida, despliegue del pasado). La contraparte subjetiva de tales figuras (o, anti-subjetiva, si se quiere) será examinada a partir de sus concepciones del autor/hablante como un catalizador más o menos impersonal (ausencia de intencionalidad, personae, desdoblamiento crítico). Se propone dilucidar así la especificidad de una poética vanguardista que, confrontada a la crisis del discurso de la modernidad y a diferencia de otros movimientos que le fueron contemporáneos, no pretendió una ruptura simple con el pasado, sino un distanciamiento y reabsorción a través de estrategias de disyunción y superposición. En último término, se tendrá que evaluar hasta qué punto esta poética de la historia, que se forja entre las primeras décadas del siglo XX y el comienzo de la Segunda Guerra (y corresponde a lo que nosotros solemos entender como postmodernismo más que como modernismo), es una de la que aún se está intentando salir, o acaso tan sólo desplegar en lo que ha dejado pendiente.

This essay presents evidence that James Joyce was knowledgeable about — and appreciated — modernist classical music. It provides an exposition of his musical life in Zurich and Paris, from 1915 onwards, with connection to his... more

This essay presents evidence that James Joyce was knowledgeable about — and appreciated — modernist classical music. It provides an exposition of his musical life in Zurich and Paris, from 1915 onwards, with connection to his acquaintances with the composers Phillipe Jarnach, Otto Luening, and Georges Antheil; the modern musicological theory he learned in both cities; the concerts he attended; and how this lengthy collective experience realized itself artistically during the writing of episode 11 of Ulysses (titled “Sirens”) and throughout Finnegans Wake. This research into 20th century classical music in the works of Joyce stems largely from my dissatisfaction with contemporary critical summaries of his personal taste in music. I have concerns in regard to the general critical consensus that Joyce was traditional, non-eclectic and disliked the contemporary musical avant-garde despite being an experimental modernist himself. I feel that the current evidence supporting his apparent aversion to modernist classical music is inconclusive. The writing of this essay was also instigated by the considerable shortage of biographical and critical information available on the subject. ISBN 978-608-234-073-9

Joyce’s notes in MS 36,639/1 at NLI

The young T. S. Eliot spent a year as a student in Paris, in 1910-1911. Why did he come there? What experiences did he have during that year? The paper focuses on Eliot's fascination for French poetry, his attending Bergson's lessons at... more

The young T. S. Eliot spent a year as a student in Paris, in 1910-1911. Why did he come there? What experiences did he have during that year? The paper focuses on Eliot's fascination for French poetry, his attending Bergson's lessons at the Collège de France and the lasting impact those lessons had on his poetry, and his encounter with the Action française.

Word and music studies, which in recent years have been gaining more and more attention, still remain a source of a never-ending discussion on ‘the method’ and ‘the manner of speaking’ about the manifestations of a work of music, which,... more

Word and music studies, which in recent years have been gaining more and more attention, still remain a source of a never-ending discussion on ‘the method’ and ‘the manner of speaking’ about the manifestations of a work of music, which, put within the frames of a literary medium, exist only in the rhetorical sense, thus leading to an individual and subjective interpretation of a musical scheme. Sirens, the eleventh episode of James Joyce’s Ulysses, which was not so far analysed in the intermedial context in Poland, invites to a musico-literary reading — not only due to the author’s explicit hints but also the tracks in the text itself which cannot be ignored by a scholar (the sound level of the text, the presence of music within the thematic scheme, the author’s confirmation of the fugitive form of Sirens). Instead of asking whether Joyce managed to create a literary equivalent of musical fugue (which would be absurd due to the semiologic aspect), I focus on tropes employed by Joyce to blur the borderlines between literature and music. When is it justified to use musical metaphors with respect to narratives? An overview of the western discussion over Sirens serves as a point of departure to reflect on essential issues concerning the musicalisation of fiction as such.

Tesis de grado de Psicología en la UNAM de Manuel Hernández

In Dubliners, the Joycean epiphany emerges from set-piece contemplations in a way which reveals the true essence of the character at hand. Each story leads to some discovery, a sudden realization arrived at through a tortuously achieved... more

In Dubliners, the Joycean epiphany emerges from set-piece contemplations in a way which reveals the true essence of the character at hand. Each story leads to some discovery, a sudden realization arrived at through a tortuously achieved conjunction of events and circumstances. Frequently, this path terminates in disillusionment, the failure of hopes and misapprehended preconceptions. Such is the case in “Araby,” a story that traces the course and gradual psychological delusion of the narrator, whose life rises drearily from the grey, uniform world of North Richmond Street, where the houses “gazed at one another with brown, imperturbable faces” (Joyce, 249). The curiosity and sense of wonder which grips the narrator stands, increasingly, in stark, sad contrast to the limp, still-born environment in which he lives. It provides a backdrop against which his expectations are symbolically aborted, having led him to this state of unfulfilled anticipation.